Book ideas and editing

After looking at various photo books in class and in my room, in the library, round friends houses, online etc I have concluded that what I want the style to look like and how ti will come across visually through design and layout. 
The book will be landscape, taking in account the image ratio and the fact most of the images I made were landscape orientation. I will lay them out similar to the books I have posted images of and will take into account whether there will be any writing at all. I feel that this project is all conceptual and needs to be writing somewhere, at the start or all the way through I just don't want to give away the whole concept because it is so deep and personal to me, but on the other side of the coin, the reason I made it was because I want to, and feel I am in a place , within the people around me etc that I need to talk about this, I have created something aimed at my generation, aimed at the current social aspects of communication through human experience and art. Opening a whole new platform to which gets at the same things as the great photographers, philosophers of our past and in the time right now. I will submit all physical images and tools etc to create to work, the only way that would make sense to order these images would be chronological from date of realisation/ creation, as the idea is the progression of my mind and realisation. This also anchors the work in a documentary narrative, allowing me to actually submit the work. ​

The Physical book:
I made a physical book using a sketchbook and my images. This was the fastest way to edit and see how they would look, experimenting with layouts over and over, using over 60 images. I had to edit them down to no more than 30. I did this by moving them around and singling out ones that really represented the narrative. The book starts with the deconstruction of the medium I used. FujiFilm Instax Mini. Next to that is some Kodak out of date 1993 instant film I used to create some also. I show the tools I use and the insides of the film down to the chemical structure etc.
As we start in this version of the book we see subtle colours that introduce the use of colour. They next few pages advance into deeper, darker colours, which have a similar aesthetic to one another. They are all in chronological order because if they were not they that would mess the whole narrative up, and you can see how I created them similar but slightly different every time I made them. I would stick to certain colours one day or another I'd try and capture myself inside the image, or objects instead of anything. (non representational work, Abstraction)
Anyway I realised that I had way too many images of abstract scenes or representations of things, and the work was not focused on a self portrait series as obvious as it should be, from hearing what tutors and friends say, its self portrait, subjective self portrait. (The Subjective Self). So I edited and edited and finally came about something that makes sense to someone else, using a few images that seem to represent a landscape of my mind... you would know why this is by leaning from the work on Louis Parsons. The first few images of these scene have some introductory writing on the other pages, poetic to put you in a place, a paradigm and to put the viewer on the level I create at, at least try to. I quickly move into self portraits with no writing to suggest self consciousness and I feel the work speaks for itself beyond this point.