Deciding whether to self-publish or work with a publisher is a key choice, each with its own challenges and creative freedoms, so what are the benefits of taking these different routes?
Photographers can take thousands of photos throughout their careers, and for many, the dream is to produce a beautiful book. It’s something they can hold with as much pride as a couple cradling their newborn baby. In some ways making a photobook is similar to raising a child; it requires a lot of love, attention and time. It’s not easy, but some believe it’s worth it (my parents might disagree).
Edward Thompson is one of the rare photographers who is passionate about self-publication: “I’m a big believer in this punk rock attitude of doing it yourself. It’s amazing. I’ve done all the jobs for all the publishers, and it can be terrifying, but I did it myself, and if I can do it, you can do it.”
He has published three of his own books. His latest book was a real success, focusing on Dungeness, the UK’s only desert: “I know this book is the best book I’m ever going to make.”
Exploitation is prevalent in the world of photobooks as publishers take advantage of naïve photographers looking to make their first: “You will meet some pay-to-play publishers who will also promise the earth. They’re always at portfolio reviews and gallery openings, but they don’t necessarily have anything to do with photography. They then look at your work, and they say, ‘We’d love to work with you, but the bottom line is we need like 20K.’”
This price covers the cost of production, but Edward doesn’t believe it’s worth it: “When you’re young you feel like if you just get this book out with this publisher, fame and fortune and glory will follow, but it’s just all a scam. Whether you’re successful or not, they don’t give a fuck because they’ve already made the money from you giving that 20 grand.”
Publishers will only cover this sum of money for the most renowned photographers: “If you’re at the top of the tree and you’re popular, then there’ll be some big publishers that’ll pay for it all, but unfortunately for me and many others like me, you’ve got to raise the money yourself.”
Edward isn’t drawn into the prospect of fame and fortune: “Over my vanity and my ego and being the golden boy, I’d rather live a quiet life in Ramsgate and have 16 grand in my pocket from my self-published photobook.”
Making and self-publishing a photobook is by no means an easy job, and the 16k wasn’t given to Edward; it was earned. He had been taking photos for over ten years by the time he self-published his first book, which was a real learning curve without having the help of a publisher to organise and arrange all the logistics.
Photo Credit: Edward Thompson
It involved a lot of trial and error and some big learning curves: “ There’s so much you have to earn. I wish I’d had more help when I was learning because I had to learn how to lay out the book, not just using InDesign, not just learning about sequencing or even just how to design a book, but colour proofing, wet proofing, CMYK conversion and dealing with the printers.”
This is why many photographers will use a publisher to help them with the process, relieving them of these little jobs and allowing them to focus on their job of taking photos. Louis Quail, a documentary photographer, says: “I always wanted to use a publisher; self-publishing would have been a step too far for me because I probably have dyslexia and ADHD, so I’m not organised enough to make a book myself.”
Louis’ book, Big Brother, gives us an insight into the life of his older brother, Justin, who lives with schizophrenia: “Some people with mental health issues are able to communicate incredibly well, and they can speak for themselves, but Justin needs help to communicate. He needs help to tell his story, and that’s why I felt it was important because people like Justin need their stories to be told as well.”
Publishers need to earn the photographer’s trust when working on such a personal book. Publishers can often have an influence on the process of the book, so it was important that Louis remained in control of the creative process: “The story is so personal, and as it is such a sensitive subject, I had to have the confidence and the authority to tell Justin’s story.”
Prior to approaching the publisher he used, Dewi Lewis, he produced a number of drafts: “My friends helped me with the book; we laid all the photos out on the floor; I was helped by someone who was working at Magnum at the time.”
These friends helped Louis to tell Justin’s story: “It is all about storytelling and how society usually sees the illness first and doesn’t see the whole person. In my book I build up Justin’s character by showing the illness first with cliché pictures, but later you’re presented with a series of surprises, and you find out Justin has an amazing hobby. People didn’t expect to find a schizophrenic with a hobby.”
Photo Credit: Louis Quail
Despite this freedom Edward says that strict deadlines set by the publisher can limit a photographer’s creative freedom:
“You could torture yourself over making your own book, but you torture yourself over making a book with a publisher. It wouldn’t matter. They’re not really going to help you; their deadlines will make it even worse because now if you wanted to slow down and add a chapter, they’ll be like: ‘It’s too late. We’ve got distributors waiting on the book, and we’ve told them all when it’s coming out’.”
Publishers will only supply the photographer with a small number of books to sell once they’ve been produced, meaning it’s hard to earn similar sums to what Edward earned as a self-publisher.
Edward’s book was a thick 12-inch book, costing £7K to print. This seems like a large sum, but he was able to raise the money through a crowd fund, thanks to the people who liked his work: “It’s a big world. You can find 120 people to believe in the project.”
Louis had to put a lot of work into marketing his book to make it financially. He says: “Often making these books is very expensive. So, you have to really believe in the process. It’s a hard job, and if your books aren’t doing well, you’re probably not doing enough marketing. That’s the truth.”
This marketing helped him to make a success of using a publisher, with his book becoming close to selling out.
And although Edward’s might initially seem more affordable, there are ways to overcome the financial obstacles of using a publisher, like applying for grants (read our article on grants to find out more: 5 Grants and Residencies Every Emerging Artist Should Know About – Iris).
So whether you choose to tackle the world of photobooks alone like Edward or work alongside a publisher like Louis, making a book isn’t easy. It’s expensive, time-consuming and at times a real test of patience. But for those willing to see it through, the result of telling a story on their own terms, page by page, ultimately makes it worth it, as in the words of Edward: “Exhibitions come and go, but photobooks are novels that last forever so go and make that photobook.”