Tea and Garden Notebook with photographs by A.E. Graves is a lined notebook featuring infrared images of San Francisco's famous Japanese Tea Garden in Golden Gate Park. Printed by Blurb. (To preview or purchase this book, click the link above.)
Self-Published Book Projects | Books Published by Others | Articles
Listed newest to oldest.
Tea and Garden Notebook with photographs by A.E. Graves is a lined notebook featuring infrared images of San Francisco's famous Japanese Tea Garden in Golden Gate Park. Printed by Blurb. (To preview or purchase this book, click the link above.)
California's North Coast Notebook with photographs by A.E. Graves is a lined notebook with images from the coastal region of California within a day's walk of the Oregon border. Printed by Blurb. (To preview or purchase this book, click the link above.)
Call Me, volume 9, August 2012. Not available for sale. Volume 9 includes every image (with the standard exceptions) taken on my iPhone 1 and saved to my computer from August 4, 2010 through October 26, 2010. This volume features scenes from daily life and non-daily adventures around San Francisco and Emeryville, California, the Olympic Peninsula and the forests and deserts of southern Washington, plus a few scenes from northern Oregon.
Call Me, volume 8, April 2012. Not available for sale. Volume 8 includes every image (with the standard exceptions) taken on my iPhone and saved to my computer from April 29 through August 3, 2010.
This volume features adventures from a return trip to New York City, a visit to Seattle and its suburbs, the debut of my homemade ferrotypes in a San Francisco art gallery, and experiments with instant and integral film materials. 206 pages, 981 photos.
Call Me, volume 7, April 2012. Not available for sale. This seventh (!) volume of every iPhone 1 photo I've taken (less duplicates and images with personal addresses), covers January 1st through April 28, 2010.
After the glamour of New York City and the holidays, my life returns to its normal routines, with unrecorded exceptions and new developments. Emeryville, Oakland, and San Francisco set the scene. 214 pages, 799 photos.
Call Me, volume 6, August 2011. Not available for sale. The sixth volume of this iPhone 1 photo journal covers the period from November through December 2009.
The unedited images in this collection show scenes from my first visit to New York City in adulthood. Included are images from the opening of a juried group art show featuring the first public showing of ferrotypes created with my homemade, large format camera, plus scenes of New York, views from a train trip into California's Central Valley, and the glow of holiday lights from throughout San Francisco. 170 pages.
Call Me, volume 5, August 2011. Not available for sale. This fifth volume of every iPhone 1 photo I've taken, unedited and in chronological sequence (with some duplicates removed), covers the period from late May through October of 2009.
The brief introduction is a meditation on change, and how each day of our lives is unique. 242 pages.
Call Me, volume 4, July 2011. Not available for sale. The fourth volume of this personal project, which incorporates every iPhone 1 photo I've taken, unedited, in chronological sequence, covers the period from December 2008 through May 2009.
The introductory essay discusses the challenges of enjoying the life you have, rather than the life you had planned, and using photographs to select what you wish to remember about difficult times. 248 pages.
Call Me, volume 3: November in Kyoto, June 2011. Volume 3 of "Call Me" continues my personal collection of EVERY phone photo taken since the phone was purchased. Set in Japan in November of 2008, it includes photographs of fellow tourists taking photos, meal sets, train stations, hotel rooms, and other images that are concerned more with the experience of traveling in Japan than with the Japanese traditional design elements that dominated Under Autumn Clouds (a larger format book also available at Blurb by A.E. Graves: see below for a description). 292 pages. (To preview or purchase this book, click the link above.)
Call Me, volume 2: an early autumn, June 2011. Photographic memory is highly selective. This collection of 1,069 sequential, unedited images taken with an iPhone 1 in and around San Francisco continues the low-res visual journal where volume 1 left off, and includes reflections on the moments we choose to record. (To preview or purchase this book, click the link above.)
Call Me, volume 1: a phone photo journal, April 2011. The camera phone has changed the conventions of personal photography. Beyond documenting cocktail parties and canned poses to share on-line, the camera phone can provide an opportunity to explore photography subtly and quietly in day-to-day life.
This book is a collection of over 1,000 Apple iPhone 1 images, made during ordinary working days and casual explorations of San Francisco. Shown without retouching or other editing in the approximate order they were made, these quiet images suggest that a humble 2 megapixel phone camera can capture the joys of looking attentively at the details of plain days. (To preview or purchase this book, click the link above.)
Under Autumn Clouds: a Stormy November in Kyoto, July 2010. After 16 years, I returned to Japan during a tumultuous and challenging period of change in my life, and captured the elements of Kyoto that I most wished to remember. Rather than a catalog of key monuments, it is a compilation of small details and deep colors that most remind me of the best moments of my time there. (To preview or purchase this book, click the link above.)
Stanislaus: Two Walks in the Western Sierra Foothills, self-published photo essay, July 2009. This is a photo essay of infrared images made along the Stanislaus River in the Sierra Foothills. This edition is short and simple, beautifully printed by Blurb. (To preview or purchase this book, click the link above.)
AlternativePhotography.com : Art and Artists, Edition 1, by Malin Fabbri, released November 2006. Malin's latest book is an amazing work: two samples of work from each of 115 artists working in the "alternative processes," the primarily hand-coated emulsion processes that were invented long ago. These processes have characteristics that today's new products and digital media cannot match. For anyone who has ever wondered why an artist would want complete control of their photographic prints, right down to the characteristics of the emulsion, and what can be done with that level of control for artistic purposes, this is an encyclopedic art book that answers that question in 115 different ways.
Here is the editor's description:
Alternative Photography: Art and Artists, Edition I highlights the work of over 100 of today's most active photographers working with alternative processes. Discover how the different processes create a unique look in a print, and get an insight into how the processes function. Here you will find both information and inspiration. Artists introduce themselves, their work and why they chose the qualities of that particular process.This is a high quality coffee table book, available in both soft and hardcover. It can be purchased from its page at the Lulu website (lulu.com/alternativephoto).
Like Sand From Orchids Lips: Limited Collectors First Edition, published by TCB Cafe Press/Cafe Andre, July 2006. "The joint themes 'Orchid Chic: Passion, Fashion & Orchids' and 'Sand: The Human Form in a Formless Medium' were interpreted by a pool of international photographers, and the resulting fine-art photography book is illuminating to the eye and the intellect." Elizabeth was a finalist in the TCB Cafe Press/Cafe Andre Juried Photography Competition 2005 in the category "Orchid Chic: Passion, Fashion & Orchids." Three of her images are featured as full pages in this limited edition coffee table book; one of her images adorns the rear cover.
Blueprint to cyanotypes - Exploring a historical alternative photographic process, by Malin and Gary Fabbri, May 2006. This high quality, glossy, heavily illustrated textbook describes the technical and artistic opportunities presented by the cyanotype process. The book provides all of the information required to begin using this non-toxic, archival, photographic printing process. Stellar and diverse examples of prints from a range of contemporary artists using cyanotype demonstrate how the process can be used to express ideas in a wide range of artistic styles. A full page reproduction of a cyanotype photogram represents Elizabeth's visual contribution to this first edition.
Blue plate special: Wet collodion images on blue aluminum, February 2013, published at alternativephotography.com. "Elizabeth Graves satisfies her curiosity about straying from black to explore wet collodion on deep blue plates."
Acrylic and Aluminum Homemade Large Format Camera: Preview, February 2013, published at alternativephotography.com. "Elizabeth Graves provides a preview of her recent large format camera-building experiments."
How to modify a film holder for wet plate collodion: design #2: magical magnetic tape, December 2012, published at alternativephotography.com. "Elizabeth Graves develops another impermanent, non-damaging way to hold thin metal plates in a conventional large format film holder."
Is what you see what you get? Sometimes. , December 2012, published at alternativephotography.com. "Elizabeth Graves remarks on the perils of digital reproduction of analog media in a un-color-calibrated age."
The mysteries of pricing art for distant shows: a plea, July 2012, published at alternativephotography.com. "Elizabeth Graves on the mysteries of pricing art for distant shows, what research to do and guidance needed."
How "alt" is alt?, April 2012, published at alternativephotography.com. "Elizabeth Graves on the alt. proc. label on art - loathing it or loving it?"
Imitation is the Sincerest Form of Flattery: Thoughts on Faux-Alt-Process Digital Images, February 2012, published at alternativephotography.com. "Thoughts from Elizabeth Graves on why new digital imaging technology is often used to imitate the appearance of old, chemical photography."
Subtle blues: Impossible Color Shade, October 2010, published at alternativephotography.com. "Elizabeth Graves reviews the first edition of The Impossible Project's experimental color film, Color Shade First Flush, and finds the aged prints resemble color photographs of earlier eras."
Against all good advice: how to build a large format camera for wet collodion work at home, September 2010, published at alternativephotography.com. "The unlikely story of how Elizabeth Graves built a large format camera, modified film holders by her own design to hold wet plates, mixed collodion chemistry without blowing up her home, used her garage door as a shutter, and (after several adjustments) got her homemade plates into a group gallery show in New York City."
Impossible Project Silver Shade Film: so very temperature sensitive, September 2010, published at alternativephotography.com. "The Impossible Project (the IP) has been releasing their re-engineered integral films for use in Polaroid cameras this year, and before trying out any manipulations or lifts, Elizabeth took two versions of their monochrome film for a test drive in a Polaroid 600 camera to view their unique characteristics."
Notes on Rexer's The Edge of Vision, June 2010, published at alternativephotography.com. "Elizabeth Graves reviews The introduction to The Edge of Vision: the Rise of Abstraction in Photography by Lyle Rexer."
Review of Diffusion Magazine, Volume 1, March 2010, published at alternativephotography.com.
Review of Brought to Light: Photography and the Invisible, 1840-1900, March 2010, published at alternativephotography.com.
Vinegar-developed cyanotypes: Non-Toxic Midtone Contrast Control, May 2008, published at alternativephotography.com. The article provides comparisons between water and 5% white vinegar development on classic cyanotype formula prints.
Wet plate collodion studio rental in San Francisco, January 2008, published at alternativephotography.com. This is an interview with Michael Shindler of RayKo Photo Center regarding wet plate collodion facilities and the renewed popularity of this handmade process.
Vandyke over cyanotype: a combination process with special effects, Spring 2007, published at alternativephotography.com. "Impermanence can be interesting." An aging experiment on unfixed vandyke over cyanotype prints.
How to mount and mat a print for framing, October 2006, published at alternativephotography.com. This article provides general instruction on a simple way to mount and mat a print for framing.
Cyanotypes and Chocolate: a Match Made in San Francisco, July 2006, published at alternativephotography.com. This interview with an artist and chocolatier describes his documentary photography/craft project, in which his photographs of San Francisco local street signs and marquees are printed as cyanotypes and used to adorn gift boxes and tins.
How to Make an Elegant Photo Album, March 2006, published at alternativephotography.com. This bookbinding instruction article is an illustrated guide to creating a handmade photo album/portfolio with clean lines and metal post binding for displaying photographic prints.
The Kallitype Printing Kit - A great start, October 2005, published at alternativephotography.com. This article provides scans of Elizabeth's very first prints made using the Photographer's Formulary kallitype kit's three different developer recipes to illustrate what a complete beginner to the process can expect on their initial efforts if using paper negatives.
Copyright © 2005 - 2017 A. E. Graves