Archive for the ‘Doug Spowart’ Category
The photobook event that THE VIRUS TOOK AWAY
Some Antipodean Photobooks from the Tate project …PHOTOCOLLAGE: Doug Spowart
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On the weekend of May 2-3 2020 there was a weekend of major photobook activities planned for the PHOTO 2020 International Photo Festival in Melbourne.
A significant component of the event: A seminal selection of 52 Australian and New Zealand Photobooks* from the State Library of Victoria’s collection was to be made available for public viewing.
On Sunday May 3 international photobook guru Martin Parr was to team up with local photobook aficionado Doug Spowart in a public Q&A session. Of particular interest were their methodologies and considerations for reviewing photobooks. Among other questions it was proposed that they respond to the contentious issues of ‘What validates a book for it to be considered eligible to be included in a canon of photobooks?’ and ‘How such curated selections can energise the recognition for photobooks?’
It was planned that the panel interviewers and contributors to the discussion would be renown writer and Photojournalism Now publisher Alison Stieven-Taylor and would also include the celebrated New Zealand photobook maker and Massey University lecturer David Cook.
An additional event to add to the PHOTO 2020 Photobook Weekend was a major Photobook Fair that would include major publishers, significant photobook makers, a showing of the ANZ Photobook Awards, photobook manufacturers and POD suppliers, workshops and info sessions.
However the COVID-19 pandemic was to change all that …
March 15, 2020 post on the PHOTO 2020 Facebook page
The PHOTO2020 event, retitled as PHOTO2021 is being rescheduled with the new dates of 18 February – 7 March 2021.
Thank you to founder and Artistic Director Elias Redstone and Producer Rachel Ciesla from the PHOTO 2020 team and Des Cowley from the State Library of Victoria for their efforts to bring this project into fruition. And we look forward to being part of the programme on the rescheduled dates…
Keep up to date with PHOTO 2021
FACEBOOK: https://www.facebook.com/photofestivalau/
WEBSITE: https://photo.org.au/
The PHOTO 2021 team have been posting video interviews with a diverse group of international photographers and artists – Check them out…
FACEBOOK: Photo 2021-Photo Live
*52 Antipodean Photobooks: A beginning for a canon of the ANZ photobook
In 2019 the Tate Library received a selection of 52 photographically illustrated books from the Australian and New Zealand region. The books were curated by Australian photobook aficionado Dr Doug Spowart and were specially chosen to extend the Antipodean photobook presence within Martin Parr’s 12.5K photobook donation to the Tate in 2017.
Doug Spowart’s Tate commission came as a result of his meeting with Martin Parr at the 2017 Vienna Photobook Festival. Parr attended Spowart’s lecture on the Antipodean photobook at the Festival and saw examples of the 2016 ANZ Photobook of the Year Awards.
Martin Parr and Doug Spowart reviewing ANZ photobooks at the SLV for consideration to be included in the Tate submission. January 2018. ….. PHOTO: Victoria Cooper
In early 2018 Spowart met with Parr at the State Library of Victoria and shared with him a selection of the photobooks that had been curated for proposed Tate purchase.
While interest in the photobook has resulted in publications and scholarship from every major country in the world the same has not been the case for the Antipodean photobooks. Spowart sees the PHOTO 2020/2021 event as being an opportunity to celebrate ANZ photobooks and bring recognition to the local contemporary and historical publications. To this end Doug Spowart has published a blog entitled The Antipodean Photobook and a FACEBOOK page The Photobook in Australia and New Zealand (under construction @ May 2020).
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Looking forward to PHOTO2021: 18 February – 7 March 2021
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BIFB: PHOTOBOOK WEEKEND – A Report
BIFB Webpage Header
WORLD PHOTOBOOK WEEKEND
A Photobook Club Australia World Photobook Day activity for 2019
The Ballarat International Foto Biennale was proud to host the World Photobook Day during the festival between Saturday 12 October and Monday 14 October. The call-out was to Celebrate World Photobook Day with other photography enthusiasts by attending 4 photobook events over the weekend.
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Doug meeting with Aaron Bradbrook
The back story for the BIFB’s World Photobook Weekend is that in March Vicky and I visited the BIFB in its home the National Centre of Photography. In a conversation with Associate Curator Aaron Bradbrook we pitched the idea of a photobook event to coincide with World Photobook Day.
In followup conversations with the BIFB Creative Director Fiona Sweet a series of four events became part of the program. The events were: a keynote talk, a forum, a photobook fair and a birthday celebration.
With BIFB Creative Director Fiona Sweet
In the months that followed we worked with Fiona, refined the event focus and the people who could be involved. We then followed through with our side of the necessary preparations and promotion of the event.
This series of Blog posts provides a report on the four events as well as an opportunity to present a commentary on the Australian and New Zealand photobooks that was the topic of the talk I presented on the first day of the weekend.
To navigate through the events just ‘CLICK’ on the title tab. At the end of each post there’s a ‘RETURN to the HOMEPAGE’ link.
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SATURDAY 12 OCTOBER
Doug Spowart + ANZ Photobooks
TALK BY DOUG SPOWART
Many Tribes: The Australian And New Zealand Photobook
Click LINK
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SUNDAY 13 OCTOBER
Book Fair participants
PHOTOBOOK FAIR
Click LINK
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Forum Panelists
FORUM: Photobooks – Getting Published & Getting Collected
with Patrick Pound, Sarah Walker, Heidi Romano and David Wadelton. Moderated by Doug Spowart
Click LINK
MONDAY 14 OCTOBER
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World Photobook Day Birthday Celebration
HAPPY BIRTHDAY PARTY! Celebrating 176 years of photobooks
Click LINK
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ANZ PHOTOBOOKS – Keynote TALK: BIFB Photobook Weekend
BIFB Website
Many Tribes: The Australian & New Zealand Photobook
A talk by Doug Spowart
The photobook disrupted the 1990’s prediction that ‘the book is dead’ and grew into a worldwide phenomenon. Doug Spowart will address key aspects of the historical and contemporary makeup of the photobook in Australia & New Zealand where the various ‘tribes’ contribute to a vibrant and progressive discipline.
October 12 @ 2pm, World Photobook Weekend Hub
Mitchell Harris Wines, 38 Doveton Street North
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What follows in this Blog post is a synopsis of the presentation with references to various aspects of the Australian and New Zealand photobook scene. Where possible links have been provided to external sources for further information.
Please note: This presentation is part of ongoing research and will be added to and refined as new information becomes available.
Photobook Talk: Introductory comments
At 2.00pm I welcomed the 30 or so people who attended this BIFB Photobook Weekend event.
In the opening statements I acknowledged the Traditional Custodians, the Wathaurong people of the land on which we met, and recognised their continuing connection to land, water and community. I paid my respects to Elders past, present and emerging. And I also wished to recognise the importance of storytelling and its continuing tradition today…
I announced to the attendees that due to the recent passing of the doyen of New Zealand photobooks Harvey Benge, that the event would be dedicated to his memory.
With these formalities completed I began the talk:
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Doug Spowart and ANZ photobooks he loves …Photo: Victoria Cooper
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I have been working in photography for over 50 years and the photobook has been, and continues to be – my teacher, inspiration and obsession. I have read, bought, collected, loaned books and on occasion not given them back to their rightful owners because they were so special to me and I couldn’t part with them.
In my youth these books inspired and fed my insatiable curiosity of the world and informed me of its challenges and wonders beyond my own experience.
Over time I encountered an increasing diversity and depth in all forms of books and their makers of photobooks, artists’ books and zines. I became interested and involved in each of these different groups researching and documenting their aims, manifestos, their key practitioners, education alliances and reward structures. Much like ‘tribes’ these communities of creative practice gather together within the rich milieu of visual communication through the form of the book.
But First – a little photobook history
In 1839 William Henry Fox Talbot, one of the key inventors of photography, stated that photography would make, Every man his own printer and publisher. He went on in 1844 to publish the book, The Pencil of Nature as a treatise on the uses of photography using his calotype process.
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Anna Atkins
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Scientific illustrator Anna Atkins used the ‘blue print’ cyanotype process to produce a book in 1843 entitled Photographs of British Algae: Cyanotype Impressions. Atkins’ book is recognized as the first photobook as images and texts were printed on the page at the same time – whereas Talbot’s prints glued or tipped-in on the pages and the text printed using letterpress. In recent years the date that Atkins’ book was catalogued by the British Library, October 14 1843, has become celebrated as ‘World Photobook Day’.
In the 175 years since the Atkins and Talbot, the use of photographs in books has developed into a powerful carrier of information and ideas either with or without text. Book design including format, paper selection, layout, typography and production methods have also developed in companionship with this growing interest in the photobook as a form of communication. The onset of desktop and online publishing created an environment where individuals and collectives could independently publish. The art and commercial process of book production and publication is under an epic transformation. Talbot’s phrase – Every man [or woman] his [her] own printer and publisher has become a reality.
Early reference books about photographically illustrated books and photobooks
The ‘Photobook’
Historically bibliographers have categorised books with photographic narrative or content using the terms ‘photographic book’ or ‘photographically illustrated book’.
Over the last 20 years however interest in the photographic book emerged encouraged by the critical review and commentary of the discipline in publications starting with Phillip Roth’s 2001 The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, and the 2004 ICP exhibition and publication, The open book : a history of the photographic book from 1878 to the present. However the term ‘photobook’ came to prominence as a result of three tomes published in 2004, 2006 & 2013 by Martin Parr and Gerry Badger The Photobook: A History. Originally the purpose of the discussion in these books was to establish a cannon for photographic books. Later the term photobook came to encompass all kinds of books including those from the contemporary boom in trade and self-published books.
Within a few short years the photobook became a publishing phenomenon. Whilst frameworks may have previously existed in the publishing world the drivers of the new photobook discipline – mainly photographers, created hierarchies consisting of awards, criticism, knowledge sharing and educational structures, supported by boutique publishers as well as the powerful established brands. Photobook designers also found new recognition for the unique contribution that they could make in transforming a photographer’s body of work, often in collaboration with the photographer, into a work of visual communication. Scholarship and collector market interest spawned bookshelves of critiques, surveys and catalogues covering the books from just about every nation of the world. Social media hype by key influencers and their particular sphere of interest set trends and photobooks became a sexy, desirable and collectible commodity.
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THE ANTIPODEAN PHOTOBOOK – A BRIEF HISTORY
Within its remote geographic location the Antipodean photographically illustrated book was very much based on trade published books that reflected the needs and interests of society. Publishers selected books containing content that would be highly saleable to the public. Of concern to the publisher was the book format, production values at a price that would provide an appropriate return on the investment. In the 100 years from 1900 books published followed certain themes and subject matter.
- 1900/30 Illustration/pictorial/documentary
- 1940–50 Nationalistic pride/immigration
- 1960s Discovering/celebrating who we are as a people
- 1970s – The political book
- 1980–90s – A celebration of landscape and the wilderness
- 1990 Exploring visual storytelling + Documentary
For a more illustrated discussion of this topic please see the lecture slides from my 2017 Vienna Photobook Festival lecture.
Australian & New Zealand Photobook of the Year Awards book from 2017 …PHOTO: Courtesy MomentoPro
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The Antipodean Photobook – A CONTEMPORARY VIEW
To have a perceived currency in the global scene the Antipodean photobook – its practice, publishing and marketing has been arguably influenced by the Euro/US market and taste. Where does this place the local photobooks? Does it merely mimic the Northern hemisphere’s trends in their book products? While some aspects of practice do take their lead from the cross Atlantic product, could its isolation have enabled the Antipodean photobook discipline to develop in other ways. Photographers from this region have their own unique and intimate vision. They have access to variety of subject matter from the social circumstances of people, to environments and political spaces. They also have opportunities to connect with local allied creatives in book design, publishing and printing technologies including print-on-demand and desktop self-print.
The Antipodean Photobook – TRIBES
In this talk I want to highlight the diversity of this region’s creative potential and participation in the photobook medium. In that diversity there are various groups that can be recognised and acknowledged as publishing an Antipodean view. In my review of Australian and New Zealand photobook publishing I have found the following author groups or collectives with their associated motivations:
- Those who make books for the general market that will be sold through online or bricks and mortar bookshops
- Those who make books for a discerning clientele sold in specialized art/architecture/design bookshops or gallery bookstores
- Self-publishers making books by POD or hand-making intended for the art book market
- Self-publishers making zines and ephemera for free distribution through their culturally-connected venues
- Those who were once called ‘vanity publishers’ – making books because they can
- Those who make publish political manifestos
- Those who publish with the principles of altruism – creating books to distribute ideas and social comment
- Artists who make ‘fine art’ books for collectors and public collections.
Each of these makers associate, collaborate, and form associations – both personal, professionally and organisationally with like-minded people who share their interests. For some time I called these groups or collectives ‘tribes’. Distance separates photobook makers in Melbourne from their peers in Sydney, or for that matter with Adelaide or Brisbane. Similarly Australian photobook makers may not have any significant connection with New Zealand makers and vis-à-versa. Other ‘tribes’ may exist in the fields of academe, design and publishing as well as areas relating to the collection and criticism of photobooks. Then there are different ‘tribes’ for those that sell photobooks with some having a specific interest in antiquarian or historical photobooks, whilst others may focus on contemporary books. Certainly there are practitioners who crossover into different tribal groups but generally each tribe stands alone.
Whatever the ‘tribe’ there is a rich and diverse community of practice for photobooks in Australia and New Zealand replete with events and supporting structures.
The Antipodean Photobook – KEY EVENTS AND SUPPORTING ASPECTS
Conferences
- Photobook New Zealand 2016, 2018 & 2020 (next year)
- Photobook Melbourne 2015
- Unless you will conference and Photobook Reviews 2017
- MCA Photobook Day 2014
- World Photobook Weekend – Ballarat International Foto Biennalé 2019
- Auckland Festival of Photography 2015 and other years
Fairs
- Melbourne Art Book Fair annually since 2015
- Volume – Not another Art Book Fair, Sydney 2015 & 2017
- As part of Photobook New Zealand
- Ballarat International Foto Biennalé 2017 & 19
Publishers
Awards
- The Australian & New Zealand Photobook Award (formerly individual events)
- The AIPP Photographic Book of the Year
- The Perimeter Small Book Prize
- 2019 Photobook Competition – Australian Photographic Society
- PHOTO 2020 x Perimeter International Photobook Prize
- The Libris Artists’ Book Award (Bi-ennial)
Bookshops and online sellers
- Perimeter Books Au
- Sainsbury Books Au
- Rim Books NZ
- Remote Photobooks NZ
- Most major art gallery bookshops
Supporting organisations + Interesting stuff
- Pictures on paper (a film by Becky Nunes)
- Asia Pacific Photobook Archive
- PhotoForum (New Zealand)
- The Sticky Institute (Melbourne)
- Photo Book Reading Room
- Tangent Photography Collective
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The Antipodean Photobook – MAJOR CONTRIBUTORS
The Asia Pacific Photobook Archive
A contributor to the ANZ photobook scene is the large collection of photobooks assembled by the Asia Pacific Photobook Archive. APPA was founded by Daniel Boetker-Smith in 2013 and is now coordinated by Daniel and Bella Capezio. The Archive is a not-for-profit open-access physical archive of self-published and independent photobooks and is now situated in Le Space in Collingwood, Melbourne. Contained within the Archive is a significant collection of contemporary photobooks from the Asia/Pacific region with some books coming from the western Asian region. Books in the Archive can be accessed by appointment and may also be presented from time to time in exhibitions, presentations and displays.
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Perimeter Books
Leading the push to publish and present Antipodean photobooks and artbooks to the world is the Melbourne publisher Perimeter Books. Founded by Dan Rule and Justine Ellis, Perimeter Books has developed a solid presence at all the major artbook fairs around the world. Additionally Perimeter’s bookshops and online service brings specialist books from the contemporary international scene within reach of the local market. They have supported and promoted local photo and artbook authors through their annual Small Book Award.
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Justine Ellis & Dan Rule – Perimeter Books
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Photobooks in education – Photography Studies College
For some time photo educators in all levels of academic study have included the photobook as a capstone project or a holistic assessment assignment. In recent years many of the graduates of these institutions enter the photobook scene with a significant publication that launches their publishing career.
One Australian institution, Photography Studies College (PSC) in Melbourne, has nurtured many emerging photobook makers including Sarah Walker – Winner of the ANZ Photobook Award and the Perimeter Small Book Prize. The engine that drives the PSC photobook is Course Director Daniel Boetker-Smith assisted by a team of lecturers themselves photobook authors. PSC has also supported special events for the wider photobook community including workshops and lectures with the photobook doyen Martin Parr, the acclaimed designer Teun van der Heidjen and the educator associate professor Corinne Noordenbos.
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MomentoPro Sponsorship of ANZ Photobooks
Significant enablers to the local recognition of our photobooks include the yearly photobook awards that bring together a diverse selection of books for their critical evaluation and recognition. Coordinated and supported by the photobook print-on-demand company MomentoPro with the Patrons Libby Jeffery and Geoff Hunt, this yearly event creates a focus for the Antipodean photobook community of practice.
The MomentoPro organization has also altruistically supported many other major local events including Photobook New Zealand in 2016 & 18 and Photobook Melbourne in 2015 as well as numerous awards both national and local for photobooks. In 2017 MomentoPro supported the freight costs towards getting the ANZ Photobook Awards to the Vienna Photobook Festival.
What follows is a small selection of events supported by MomentoPro…
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ANZ photobooks puchased by the Tate
In early 2019 a collection of 52 ANZ photobooks curated by Victoria Cooper and myself were accepted into the UK Tate Library. The project was initiated by Martin Parr to add Antipodean content to the 12.5k photobooks that he had donated to the Tate in 2017.
Martin Parr reviewing ANZ photobooks with Doug Spowart at the State Library of Victoria
Documenting the history ANZ photobooks
Over the last 3 years I have been adding to the information about ANZ photobooks by the compilation of a COMPENDIUM of all things about the Australian and New Zealand photobook discipline. The latest edition of the Compendium focused on the Australian scene and was launched at the Melbourne Art Book Fair in March this year. I am presently working on an update of the New Zealand listings for Photobook New Zealand in March 2020.
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A Conclusion
What I hope for is that through the recognition of the different ‘tribes’ in the Antipodean photobook that I have discussed today, we can celebrate the diversity of practice that has developed in this part of the world. Through recording, highlighting and discussion of the photobook discipline in the Antipodes will be made visible and find its place within the international scene.
In the meantime what continues to excite me about photobooks is that materialised in each book is a concept revealed, a view shared, an opinion expressed, a shout uttered or a tender moment whispered. And while the author’s life moves on – the books are left behind on shelves in libraries, on coffee tables and left casually opened on the bedside table. The photobook, is the ultimate intimate and portable archive of the life and times of the artist.
For future reading…
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Doug Spowart
A revised version of the talk presented at the 2019 Ballarat International Foto Biennalé on October 12.
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Documenting the Antipodean Photobook
My research in the Antipodean photobook world its tribes and the discipline is on-going. I may have met many people, participated in numerous events and looked and lusted after maybe thousands of books, but I find it is an ever-expanding space of creative activity. Wherever possible I document the people and places I encounter …
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Return to the BIFB Photobook Weekend Blog Homepage..
NOTE: Should any captions in this post contain incorrect information please contact us and advise so we can make the necessary changes.
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All photographs, unless indicated otherwise, are the copyright of Doug Spowart.
Please contact Doug Spowart to access permission to copy or use images for any purpose.
Text ©2019 Doug Spowart
A PHOTOBOOK FORUM: BIFB Photobook Weekend
BIFB Web
FORUM: Photobooks – Getting Published & Getting Collected
with Patrick Pound, Sarah Walker, Heidi Romano and David Wadelton.
Moderated by Doug Spowart
What sparks and drives the passion for the photo book? How do photographers get published? And how can photographers establish and grow meaningful collections? Join Doug Spowart and a diverse panel of photobook practitioners and publishers as they answer these and other associated questions through their personal observations, stories and predictions.
VENUE: World Photobook Weekend Hub, Mitchell Harris Wines, 38 Doveton Street North
BIFB Creative Director Fiona Sweet welcomes the attendees ………PHOTO: Victoria Cooper
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The Ballarat International Foto Biennale Creative Director Fiona Sweet Acknowledged country, welcomed the 45-50 attendees to the Forum and introduced Dr Doug Spowart as Moderator for the event.
Doug Spowart thanked Fiona and announced that the BIFB Photobook Weekend celebrates 10 years of Biennale activity in the field of photobooks as what he believed was the first photobook exhibition in a major gallery was ‘Book One’ curated by Juno Gemes at the Ballarat Art Gallery in 2009. He mentioned also that as part of the core program in 2009 he and Victoria Cooper presented the exhibition ‘Book: Site’ at the Post Office Gallery that featured their photobook and artists’ book work.
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BIFB Photobooks @ 2009 event
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Spowart went on to advise that due to the recent passing of the doyen of New Zealand photobooks Harvey Benge that the event would be dedicated to his memory.
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Doug introduces panel ………..PHOTO: Victoria Cooper
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With the formalities completed Doug Spowart introduced the Forum panelists:
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Panelist: Patrick Pound ……………..PHOTO: Doug Spowart
Dr PATRICK POUND
Is an avid collector interested in systems and the ordering of objects: an attempt, perhaps, to make things coherent. As Pound says, ‘to collect is to gather your thoughts through things’.
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Panelist: Sarah Walker ………………PHOTO: Doug Spowart
SARAH WALKER completed a Bachelor of Photography (Fine Art) in 2016 at Photography Studies College. She utilises combination of found and archival imagery, as well as video, as a part of her photographic practice.
Panelist: David Wadelton …………..PHOTO: Doug Spowart
DAVID WADELTON lives and works in Melbourne. Wadelton’s practice includes paintings and photographs and is also recognised for his significant contributions to the field of experimental music in Australia.
HEIDI ROMANO is a photographer and festival director with a diverse skill set, honed through 15 years of experience. She is a passionate book designer and loves working with artists through all levels of project development. Due to ill health Heidi had to withdraw at short notice.
The Briefing
Spowart then briefed the panellists and the audience as to the program for the event. He described that the Forum would be in the format of a casual Question & Answer event. He asked that the audience would hold their questions until the end of the structured program and that all up the total duration should be around 70-80 minutes. After which members of the audience could catch up with the panellists if they had private questions that they wanted to ask.
The questions were displayed on a digital screen and panellists were invited to comment as directed by the moderator. Sometimes discussions ensued between panellists and occasionally a few quick comments came from the audience.
Panel in action …………PHOTO: Victoria Cooper
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The questions and discussion points included the following:
- Why do photographers want to make photobooks?
- What is there about the book that appeals to people who want to connect with the book or purchase it?
- Do collectors look at a photobooks differently to other people? Editioning / Signed copies / A collection focus / Investment
- How do you display/store your photobooks
- What do you look for in a photobook? – Do you have a favourite?
- How do you see photobooks as the main or part or as complimentary of your creative practice?
- Where do you get the inspiration to make/design or purchase a photobook?
- Building a clientele – groups, bookstores, student/professional peers, through exhibitions, online…?
- Awards and competitions – how you see their role in supporting photobook practice?
- Is there anything that you find particularly special about the idea of a book or the object that is the book?
- Can you describe the stages that you have gone through from idea to launch of a recent book?
- How do you keep up to date with your area of interest in photobooks?
- What is the next book that you want to buy?
- Have you a story about the book you wanted and you missed it? OR The bargain?
- What would you expect from someone who is to design your book?
- What do you think a designer would you expect from a photographer/publisher commissioning you to design a book?
- The photobook as a companion/catalogue to an exhibition – do you have an opinion about the exhibition in the book as a catalogue or should the book be an autonomous artwork based on the same content
- What book forms interest you — concertina / codex / single sheet boxed sets, zines, fine press, limited editions…?
- Commerce: marketing and selling books – how does that work?
- Can you tell us about a book that you are working on…?
- Does the idea for a book come first OR does the book come from an existing image resource?
- The use of found objects and ephemera in photobooks …
- How do you know if what you have done is a success…?
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Sarah answers a question ……….PHOTO: Victoria Cooper
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At the end of the event Doug Spowart thanked the panellists, the audience, the BIFB and his partner Victoria Cooper. It was mentioned that the Photobook Fair was on at the Art Gallery and that now would be a good time to add special books to the attendee’s collections. The room was quickly cleared except for a few who remained to ask questions of the panellists.
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We were sorry that the venue was not equipped with equipment to record the event.
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Return to the BIFB Photobook Weekend Blog Homepage.
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A PHOTOBOOK FAIR: BIFB Photobook Weekend
BIFB Book Fair Website image
BIFB World Photobook Weekend – Photobook Fair
Sunday October 13, 10am – 5pm
Art Gallery Ballarat, 40 Lydiard Street North
The BIFB celebrated World Photobook Day with other photography enthusiasts awith their second Foto Book Fair.
Participants of the Fair included:
- Australian and New Zealand Photo Book Awards
- Ballarat International Foto Biennale bookshop
- Bookhouse
- Studio Yeah
- Colin Abbott
- Fems
- Melbourne Photobook Collective
- Particle Books
- Photography Studies College
- Sainsburys Books
- State Library Victoria
- The Fridge Door Project
- Tess Maunder and Vault
Significant and rare books from the State Library of Victoria were presented including:
Des Cowley+Cartier-Bresson’s Book
Henri Cartier-Bresson Les Européens
Paris, Editions Verve, 1955
Henri Cartier-Bresson iconic photobook Les Européens comprises 114 photographs, taken between 1950 and 1955, documenting a vanishing way of life in post-war Europe. His lens captured the moods of Greece, Spain, Germany, England, Ireland, Italy, USSR, France. The book, which comprises some of Cartier-Bresson’s best known and finest images, features a striking colour lithographic design by Catalan artist Joan Miró.
Street Life in London
John Thomson, and Adolphe Smith Street life in London: with permanent photographic illustrations taken from life expressly for this publication
London, Sampson Low, Marston, Searle, & Rivington, 1877
First released in twelve monthly installments beginning in February 1877, Street Life in London is the among the first published collections of social documentary photographs. The book consists of thirty-six photographs by John Thomson, each accompanied by a brief essay by the writer and activist Adolphe Smith. Like the photographs, the essays are sharply drawn vignettes of “local characters” – cab drivers, flower sellers, sign painters, locksmiths, fishmongers, chimney sweeps, beggars, and street musicians – whose individual stories are meant to encapsulate the conditions of an entire class of worker or street dweller.
Charles Nettleton Melbourne illustrated by photographs
Melbourne, Charles Nettleton, 1868
A set of photographs of Melbourne by the commercial photographic studio of Nettleton and Arnest. The collection features significant Melbourne buildings and streets including Parliament House, the Treasury Buildings, St Patrick’s Cathedral, the Royal Exhibition Building and Melbourne University Colleges. Few people feature in the photographs, which are predominantly focused upon architecture. The collection is significant as it provides a visual record of Melbourne’s early development, and also reveals the work of an important local photography studio.
Duncan J Peirce Giant Trees of Victoria
J Duncan Peirce Giant Trees of Victoria
Melbourne, Victorian Department of Lands and Survey, c.1888
A volume containing a series of eight of J Duncan Peirce’s photolithographs of giant trees of Victoria, with descriptions of the species, height, girth and locality of the trees illustrated. All trees illustrated are Eucalyptus amygdalina regnans, commonly known as mountain ash. Enlargements of these photographs were displayed at the Melbourne Centennial Exhibition of 1888 and later at the Exposition Universelle in Paris in 1889.
Julia Margaret Cameron Alfred, Lord Tennyson and his friends: a series of 25 portraits and frontispiece/ in photogravure from the negatives of Julia Margaret Cameron and H.H.H. Cameron
London, T. Fisher Unwin, 1893
Published in 1893, the year after Alfred, Lord Tennyson’s death, this book features a selection of Julia Margaret Cameron’s iconic photographic portraits of the poet and his circle of friends. A friend and neighbour of Tennyson’s, Cameron took photographs of the poet several times across a decade.
Peter Lyssiotis What the Moon Lets Me See
Melbourne, Masterthief, 2017
Peter Lyssiotis’s deluxe large-scale publication What the Moon Lets Me See comprises an extended text by the artist, accompanied by numerous photographic images. The work sees a return by Lyssiotis to the dream-like coloured photomontages of earlier books such as The Harmed Circle (1992) and From the Secret Life of Statues (1994). The images represent a collaboration with Australian photographers Doug Spowart and Victoria Cooper, who adapted Peter’s photomontages using a pin hole camera. The book was produced in an edition of 10 copies, printed by Memento Pro, in Sydney. Boldly typographic and beautifully designed, it can be considered a high-point amongst Peter Lyssiotis’s books.
Return to the BIFB Photobook Weekend Blog Homepage.
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A PHOTOBOOK BIRTHDAY PARTY – BIFB Photobook Weekend
WPD Birthday Candles
A Birthday Party – Celebrating 176 years of photobooks..!
On World Photobook Day – Monday October 14, 2019
World Photobook Weekend Hub, Mitchell Harris Wines, 38 Doveton Street North
Each year World Photobook Day is celebrated by members of the international network of Photobook Clubs around the world. Since it’s inception 7 years ago it has been organized by The Photobook Club Madrid and Matt Johnston. October 14th has been selected as it was on this date in 1843 that Anna Atkins’ Photographs of British Algae: Cyanotype Impressions was accepted into and catalogued by the British Library.
This year a small group celebrated the 176th birthday at the Ballarat International Foto Biennalé…
The BIFB World Photobook Day Birthday Cake
.The cake was cut…
Doug cuts the World Photobook Day Birthday cake
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.And then we all sang HAPPY BIRTHDAY…
As the Australian and New Zealand Photobook Award travelling exhibition concluded over the weekend we were able to announce the winner of the PEOPLE’S CHOICE AWARD
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http://https://www.youtube.com/watch?v=N6qGisb_RD0
Congratulations Tammy Law for your book Permission to belong
Tammy Law and her book ANZPA People’s Choice award winning book Permission to Belong
Videos and photographs by Victoria Cooper.
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Return to the BIFB Photobook Weekend Blog Homepage.
A RE-PHOTOGRAPHY PROJECT Revisited at TRAG
Doug in the exhibition space … PHOTO: Victoria Cooper
SAME SITES HINDSIGHT – Toowoomba Regional Art Gallery
For me rephotography is a way of re-viewing place and change through a comparative documentation using the perspectives of earlier photographers. I have always enjoyed the challenge to re-align the contemporary view with the past to see visual narratives of change either subtle or profound. At this time I discovered the work by Mark Klett and others published in their 1984 book Second View: The Rephotographic Survey Project. Their approach to the reimaging of the photographs of the American west by William Henry Jackson, Timothy O’Sullivan and others in the 1860s was methodical and scientific. Although I was informed by this seminal work as a record of social and historical change, in some of my work I also enjoyed questioning the notion of the original photographers as a kind of truth.
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In the mid 1980s I rephotographed tourist postcard scenes in outback Australia and reimaged tourist camera photos placing them in the context of a wider-angled view. These projects were presented at the Araluen Art Gallery in Alice Springs in 1986 in the exhibition Tourists Facts, Acts, Rituals & Relics.
Other projects emerged including a commission from Di Baker, Director of the Toowoomba Regional Art Gallery to locate the subject matter of artworks from the Toowoomba Gallery’s collection and to re-image the subject by photography.
The artworks that were my source reference covered a range of approaches to the artist’s vision imbued with the appearance of the painting techniques that they employed. Working with Victoria we travelled around the region to find the matching locations and met with some success finding the exact location. On occasion however we were only able to create a general locational view.
I chose a 4×5 large format camera and a black and white film made by Polaroid. Called Type 55 the film gave a black and white print and also a negative that, after in-field processing could be printed in a conventional enlarger.
The 1996 the exhibition NEW SIGHTS – SAME SITES was opened at the Toowoomba Regional Art Gallery and installation of the selected artworks were paired with our photographic interpretation of the same scene.
Now 23 years later the Gallery has re-presented the work for reconsideration by a new generation of art gallery visitors.
Don Featherstone (L) Golden Tree (Corner of Kitchener and Herries Streets)1959 watercolour Spowart+Cooper (R) Corner of Kitchener and Herries Streets 1996 silver gelatin fibre print
The Gallery wall sheet for the Same Sites Hindsights exhibition states:
In 1996 photographer Doug Spowart assisted by Victoria Cooper undertook a project called New sight-Same sites which re-imaged Downs landscapes and other regional sites depicted in selected works from the Toowoomba Regional Art Gallery Toowoomba City Collection.
The project compared and contrasted the direct recording of a site using photography with the painter’s vision of the same location. One of the biggest challenges for Spowart in making these images was to replicate the painters’ viewpoints and, in some instances, even finding the locations proved problematic.
From the time of the initial recording to now, almost 25 years later, these photographs indicate constants and change. Time is transformational. In 1996, the Gallery challenged the photographer to identify these locations and in 2019 we challenge the viewer to explore Toowoomba and surrounds in response to these works.
The exhibition is on show from 14 September to November 3, 2019.
A selection from the subjects presented in the exhibition
C. G. S. Hirst The New Court House 1879 watercolour and ink on paper
Spowart+Cooper The Old Court House 1996 silver gelatin fibre print
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Herb Carstens Sunday Morning (Street scene Toowoomba) 1961 oil on comp board
Spowart+Cooper Sunday morning 1996 silver gelatin fibre print
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Brian Williams Near Drayton 1960 oil on comp board
Spowart+Cooper Near Drayton 1996 silver gelatin fibre print
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Ruby Spowart Clifford Gardens 1986 photograph Polaroid SX-70
Spowart+Cooper Clifford Gardens 1996 silver gelatin fibre print
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TRAG Display
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OTHER REPHOTOGRAPHY PROJECTS BY Doug Spowart & COOPER+SPOWART
LINK: SEEING DOUBLE Toowoomba Regional Art Gallery 2001 
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PHOTOBOOK WEEKEND @ Ballarat International Foto Biennalé
BIFB Header
WORLD PHOTOBOOK WEEKEND
The Ballarat International Foto Biennale is proud to host the World Photobook Day during our festival. Join us from Saturday 12 October until Monday 14 October to celebrate this auspicious birthday!
Celebrate World Photobook Day with other photography enthusiasts. Participants will meet at Mitchell Harris Wines the World Photobook Weekend Hub to share their books before heading together to the talks and the Fotobook Fair.
SATURDAY 12 OCTOBER
VR Book Train
9.16am
Photobook Train from Southern Cross Station
Celebrate World Photobook Day by hopping on the train to meet other photography enthusiasts. Meet at Southern Cross Station to catch the train to Ballarat with your photobooks and discuss with others. (Passengers must have a valid myki. Regional fares are listed at ptv.vic.gov).
Doug Spowart + ANZ Photobooks
2pm
Talk by Doug Spowart
Many Tribes: The Australian And New Zealand Photobook
The photobook disrupted the 1990’s prediction that ‘the book is dead’ and grew into a worldwide phenomenon. Doug Spowart will address key aspects of the historical and contemporary makeup of the photobook in Australia & New Zealand where the various ‘tribes’ contribute to a vibrant and progressive discipline.
World Photobook Weekend Hub
Mitchell Harris Wines, 38 Doveton Street North
SUNDAY 13 OCTOBER
9.16am
Photobook Train from Southern Cross Station
Celebrate World Photobook Day by hopping on the train to meet other photography enthusiasts. Meet at Southern Cross Station to catch the train to Ballarat with your photobooks and discuss with others. (Passengers must have a valid myki. Regional fares are listed at ptv.vic.gov).
Book Fair participants
10am – 5pm
Photobook Fair
Art Gallery Ballarat, 40 Lydiard Street North
Celebrate World Photobook Day with other photography enthusiasts at our second Foto Book Fair – an all-day event at the Art Gallery of Ballarat. Participants:
- Australian and New Zealand Photo Book Awards
- Ballarat International Foto Biennale
- Bookhouse
- Studio Yeah
- Colin Abbott
- Fems
- Melbourne Photobook Collective
- Particle Books
- Photography Studies College
- Sainsburys
- State Library Victoria
- The Fridge Door Project; Vault.
Forum Panelists
11am
FORUM: Photobooks – Getting Published & Getting Collected
with Patrick Pound, Sarah Walker, Heidi Romano and David Wadelton. Moderated by Doug Spowart
What sparks and drives the passion for the photo book? How do photographers get published? And how can photographers establish and grow meaningful collections? Join Doug Spowart and a diverse panel of photobook practitioners and publishers as they answer these and other associated questions through their personal observations, stories and predictions.
Join us as we blow out the candles for the official World Photobook Day celebrations.
World Fotobook Weekend Hub
Mitchell Harris Wines, 38 Doveton Street North
MONDAY 14 OCTOBER
WPD Birthday Candles
11am – 1pm
Happy Birthday Party! Celebrating 176 years of photobooks
Join us as we blow out the candles for the official World Photobook Day celebrations.
World Photobook Weekend Hub
Mitchell Harris Wines, 38 Doveton Street North
ALL EVENTS ARE FREE: Please book at the BIFB website
CLICK THE PHOTO BELOW TO VISIT BIFB SITE
ANTIPODEAN Photobooks acquired by Tate
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We are delighted that this collection is entering Tate’s library collection as a rich resource for our public and for academics of photobooks in these regional areas.
.Sarah Allen
Assistant Curator, International Art, Tate
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Some ANZ Tate Photobooks
We’ve just completed a commissioned project where a collection of 52 Australian and New Zealand photobooks were acquired by the United Kingdom’s national collection in the Tate. Two years ago the project began as a result of our participation in the 2017 Vienna Photobook Festival and a connection with Martin Parr.
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THE BACK STORY
In 2017 we presented a cyanotype/photobook workshop on the Greek Island of Skopelos. At the end to the workshop we coordinated a visit to our friends Lachlan Blair and Anna Pritz who live near Vienna in Austria. Just after we booked our flights Lachlan excitedly advised us that we would be in Vienna at the time of the Vienna Photobook Festival.
I contacted co-ordinator of the Festival Regina Anzenberger and offered to make a presentation about my research on Australian and New Zealand (ANZ) photobooks. After some conversations between Lachlan and Regina she enthusiastically accepted my lecture offer. Through some further negotiations with Regina and Libby Jeffery from MomentoPro we were able to present the ANZ Photobook of the Year finalists on a table at the Fair.
The 2017 Vienna Photobook Festival exhibition
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The Vienna Photobook Festival was an event of an unimaginable scale – 100+ tables of photobooks new and old, a photobook award, key identities of the photobook community and attendees from western European countries far and wide.
40-50 people including photobook aficionado Martin Parr and photo historian Hans-Michael Koetzle attended my lecture. There was quite a bit of interest about my topic and many of the lecture attendees came by the ANZ Photobook Awards table to view the books and talk more with us about our local photobooks.
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Parr looking at ANZ photobooks at the Festival …PHOTO: Lachlan Blair
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Further to an earlier private meeting in the Anzenberger Gallery and his attendance at my lecture, Parr caught up with us again for a chat on the afternoon of the first day of the Festival. He mentioned that soon there would be a public announcement about his donation of over 12,000 photobooks from his collection to Tate.
Parr felt that although his collection had pretty well covered the world the one area that was under represented was the ANZ region. He had many of the big Australian names but acknowledged that there were gaps. After hearing my lecture he felt that I would be well positioned to fill that gap. He said that he would be recommending me to his Tate contacts to assist with this issue. At first I was a little daunted, but he insisted that I would be the right person for the project. I accepted the role as it would not only be an honour to work with him on the project but also a great opportunity for the ANZ photobook community.
Vicky and I came back to Brisbane in July and both began sessional work with the Queensland College of Art. A couple of months later an email came through from a Tate representative inviting my involvement in the project. I then prepared a list of ANZ books that I thought would be suitable additions to the collection. I also reviewed Parr’s collection to ensure that I had not duplicated books on his list.
Initially I suggested that I would source the books from bookshops, collectors and the photographers and that I would receive a fee for the list development and the management of the process. I mentioned that some books were quite rare and that they would be sourced from my own library as I could replace them as they became available in the future. My Tate contact came back saying that rather than what I suggested they preferred to purchase the books from a single collection and asked, ‘were my books available?’ After some consideration I agreed to take books from my library.
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Part of my ANZ photobook collection c2015
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THE PREMISE FOR THE COLLECTION
My curation premise for the 52 books was:
- That these books should resonate with the Australia/New Zealand social, political, environmental and cultural space of post-Second World War to early 21st century.
- Where possible, I have selected works that have been referenced or identified by curators and researchers for their prominence within the photographically illustrated and photobook publishing genres in ANZ.
In the storage shed opening boxes looking for books …PHOTO: Victoria Cooper
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At this time and still today, my photobook collection is boxed and in storage. So for over a year on my intermittent visits back to our storage sheds in Toowoomba we would seek out the missing books. As we began to assemble the proposed books I became concerned about particular issues that were arising. As my collection has been built up over 50 years some of the books were not necessarily the best condition – some exhibited signs of use including shelf-wear, bumped corners and occasionally missing covers.
I wanted to be able to offer Tate the best possible condition books. Additionally, I could not find some key books that I knew I had in my collection including Carol Jerrems’ book Story about Australian women. What followed was an 18-month process of curation and research to bring together the books.
I sought out and purchased better copies of the chosen books either by online booksellers or by visiting bookshops in Australia. I contacted some of the photographers that I knew to see if ‘as new’ condition copies of the books were available. If they were what would the cost be and if possible, would they consider a donation to extend the potential of the collection. The response was very supportive with many of the photographers prepared to provide pristine condition copies of their books free of charge.
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Meeting with Martin Parr at the SLV…PHOTO: Victoria Cooper
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MEETING WITH MARTIN PARR
In January 2018 Martin Parr came to Melbourne to photograph the Australian Open tennis tournament. We flew down from Brisbane and arranged to meet him at the State Library of Victoria where we had about 30 of the proposed books assembled for him to review. As only a couple of books did not fit into his collection approach for the Tate I felt buoyed by the progress. Over the next 6 months I prepared a detailed bibliographic submission and significantly documented the books. We finally found the Jerrems book in a box marked ‘Photobook library extras’ in January this year.
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Finding Carol … …PHOTO: Victoria Cooper
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Packing up the books …PHOTO: Victoria Cooper
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SHIPPING THE PACKAGE
The books were protectively packaged and we arranged their shipment and it took only a few days for the consignment to travel from Brisbane to the UK. After nearly 2 years in the making Tate received the books on April 12, 2019. Once catalogued they will form part of the Martin Parr Photobook Collection with the provenance being recorded that the books came from ‘The Doug Spowart and Victoria Cooper Photobook Research Library’. The books will be publicly accessible in London in Spring 2020.
Pack and Send – DHL Proof of delivery
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ON REFLECTION
What is important to us is that books from our region are now placed within the context of the worldwide history and practice of the photobook in a significant institution. Although not a complete history of the Photobook in Australia and New Zealand it is an embryonic beginning for a broader recognition of the unique voices and stories from our part of the world and those that make them.
Doug Spowart + Victoria Cooper
ACKNOWLEDGEMENTS
We are indebted to those who supported us during this process. In particular Sarah Allen (Tate) for her coordination of the project. Martin Parr for his interest and continued support in providing a place for Antipodean photobooks in his Tate collection. We also wish to thank Lachlan Blair and Anna Pritz for making the initial connection with Regina Anzenberger, Gael Newton for her support, Helen and Donald Cole for their advice and storage of the books and the coordination of the final shipment, Des Cowley at the State Library of Victoria for the preparation of books to show Martin, Pack and Send Milton (DHL) for their assistance and coordination of the shipment to the UK.
THE LIST OF PHOTOGRAPHERS
Where the photographer has more than one book in the collection the multiple is shown in (brackets).
It should be noted that a book is the culmination of a creative process that may include the contributions of writers, poets, designers, printers and binders. In this list only the photographers are listed.
The photographer’s names are:
AUSTRALIA
Michael Amendolia
Douglass Baglin
David Beal
Jeff Carter
Beverley Clifford
Paul Cox
Michael Coyne (2)
Max Dupain (2)
Sandy Edwards
Rennie Ellis (2)
Joyce Evans
Juno Gemes
Robert B. Goodman
Marion Hardman
Alan Hirons
Douglas Holleley
Frank Hurley
Carol Jerrems
Georg Lindström
Peter Lyssiotis
Olive McInerney nee Olive Cotton
David Mist
David Moore
Charles P. Mountford
Robert Rosen
Wesley Stacey
Mark Strizic (2)
Richard Tipping
William Yang
PARR’s Australian book donation already included:
Bill Henson
J. Hurley
Frank Hurley
Max Pam
Trent Parke
NEW ZEALAND
Laurence Aberhart
Peter Black
Brian Brake
Jocelyn Carlin
Les Cleveland
Bruce Connew
David Cook
Marti Friedlander
Lloyd Godman
Glenn Jowitt
Mary Macpherson
Robin Morrison (2)
Anne Noble
Haruhiko Sameshima
Grant Sheehan
Ann Shelton
John B. Turner
Ans Westra
PARR’s New Zealand book donation already included:
Gary Baigent
Harvey Benge (a significant collection)
Ans Westra
FOR MORE INFORMATION ABOUT THE BOOKS and other ANTIPODEAN PHOTOBOOK activities and events follow the BLOG HERE
The Antipodean Photobook BLOG
READ MORE ABOUT THE TATE DONATION
Tate Media post about Parr donation
A PDF download of the Tate post can be downloaded by ‘clicking’ this link Tate website post on Parr donation
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READ MORE IN THE INSIDE IMAGING STORY
https://www.insideimaging.com.au/2019/tate-commission-for-photo-book-keeper/
Inside Imaging story
A PDF download of the Inside Imaging post can be downloaded by ‘clicking’ this link. Inside Imaging story-R
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PETER EASTWAY – The New [Photography] Tradition
A box in the mail
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A box came in the mail the other day and in the box was a book from the photographer Peter Eastway. I have known Peter for over 35 years and have followed his many and varied careers – as a photographer, editor and publisher, darkroom and digital Guru, AIPP advocate, photography commentator, judge, lecturer and mentor.
Our paths crossed many times as our interests, activities and creative pursuits were very similar. Over the years Peter published more than a few stories about my work as well as articles I wrote for his magazine Better Photography. Around 1990 Peter was invited to come on my Imagery Gallery Photo Tours to central Australia and Africa to enthuse and inspire the photographers on the tour.
When monochrome photography and the darkroom re-emerged in the 1980s as an exciting ‘new’ trend in the professional photography awards scene Peter became interested in my work. At the time my B&W photographs had on two occasions won the AIPP Australian Professional Photography Awards ‘Highest Scoring Print in Australia, one of them was a 10”x8” contact print. I had also won categories in the Australian Hasselblad Masters Awards.
Peter came to my darkroom in Toowoomba, witnessed my technique, and published a Better Photography story about my technique. One of the main aspects of my work at the time was my use of Leica 35mm cameras and a printmaking style that employed what I called ‘dramatic theatrical effect’ by utilising very heavy burning-in and local dodging.
From the ICONS series ….PHOTO: Doug Spowart
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Within a short time I found my entries in the AIPP Awards coming up against Peter’s prints and some of his images were even made on photo tours that he had undertaken for Imagery. One year he won the AIPP Professional Photographer of the Year – I was the runner-up. Since then my partner Victoria Cooper has referred to Peter as #1 and me, #2!
AIPP Australian Professional Photography Awards with one of Peter’s Professional Photographer of the Year award winning photos of Africa on the cover
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Eastway photographing on tour in Bhutan … PHOTO: Roger Skinner
When you get to know Peter you quickly understand his capacity for grasping ideas and knowledge, assimilating into his process and then to make images that are uniquely his own.
Back to the book… I turned the opening pages and read Peter’s introduction for ‘generational change’ in photography. He challenges those who have fixed ideas about emulating the great past masters like Adams and Weston and how digital photography has transformed the photographic image and the possibilities available to enhance the way the subject is presented. What follows in the book are very detailed reviews of the ‘making’ of Peter’s images over the years including his transition from analogue to digital. This book is a handbook on Peter’s process and also a manifesto where he claims the establishment of a ‘new tradition’ in photography.
Ephraums’ book cover
I turn a few more pages to the first photograph he discusses and dissects. To my surprise Peter acknowledges Eddie Ephraums‘ and my technique as having a significant influence on his B&W work. As I have already said Peter’s way is to grasp, master and go far beyond the initial inspiration. In this way he has come to lead a whole new representation of the lens-seen reality and created for the viewer images of the mystical and sublime. Whether it’s a landscape photograph, an ancient architectural form or a portrait Peter makes images that are seductive to behold, ponder and visually explore.
There is no doubt that he now inspires new a generation of photographers and created disciples and followers for whom this tome will be a ‘book of revelations’, a Bible for those whose wish to understand the eye, the process and the aesthetic of the photographer.
If there is a new tradition and Peter’s work will no doubt continue to influence photographers but his never-ending exploration of the visual world and how the idea of the human seen reality can be transformed through capture and rapture in processing will continue to advance the art of photography.
What interests me is that when I look back at the photographs I was making in the 1980s and 90s I didn’t think at the time about being a follower of a particular ‘tradition’. I just did, as I still do now, what seemed appropriate at the time. Perhaps Peter’s motivation is the same and the only ‘tradition’ that we follow is the constant renewal of the discipline by progressive practitioners…
Thank you Peter for a copy of your book … and for the opportunity to appreciate and consider your work.
Doug Spowart
May 20, 2019
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To read more and order Peter’s New Traditions Book –
CLICK THE LINK: Better Photography Online Shop New Traditions Book
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HERE’s SELECTION OF MY MONOCHROME WORK FROM THE LATE 1980s and EARLY 1990s …
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Images and text © Doug Spowart
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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