team

PolishPhotobook Review is an online magazine about photobooks. We are interested in reflecting on the idea of ​​a photobook, the history and meaning of photobooks, their social use, and place in contemporary art.

PPR was divided into several sections.

In news we allow informing about the latest events and publications.

Dummy is a place where we present low-circulation publications, unique and publishing offers.

On the other hand, opinion are reviews of photobooks, which interest us, irritate and inspire us for all sorts of reasons. We put aside those books we pass indifferently.

Finally, a study where, in the form of articles, essays, or interviews, we provoke questions about the meaning of this – one of the many forms of artistic expression. We also present extensive notes on canonical publications. 

Each of the PPR departments is a space where readers meet people who create the photobook scene, but also a space for exchanging opinions.

We invite authors of photobooks, writers, critics and historians to cooperate with us. We will be honored to be able to create the PolishPhotobook Review together with you.

All submitted texts are selected by the editorial team. We are a non-profit platform with no legal personality and bureaucracy, therefore, we don’t pay, we only work for the idea, the idea of ​​a photobook, of course.

PolishPhotobook Review does not follow one exclusive and strict definition of a photobook. Instead of striving for it, we focus on the multiplicity of views of the authors of the PPR. Below we have collected editorial notes about photo books:

Patrycja Filarska (editor in chief): I have a problem with the definition of a photobook. Sometimes I perceive a photobook as a luxury item that I usually cannot afford, so I add it to the list of things that just annoy me. When I have money, I think about photobooks over my morning coffee. While discovering the photographic material through books, I appreciate the narrative that is conducted through the photos. A photobook is an object constructed not only by a photographer but also by a graphic designer and a bookbinder. So it needs its craftsmen and artists. All this to best translate the photo-parts into the printing alphabet. The photobook is a materialized, portable, and, for me personally, an intimate overview of burning matters.

The photobook is like an Olympus mju II. A very nice delicacy. 

Tadeusz Korach: Digitization increases the need for physical contact with the work. Thanks to photobooks, I can better understand the variety of photography styles and understand more easily what shapes creators, their personality and sensitivity. For me, the photo book is a physical manifestation of the photographer’s work. While communing with it, I see not only the pictures, but also the texture of the paper and the structure of the book itself. Each of these elements builds the sum of experiences, not available in digital publications. I am fascinated by the variety of the genre. That is why I would like to talk about these experiences and share my feelings that force me into thinking about the art of photography in a different, more expressive, individual and wider.

Gabriela Marciniak: A photobook can be an object, a sculpture, a digitized object, it can be a work of art or wasted material. However, it always gives a visual frame to the artist’s statements. For me, experiencing photobooks is like seeing images of overflowing magma which fill me with excitement with their visual form. However, their content often teaches me sensitivity. At the moment, these elements are held together mainly by physical form, which can be more engaging than the content. However, I still count on the growing romance of the photobook with the digital world. That it was not only a defective form of imitating reality on the Internet but a completely new, surprising creation.

Adam Mazur: A photobook is more than a work of art and less than “the whole world”. I watch photobooks for fun and study for knowledge. You can get addicted to it. I associate the books with the title of Sasha Kurmaz’s samizdat, Oh Yeah, Yea, Yea, Yea!

Pamela Tomczyk: The photobook is accompanied by a lot of captivating content, properties, but also a specific category of silence. I think I can say for sure that for me it is a free form that allows the utterance as close to the truth as possible and one that is very good at catching what is elusive.