As we increase our understanding of the history of photography as defined by its great accomplishments in bookmaking, the question of the availability of that printed history becomes central. The coveted first edition of a classic photo book can at times demand a higher price tag than even original photographic prints. The art of “the book,” in some circles, has overshadowed the offerings of the gallery world.
Reprints of older photobooks, commonly known as second editions, have been one way for newer generations of photographers and students of photography to become familiar with and learn from artists who came before them. Books have served me by informing and inspiring me throughout my own photographic practice for more than two decades.
But where multiple printings are common with books of literature or non-fiction, reprints are not as common for many visual books after they are considered out of print. This usually rests on two main factors: First, in the world of art book publishing, there is rarely financial gain for the publisher involved, let alone the artist. The second factor is that artists tend to be resistant to repetition, thinking that reprinting the same exact book, edition after edition, seems to be an unnecessary act.
The result is that the books tend to become rare and increasingly valuable to collectors, leaving them sought-after but difficult to see firsthand. In a medium where the book plays such an important role in its progression, it is an unfortunate fact that so many examples of some of the greatest photobooks have been essentially lost to history. That notion fueled my own publishing project, Errata Editions, which offers studies of rare photobooks that won’t see a traditional reprint because of the aforementioned reasons.
In the Errata series of “books on books,” each volume is dedicated to the study of one photobook that has been recognized as important to the history of the genre. They present images of all of the page spreads contained in the original books, along with contemporary essays about the book. Within three years, we have published twelve volumes that include studies of books by Eugene Atget, Walker Evans, Chris Killip, William Klein, Paul Graham, Laszlo Moholy-Nagy, David Goldblatt and others.
Artists open to reprinting their books often tinker with their creations by reediting. However, a complete reenvisioning of the book in its entirety was apparent with Josef Koudelka’s book Gypsies. That book represented a kind of revisioning in reverse, as the 2011 edition is actually closer to Koudelka’s original vision for the book, whereas the 1975 edition was a construction of Robert Delpire, the editor and publisher.
For many other artists, what might be seen as the flaws of youthful instinct give way, over time, to a desire to clean up the editing or design in any given book, or to revisit contact sheets and give new life to many images that were left out of the original book. The Magnum photographer Bruce Davidson has republished some of his classic books, such as East 100th Street and his recent new edition of Subway, both of which present newly edited material. Davidson has also taken the advances in printing technology to heart as additional attention has been made to color-correct the images to Davidson’s current slightly colder palette.
An interesting case in point is William Klein’s masterwork Life is Good & Good for You in New York, first published in 1956. When Klein revisited those same photographs in the mid-1990s, he completely redesigned and reedited the work—removing much of the original’s energetic and experimental design—until there was little, if any, similarity to the original book. “The first book was about graphic design. The second was about the photography,” he says of the two editions. Whether you agree or not, that resistance to repeat is apparent.
Over the years a resurgence of reprints has hit bookstores, and a few have come from the German publisher Steidl. Last December saw a set of facsimile reprints of several important, if somewhat obscure, political photobooks with The Protest Box, edited by the British photographer and photobook historian Martin Parr. Elsewhere, Dewi Lewis has released another printing of the Dutch photographer Ed van der Elsken’s exquisite 1954 Love on the Left Bank, which is faithful to the original. And a new edition of one of the top-selling photobooks of all time, the 1972 Diane Arbus monograph from Aperture, is now available.
While not all photobooks considered great or groundbreaking will see a reprint, one can hope that enough will exist to maintain a full sense of photobook history.