Selection from The Bohemians artist’s book by Daniel D. Teoli Jr / Daniel D. Teoli Jr. Archival Collection
Selection from The McCarthy Files artist’s book by Daniel D. Teoli Jr. / Daniel D. Teoli Jr. Archival Collection
An upset-minded Joe McCarthy won a congressional seat in 1946, stressing his world War II record. He was a captain in a Marine driven dive-bombing squadron, serving in the South Pacific.
Press photo filed 11.25.1946 Milwaukee Journal
artists' book, book art, cisgender, cock, Enemy Frigate, Engaging the Enemy Frigate, film, Fred 'Cinerama' Waller, Fred Waller, Frigate, gay, gender bender, gender benders from the 1970's, gender studies, genderqueer, hand printed books, homo, homosexual, maquette, marbled endsheets, marbling, Paul Mantz, Penis Worship, queer, social documentary photography, spiral bound, transgender, vintage
In honor of
Fred ‘Cinerama’ Waller & Paul Mantz
Engaging the Enemy Frigate, is a hand-printed artist’s book of vintage homosexual erotica from the Daniel D. Teoli Jr. Archival Collection in a limited edition of 50 signed and numbered books and 2 artist’s proof books.
The book is 124 pages in length with 62 photographs. It is finished with frosted clear plastic covers with hand rounded corners, marbled end sheets and spiral bound.
Book size: 5-½” x 6-½”
Maquette is shown for illustration – all specifications are pro forma.
Staten Island Ferry NYC (Candid)
From The Americans…60 years after Frank
a limited edition artist’s book by
Daniel D. Teoli Jr.
A complete listing of artist’s books by Daniel D. Teoli Jr.
1920's radio, 1940's, 1950's, 1952, 45 rpm, 98th bombwing, air raid, air raid siren, artist's books, Augsut 2, big band, blister gunner, bombwing, book art, duck and cover, flying saucers, FM radio, Internet radio, It was a different world back then., M.E. Padilla, MA July 16, Megaton Cafe radio, old radio commercials, oldies, oldtime commercials, printing artists' books, record store, reviews, round robin, Salem, Salem MA UFO, Sheel R. Alpert, sputnik, Streaming radio, UFO, UFO's, www.megatoncaferadio.com/
When I’m printing artist’s books I get kinda bored. I like to listen to radio as I’m printing. Sadly FM radio is pretty much crap nowadays. I tried watching TV, but I make too many mistakes trying to keep 3 inkjet printers running. While I can print a book with 1 printer, it is too time intensive for printing books in bulk.
Eventually I gave up on FM radio and switched to internet streaming radio. I like streaming radio much better, there is a huge diversity available and very little commercials and BS.
Megaton Café is one of my fav streaming radio stations. They cover 1920’s to 1950’s…swing, jazz, big band and oldies. They are ‘nuclear bomb age’ themed…crazy!
The commercials are wild, they are all vintage. The ‘duck and cover’ commercials bring me back to when I was a kid growing up in L.A. in the 1960’s. Every month they would test the bomb raid siren on the last Friday of the month.
Duck and Cover 1951 Bronx, NY
When we heard the siren we would get under our desks and put our hands and arms around our head as we crouched into a little ball. We never gave it any thought, just something we would do. Thought it was as natural as apple pie. Well it was a different world back then…
We would go in the record store and sample the 45’s on a row of turntables.
Blister gunner M.E. Padilla 1953 – 98th Bombwing, Korea
The US had finished up WWII and was still battling communism in Korea in the 1950’s. My dad used to take me to the Army Surplus store on the weekends.
UFO’s and flying saucers were the pre-sputnik craze. This was shot July 16, 1952 in Salem, MA by S.R. Alpert of the U.S. Coastguard.
Schoolboys 1951 NY.
The world didn’t have 2 billion cell phone cams at large back then. Even so, photography was still a popular pastime for many.
…well enuf reminiscing…back to printing!
A bigger issue for me than layout is trying to get super flat DUO paper., art, artists' book, Before I start printing an artists' book I've already made a bunch of 4 x 6 work prints to whip an image in shape with the post processing., book art, circular fisheye, curator, d.teoli, Dan Teoli, daniel d. teoli jr, Ephemera related to your projects is important to save., galley proof, maquette, museum, Page numbering books, photography business, photography museum, presenting photography to curators and museums, social documentary photography, Teoli, Working up the maquette and galley proof.
In Honor of
Harry K. Shigeta and Bruce Davidson
Taken in part from my forthcoming artist’s book:
Presenting Photography to Curators and Museums
Before I start printing a book I’ve already made a bunch of 4 x 6 work prints to whip an image into shape with the post processing. During this process I am also developing a rough order the book will flow.
Rough layout of Engaging the Enemy Frigate
Unless your book is going to be 4 x 6, then a 4 x 6 print will only go so far. If you have lots of $, time, paper and ink, then by all means make full size work prints for your book. You will have to do that at some point down the road anyway when you make a full size maquette. Sometimes defects show up in larger prints that go unseen in small prints.
The rough layout of the book has happened while I print the 4 x 6 and letter size work prints. If you have the space, the best way to do a layout is to pin the prints on a wall. But I have no wall to pin to, nor do I have a floor big enough to spread the letter size prints out on. So I spread the 4 x6 prints out on the floor for a rough layout.
After that I will glue prints back to back to form the maquette and do a final layout. If things change and I want to move a print around I will glue another print on top of that page. In any case, I don’t labor exhaustively over the layout. Sometimes I may spend a few hours on it, other times it may take 2 or 3 days.
A bigger issue for me than layout is trying to get super flat DUO paper. So I generally use the defective matte DUO paper I am stuck with for the working copies of the artist’s books. RC gloss DUO and semi gloss DUO are usually pretty flat, but they are generally a lot more expensive than matte duo.
At the end of this article is a list of DUO paper suitable for book arts:
The problem with getting flat paper is it is the luck of the draw. Depending on what part of the roll the paper was cut from and how long it was rolled, has a lot to do with how flat the cut paper will be. Many stores won’t take the paper back once you open it, so over time a book printer can amass a large stock of proofing paper.
If the store does take it back they will not wan to to sell you any more paper if you keep buying paper just to return it to them because it has a slight bend in it, . Now, there is a trick to use slightly bowed paper in an artists’ book. But that is a topic for another time.
The photo below shows the maquette with glued up pages on the right and the galley proof with true DUO paper on the left. The glued up pages adds a lot of thickness to the book.
The maquette will also have a lot of more notes in it as can be seen in the next photo. (Maquette is shown in the bottom of the photo.)
As the book gets perfected with layout, page numbering and print IQ, there is a lot less notes that have to be written in the book. Once I have the galley proof 100% it is time to start printing the regular edition. I will make the artist’s proof copies first to make sure everything is right, then I start production printing.
You would be surprised how making small changes in the type of paper used in printing the book can make the previous design for the book unworkable. When I was printing an early, small size (5.5 x 6.5 inch) artist’s book called Engaging the Enemy Frigate I found out how fast design can change depending on the paper that is used for the book
The original maquette was printed on DUO matte proofing paper and printed up fine. For the galley proof I generally switch over to semi gloss paper which I did with Engaging the Enemy Frigate.
Once I switched to semi gloss paper I found out the page number and page title information both had to be moved . They were too close to the edge of the paper for semi gloss combined with small size book printing. They would pick up stray ink from the head of the printer.
I tried 2 different printers and opened up the platen gap to the highest setting and it was still a no-go. So I moved the page title information in 3/4 of an inch more and moved the page number to far left center of the page. This fixed the problem when printing on semi gloss paper.
Some semi gloss paper reacts poorly when you use a Post It note on a page and just for a few minutes. I’ve use self adhesive note on semi glass paper and it ruined the surface in just 15 minutes.
Save your maquettes and the pre-production prints and notes for your books. Museums and special collection libraries will want all related ephemera to your projects. (Provided of course, you are a museum grade photog and are collectable.)
Partial Listing of Artists’ Books by Daniel D. Teoli Jr.*
Peephole: Peering Into the World of 1970’s Hollywood and L.A. – 2013
Portfolio: Peering Into the World of 1970’s Hollywood and L.A. – 2013
Twenty-six Roadkills – 2013
Cutters: There is nothing I hate more than myself. – 2014
Encyclopedia of Photographic & Fine Art Ink Jet-
Printing Media – 12 Volume Set – 2014
Bikers’ Mardi Gras – 2015
Gender Benders from the 1970’s – 2015
De Wallen: Amsterdam’s Red Light District – 2015
180 – The Circular Fisheye at Large – 2016
Piercing Darkness – 2016
A Day in the Life of a Drag Queen – 2016
The Americans…60 years after Frank – 2016
Gay Bar – 2017
Whoop-Whoop – 2017
Charmed – Forthcoming
Presenting Photography to Curators and Museums – Forthcoming
Magnifying Lens Photography – Forthcoming
Yum! – Forthcoming
Secrets of Candid Photography – Forthcoming
With Due Respect Beloved One – In Development
Thirty-six Views of Bison – In Development
*For a complete listing of artist’s books by Daniel D. Teoli Jr.
I used to use a Kindle to carry around a mini portfolio while out and about. It was kind of inconvenient due to the slow start up and size. While not very big, it still is a lot bigger than a pocket portfolio. I found myself not having it with me all the time when it was needed.
I decided to switch over to mini prints for portable portfolios and retired the Kindle. Our family has 4 vehicles, each vehicle has a pocket portfolio in the glove box. So I always have something with me if I need to show my work. See if a pocket portfolio would fit your needs.
Here is the first experimental one I made in 2013. I have graduated to a slicker design now with duo lustre paper.
180 the circular fisheye at large, artists' book, bikers mardi gras, book art, carla and babydoll, children of weegee, circular fisheye, circular photography, color photography, columbus ohio, columbus zoo, Dan Teoli, daniel d. teoli jr, daniel teoli jr, decisive moment, deer still life, hdr, homage to weegee 2012, homeless, Hyper-Real HDR…going against the (snobbery) grain., hyperreal, les krims, los angeles, MacArthur park, moundesville wv, order women like pizza, painterly, painterly hdr, pittsburgh pa, pole dancer, social documentary photography, Teoli, the plane worhipers, the strutters, thornville ohio, westlake park, wheeling wv, yankee doodle dandy, zombies
Photogs are a pretentious bunch. Hatred for HDR, circular fisheyes, selective color, cliché’s, blah, blah, blah. It is a common thread among the camera fondling photo forum crowd…putting down others so they can massage their ego. I guess it helps boost their self-esteem by making them feel how superior they are to everyone else.
Personally, I always like to take what they hate and make something great of it. Nothing better I like than to put a photo from a well hated genre, the photo snobs despise, into museums and curated collections.
By the time the snobs run all their pet prejudices through their head, the photo op is gone. The prejudiced, camera fondlers seem to put more time in mental masturbation than button pushing.
I first learned about Hyper-Real / Painterly HDR from Les Krims. He has some beautiful work, some of the best I’ve seen of this genre. I fell in love the cartoonish look of hyper-real HDR.
Waving Woman Towel Head – Photo by Les Krims
Every pix does not benefit from this treatment, but some are really improved from it…just depends. Whether it is contrast, color, lack of color, lighting, sharpness, bokeh, grain, motion blur, distortion or other special effects – they are all tools the photog uses to garner attention for their image. A photo is not like a video or movie. The photo must catch our attention and tell the story in one image. Hyper-Real / Painterly HDR is just another one of those tools that can make our pix standout.
Beside ‘the look,’ HDR helps give street and doc photos a more extended dynamic range. When your a street photog you take the lighting you get. Many times it is the worse type of lighting you can use…but you make due and make something great out of it.
“There are black and white snobs, as well as colour snobs. Because of their inability to use both well, they act on the defensive and create camps. We should never judge a photographer by what film he uses- only by how he uses it.”
It is the same with all photo processes. I keep an open mind to it all. Either something works or not.
Photos used herewith are from the following limited edition artists’ books
Daniel D. Teoli Jr.
180: The Circular Fisheye at Large!
The Americans: 60 years after Frank
Bikers’ Mardi Gras
answer back, artists' book, betty page, book art, camera fondlers, candid, children of weegee, d.teoli, Dan Teoli, daniel d. teoli jr, Eat pussy...it is good for you!, hdr, los angeles, Minox, shooting from behind, single image hdr, social documentary photography, stereo camera, street photography, Teoli
Andy Warhol and Larry Rivers
Betty Page by Weegee
When it comes to street work on the photo forums, I see a lot of camera fondling, wannabe street photogs that gravitate to the ‘shoot from behind’ type of pix. Many of their shots fail because they have no ‘answer back’ that focuses our attention. Without something to focus on, they are just a mix of strangers on the street having no meaning.
Shooting behind a subject is a necessity sometimes. It may not be practical to always get in front of the subject. Other times, some photos just won’t work well if they are shot from the front. What can make a ‘from the behind’ shot work is an ‘answer back’ that focuses our attention in another direction, thus breaking the uninteresting one dimensional pattern and makes the pix multi-directional.
Some of the failure pix I see look like they are shot by someone that is scared to confront the subject, so they shoot from a distance and from behind. I have an excellent mastery of candid photography skills, holding a few world records pertaining to how close one can get to a subject and still shoot a candid photo.
Once you master candid skills, the decision to shoot from the front or the back will be yours. It wont be based in your lack of skills from shooting any damn way you please. You wont have to cower behind a subject shooting sneak shots cause your ready to piss your pants. Always have a focus point in your ‘from the behind’ shots and maybe you can start bringing in some winners.
I was out playing around with the IR cam and some impromptu fireworks popped up. The infrared Pentax K-01 cam was not the best choice for the job, but I made due with what I had.
Infrared flash photo