A couple of years ago, while spinning my wheels in the Mexican wilderness, I realised any success in this photographic endeavour of mine would to some extent depend on community. Disillusioned with Instagram, I created an account on Vero. It was only a brief diversion, as it turned out. My stint on the site lasted just long enough to find and join a society called Raw.
The Raw Society is a community of people brought together by a mutual appreciation for photography, travel and storytelling. Three things I'd become very interested in. So I felt at home right away. Through monthly critiques, conversations over coffee, and one-to-ones, friendships start online and spread into the real world.
When I saw a project idea getting kicked around on a platform we affectionately call "the hub", I watched with curiosity. Not all good ideas come to fruition. But something about this one was generating quite a bit of interest. The concept, proposed by fellow member Regi Metcalf, was for a collaborative photobook to showcase the range of photography within our community. Each participant submits three photographs, and the yet-to-be-decided editor must select at least one. The book's theme would be open. So, the editorial challenge was to bring a sense of coherence to an otherwise disconnected set of images.
Reading the comments, I sensed the editor's role was a bit of a hot potato. But to me, editing the work of others felt like a rewarding opportunity to learn and connect. Reflecting on my previous life as a project manager and my recent zine-making experience, I wondered if I could combine the two. The idea grew on me and I threw my hat into the ring.
So, how do you make a meaningful edit from 123 photographs taken by 41 photographers (all around the world) with many different cameras, some film, some digital, some colour, and others in black and white?
Well, it starts with pairings and conversations between photographs, much like a photographic game of cards. The first appeared by chance. On the left, a spiky-haired man looks over the side of the Staten Island Ferry into the right, where the rippling waters of Tân Thiên Vietnam reflect back. Two nations' chequered history wrapped in a complimentary colour harmony. An opener for the book - we're going on a journey.
As more pairs presented themselves, groups formed. That initial pairing, and others like it, fell into a bucket I loosely labelled curiosity. More followed. A brutalist-style office block in Tirana, Albania, matched the pattern on a man's headscarf in Uttar Pradesh, India and provided a juxtaposition of the type of work people do. Continuing in this vein gave further groups about work, play, relationships and drama - and a framework for interpreting, editing and sequencing the pool of images.
Perhaps that is where the essence of this book lies. Every photograph holds an emotional connection between the photographer and the subject or scene and is a consequence of something in their character, culture or personal experience. Now, those images are sequenced and paired with others - the points of connection unimagined at the time of creation - and presented in a way that allows new interpretations of the viewers' making.
So, I acknowledge the efforts of my fellow photographers and thank them for sharing the fruits of their creativity. I'm also grateful to the founders of this community for the opportunity to practice the art of editing and sequencing. Their support and feedback, along with that from my wife, Angela, was invaluable. And credit to Christelle for turning the concept into a title. Lastly, I thank Matias Harina for putting the icing on the cake with the cover design and font choices. This book would not be the way it is without all their input.
However, the potential for physical output may not end here. The book includes photographs that are part of existing projects and others that needed a home. Being in a pair can elevate or recontextualise an image while more complex pictures are better digested alone. Either way, could D I S Connected be a catalyst for further collaboration - print sales, diptychs or an exhibition?
As we launch what we hope will be a bi-annual publication, maybe the most welcome side effect is the connection this project creates between members through their work. By coming together, we aim to bring photographs often confined to the online world into the physical. And to the attention of non-photographers, other artists, and people beyond our community.
All rights to the images in this Substack newsletter are held by the photographers named in the captions. Photobook contributors; Eileen Busby, Matias Harina, Derrick Wansom, Justin Rominski, Lorenzo Melocchi, Christelle Enquist, Steve Beckett, Alex Lee, Arunoda Susiripala, Regi Metcalf, Roger Watts, Ben Rook, Sebastian Hälg, Mei Seva, Ora Buerkli, Steve Dimitriadis, Simon Johansson, Vanessa Abramowitz, Stéphane Monard, Gregor Boos, Pamela Fricke, Francine Blei, Carlos Antonorsi, Andrea Pacini, Wayan Barre, Daniel Nicolas, Josélita Diman, John O'Donnell, Tom Minty, Stefan Beyer, Sabina Diethelm, Pasquale Verdicchio, Martin Miklas, Alessandro Mastrorilli, Andrés Ramos, Jacqui Shepherd, Vic Rincon, Ivana Popovska, Kevin Bjorke, Denise Pensky, Eduardo Ortiz
Nice read Ben. And well done. Looking forward to get a copy.
What a great summary of the project and process Ben. I’m so happy you shared it!