QCP is taking books of sixteen Australian photo-media artists to PhotoBook Independent (1 – 3 May 2015). This series of focus interviews gives an insight into the selected artists.
How did you get into photography?
I guess I started photography during my early skateboarding days, somewhat using photography as an excuse to go out and skate in my early teens. Following that I went to art school.
It wasn’t until I tried to learn how to shoot skateboarding seriously and got really involved with that scene that I decided I wanted to try and make it a career.
After a few years of shooting skateboard commercially I decided to quit it and to focus all my energy on art photography.
With my photographic art practice I see it as quite conceptual, usually about 12 months research and refining an idea, then maybe one month of shooting it to get the results I’m after. So there can be up long periods of time without even picking my camera up, in some cases up to 1 and a half years.
How did you arrive at the decision to create a photo book, and how is working with a book different from working on an exhibition?
For the last 6 years of so I have worked as an art book seller, both at Metropolis and the NGV, what I really love about that, is that I look at so much work in book form.
Always wanting to make a book, but not having the right material to tie all the pieces together, countless book drafts got trashed on my hard drive.
In 2013 I met with Jeong Kim from Iann Magazine in Korea and spoke to her about my work and book design, following that I participated in an artist in residency in Canada, with the intention of producing a book with the work.
After a few meetings at book printers in Japan and some advice from people in the book industry I decided to create this book with past work from Japan. Which was also a conversation I had with Dan Holdsworth a few years earlier.
The whole book making process I found so very different than holding an exhibition, usually with a show you think about the size of works, paper, framing, the space, publicity, e.t.c.
With book making I found there so many different variables, which book design, size, binding, papers, fonts, proofs, dummy books, where to print, then came in the self distribution and research into bookstores to send them to.
It was definitely a learning process, and I think I just made it harder using Japanese printers who don’t speak English. But I’m very glad I did, due to their meticulous printing techniques.
Tell us a bit about your book featured at PhotoBook Independent.
The work is a refined overview of Japanese architecture and its connection to it’s surrounding environment. The works were created using a large format camera between 2007-2013.
With the books production after some advice from a good friend in Japan I decided to have a meeting with Yamada Photo process at their Tokyo office in regards to printing the book. With very little English spoken but knowing most of their iconic books they had produced I decided to print with them anyway.
With the paper stock I have wanted the best possible paper I could find to match the imagery, for this reason I choose Takeo fine art GA paper, it’s archival and environmental properties are state of the art and the feel and texture is just beautiful. With the binding I went over a few different options but settled on Hand binding it saddle stitch style using fine Japanese cotton delicately tied, this surely delayed the production of the book by about a month, but I’m happy with the result so it was worth the extra wait.
For more information about Rohan Hutchinson, please visit his website.
Banner image: A brief stroll whilst inspecting archtecture cover