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Overlapse at Polycopies Paris 2022 – November 9-13

Float along the Seine with us November 9-13 at Polycopies 2022! Overlapse joins a roster of 80 international publishers aboard the Concorde-Atlantique for photography’s most nautical book fair.

Overlapse’s Tiffany Jones will be conducting FREE portfolio reviews on Thursday, November 10 from 12.00 to 14.00. Information on how to apply can be found here.

Adding to the festivities for the first time this year will be a tent with pop ups from Fisheye Magazine, Yogurt Editions, and more!

The full exhibitors list, programming, and more can be found on the official Polycopies website.

November 9-13, 2022
Concorde-Atlandtique Boat & Seine River Banks
Port de Solferino – 75007 Paris

Open hours:
Wednesday 9 November 15.00 – 22.00 (opening)
Thursday 10 November 11.00 – 21.00
Friday 11 November 11.00 – 21.00
Saturday 12 November 11.00 – 21.00
Sunday 13 November 12.00 – 19.00

We look forward to seeing you in Paris!

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Q&A With Overlapse Founder and Publisher Tiffany Jones

Ever wonder what publishers look for in a photobook proposal? Want to hear about the behind-the-scenes thought that goes into designing Overlapse books? Unsure of the difference between a zine and a photobook? Overlapse founder and publisher Tiffany Jones answers your burning questions, previously collected via Instagram.

Tiffany founded Overlapse in 2015, and her background is in photojournalism, media and publishing. She researched the market for photobooks for her MA Publishing dissertation, ‘Dynamics of the Photobook Market’ (Oxford Brookes, 2016).

Q: How can we publish our work with Overlapse?

A: Overlapse book releases are a selection curated by the publisher. Over a year I view around a thousand projects through research, submissions, portfolio reviews and as a juror with a few worthwhile awards (usually free to enter).

Make your very best work, with serious commitment, and get it seen! As a small publisher we can only publish a few books each year so your project should be culturally relevant and ideally unforgettable! 

Q: What do you look for in a project you want to publish?

A: A diverse range of subjects and voices. Work that is more that aesthetically or technically brilliant, that has potential to resonate over time–say 100 years!–to communicate stories with the future. Multi-layered projects that consider past, present and future in their making. Topics that are relevant in society–cultural, psychological, political, environmental…

Q: Are there any specific things you look for in book proposals?

A: Clear signs a photographer/artist has done research to understand the position of Overlapse publications and is considerate of the time it takes to review a multitude of different projects. Diligence in sharing a careful presentation that is as informative as possible, ie. an overview of images and other materials like text, illustration, archives available to work with to develop a deeper story. Concern for the end result being a work of communication rather than a vanity project. That’s a fine start! 

Q: What is the best way to approach publishers to get your name out there and work sold? 

A: Have a professional attitude when making initial contact, with the understanding that publishers receive numerous emails daily and can’t always respond–even to those with outstanding proposals. Share research you’ve done about the potential for distributing your work to different audiences, be well-organised and persistent without being rude. Send a polite and thorough email showing a proposal that is memorable and can’t be ignored. There is no sure-fire prescription for making sales, however! 

Q: What’s your philosophy behind designing books?

A: I like to think of Overlapse books as ‘visual literature’–crossing genres with written books that form a new world in the imagination of the reader. I always think of the audience, and as editor and publisher, act as a bridge between photographers/artists and the reader. How does the finished book feel, smell, or trigger the senses to produce a psychological or emotional impact? Does the final, physical object ‘belong’ in the place where the work was created?

Q: How do you select papers? This seems daunting and endless in possibilities.

A: Get to know all the paper types possible (coated, uncoated, specialty, recycled, virgin, sustainable, etc.), collect sample swatches from different brands and paper mills, and find out what papers are used in your favourite books. Use papers that produce sensations that are psychologically relevant to the images and story you are working with. Remember that a book is not an exhibition, so be flexible with reproduction ‘quality’ of different paper surfaces–eg. newsprint versus high goss. Test print if you can, be brave and stretch your imagination! 

Q: Generally will you be reluctant to take on a project that has already been fully designed  by the artist?

A: If you have designed and produced a dummy it’s absolutely fine to show how you might visualise the final work, but understand that a publisher generally knows their audience and will likely want to direct or oversee final designs. Brilliant design can’t be disputed, though! If you have a finished design that you are sure of or rigid about, perhaps you might consider self-publishing?

Q: Where is the threshold between a zine and a self published book?

A: Zines are far less expensive to produce than offset-printed books and can be printed on demand. How many copies could you potentially sell? For offset printing, the costs are too high for 350 copies or less. Try not to produce so many copies that may never be sold. With digital printing (particularly on HP Indigo presses) you can make extraordinary, beautiful works from just a single copy (including if you bind as hardcover).

Q: What photobooks inspired you to make your own?

A: So many books have triggered excitement! A few that quickly come to mind: This Mountain Collapsed and Became a Bridge by Alex Dorfsman (RM, 2012) for its delightful, organic sequencing journey; Dalston Academy by Lorenzo Vitturi (Self Publish, Be Happy, 2013), a project created locally to where I live in London, for its energy, imagination and gorgeous production; and Redheaded Peckerwood by Christian Patterson (MACK, 2011), an infamous classic for its brilliant mix of images, storytelling and archival materials. 

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Overlapse at Printed Matter NYABF 2022 – October 13-16

We’re thrilled to announce that Overlapse will for the first time join nearly 300 fellow publishers at this year’s Printed Matter New York Art Book Fair October 13-16 in New York!

We’ll have an exciting array of books and artist editions available, plus fun goodies like postcards and posters of works by Ukrainian photographer Viacheslav Poliakov and Overlapse pins.

We’re also delighted to be hosting two brilliant photographers at our booth on Saturday, October 15. Will Harris will be signing copies of You can call me Nana at 12pm, and Amani Willett will be signing copies of A Parallel Road at 5pm. Stop by to say hello and pick up a signed copy!

The full exhibitor list, tickets & registration, programming, and more can be found on the official NYABF 2022 website.

Printed Matter New York Art Book Fair
October 13-16, 2022
548 W 22nd St, New York NY

Open hours & tickets:
Thursday 13 October 18.00-21.00: opening night, $30
Friday 14 October 13.00-19.00: $5
Saturday 15 October 11.00-19.00: $5, plus block party with free admission
Sunday 16 October 11.00-17.00: free admission, registration required

We hope to see you in the Big Apple!

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Overlapse at BOP Bristol 2022 – October 8-9

Come meet us in Bristol October 8-9 for BOP, the annual photobook festival from Martin Parr Foundation and The Royal Photographic Society! Overlapse joins over 60 exhibitors for what is bound to be an inspiring and book-filled weekend.

We’d love for you to come say hello and browse our selection of books, including the artist editions of You can call me Nana by Will Harris and A Parallel Road by Amani Willett. There will also be copies of Fastidiosa by Caimi + Piccinni, postcards and posters of works by Ukrainian photographer Viacheslav Poliakov, and more!

Entrance to the festival is free, and artist talks are ticketed with a small fee. The full programme and tickets are available here.

Open hours:
Saturday 8 October, 10.00 – 19.00
Sunday 9 October, 10.00 – 16.00

This year BOP will be held across the Martin Parr Foundation Gallery (316 Paintworks, Bristol BS4 3AR), Royal Photographic Society House (337 Paintworks, Bristol BS4 3AR) and the Paintworks Event Space (The Airstream Main Courtyards, Paintworks, Bristol BS4 3EH).

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Chris Dorley-Brown on ghosts, clues, and seeing the future

I believe in ghosts. The dead and departed remain with us. I would look through this old suitcase full of folders and boxes of faded documents in my studio from time to time – Mum and Dad’s collection of personal pictures, letters, negatives, and more. They held a suspended threat of revelation, but I could not parse them into a legible chronology. They remained just random sparks of another person’s nostalgia. I would put them away but somehow they were burning a hole in my soul.  Perhaps I was delaying the inevitable assembling of the jigsaw. I thought maybe I was just the keeper of these treasures, designated to hand them on to a more imaginative descendent.

I can’t help feeling they were left for me deliberately, as a set of clues – an invitation to decipher, play, and expose my own motivations for my anti-social, all-consuming life as a photographer. These pictures never made it into the family album. There are my parents, their parents, my brothers and I, younger. Faces and places lit by an ancient sun. Tiny fragments of silver. As I pan down with the looking glass and scan at higher and higher resolutions their lips start to move, frozen waves resume their perpetual motion towards the beach. This is a bi-polar experience, of ecstasy and unimaginable trauma that has been transmitted to me via strings of DNA and a handful of fraying pieces of paper.

The innate optimism my young parents exude in these pictures remains as reassuring to me now as it ever was, but I know what happened next. Reading their faces, it’s as though they believe they are immortal. Seeing your mother and father as young people is like seeing the future, not the past. You realise your own existence came about through the most slender and tenuous matrix of events. You don’t get this sensation from old home movies – they seem subject to veils of unnecessary textures and unnatural speeds that somehow prevent deeper analysis. With photographs you can extend and compress time as you choose, they are interactive and can be assembled into narratives of your own design, without mediation.


Excerpted from The Longest Way Round by Chris Dorley-Brown (2015)