I just hit “print” on my first Japan publication. An eight-page MagCloud Digest. It had been ages since I created something with MagCloud, so the dusting off of the templates and importing of files into this beauty of a product felt like a homecoming of sorts. It was, after all, MagCloud, not Blurb, that kickstarted the sales of my self-publishing work.
I might get the year wrong, but I’m going with 2007 as the pivotal moment.
I was on Blurb’s advisory board, thanks to Eileen explaining what an advisory board actually was. My impression was men in suits talking numbers while staring at Excel spreadsheets, several of the things I’m truly afraid of. She explained the board was people like me, customers, providing feedback on the platform. I was all in. But Blurb didn’t make a magazine, and I was still dangling from the sharpened edge of my photography career, a career dominated in part by the allure of being published in magazines. (Delusional even then.)
I reached out to Eileen and asked if it would be okay for me to use MagCloud to produce a magazine. At the time, MagCloud was a competitor to Blurb, but like a good founder/CEO she said, “Do it.” The goal was simple. Produce something I could sell. One hundred copies. If you think this is a diminutive number, you will be shocked to hear sales numbers on many of the books you see at your local bookstore, and you would also be shocked by the sales numbers of traditionally published photography books. The numbers are grim. To me, if you can sell fifty copies or more of anything you do, well, you are a superstar. The Tommy Lee of self-publishing.
I created my original magazine using imagery captured with my Leica rangefinder camera. (The M4 is nicer than the M6, sorry hipsters. Just wanted to get this dig in to make myself feel better about myself.) Leica has the most rabid fanbase on Earth. I knew if I produced something with Leica as the lure, it would most likely sell. And it did. Within days I had hit my 100-copy goal and flipped the switch from public to private, much to the chagrin of people who missed out. A festival director asked if he could get a copy. I said “Nope, sold out.” If you don’t stick to your guns when it comes to editions you are in for a bumpy road, and a potentially bumpy legal road as well. Years later I was still being asked if additional copies would be made available. One industry specialist traveled with my magazine showing audiences what was possible with print-on-demand. (She still has it.)
And people, let’s be real. The design was juvenile. So painfully simple. But I will defend the work. It was the best work I’ve done. Seven photo-essays, each edited down to the bones. Short written essays, rife with typos. No one cared. People wanted to see the work. As I began checking my stats behind the scenes, I began to take note of who was buying my publication. Total strangers. And from all over the world. Eastern Europe, South America, Asia, and elsewhere. “Who are these people?” I wondered. THIS was the moment for me.
THIS was the moment I realized self-publishing was not only a fantasy at the edge of my splintering mind, it was also entirely realistic. With a real marketing plan, a real audience, and a design upgrade, well, what I sold and how many were up to me. Not someone else. THIS was the moment I realized the traditional models of my industry were obsolete. Perhaps not entirely, thankfully, but the power shift was happening before my eyes. No longer was my career in the fickle hands of a few others, it was now solely under my control.
And remember, these stories were the same stories that magazine editors told me the public had no interest in. The same stories they told me had to be shot in color not black and white. Watching this magazine sell made me realize how out of touch most of the industry folks were. Thankfully, I had good parents who taught me to blaze me own trail. So I did. As of this moment, I’ve printed nearly 300 projects with Blurb, have been nominated for photobook of the year in one of the best overseas contests, have my books being sold in some of the best photobook stores in the United States, and was just approached by one of the best museums in the country in regard to the acquisition of three of my collaborative publishing projects. Self-publishing works.
These days, however, I’m a different human being.
I have no sales goals. And the acquisition of my works is more about what it means to my collaborators than what it means to me. Given the choice, I’ll go natural history museum over art museum any day. But I also love to educate. Watching others have a go is far more valuable, and entertaining, than attempting to have a go myself. I’m happy in the small spaces now. My journal being my number one destination. Yes, a book never intended to be seen by anyone else. This makes sense if you are me, but perhaps not if you are you. That’s okay.
So, when I hit print on this latest MagCloud sample I printed two copies. One for the journal, one to be used to show others what the format looks like. ($6.71 grand total with shipping.) I spent about fifteen minutes making this piece, and that includes pulling the images, tweaking them for print, then quickly laying them out. I spent more time choosing a typeface than anything else, and I’m still not happy with my pick. I will eventually make another Digest with a wider edit, and I have plans for a unique looking Blurb publication that will be all black and white, but most likely these plans will get shelved and may or may not emerge. I have outside duties that call. Online productions, meetings, workshops, and in-person events I will be attending. I’m about to do a 9:16 on camera piece for an upcoming Blurb event. I’m still sick and my voice sounds like absolute Hell, so not sure how I’m going to swing this.
Let me mention one more thing. I was stunned and a bit jealous by how well the students did in Japan. This trip was, in some ways, about endurance, and they never faltered. Not to mention, they each made serious strides in their work. Some made strides more with their editing and design, while others “found themselves” photographically. The jump from day three to day seven was somewhat astounding. There were plenty of “Wish I had shot that,” moments. There is never enough time on these voyages. They leave you hurting in some ways. Hurting to continue, hurting to keep digging, and hurting to continue to take creative chances.
Comments 21
I’ve always been interested in trying out MagCloud but always got overwhelmed by trying to sort out using those templates. If you did a workshop just focused on doing that I’d definitely take it.
Author
The software path is a bit clunky, but not that difficult once you figure out the best path for you.
Absolutely love the MagCloud Digest – it’s a very versatile format, great quality and very affordable price point. It can be ordered saddle stitched (an option not available from Blurb) or perfect bound. Three photographer friends and I collaborated on a semi-annual zine project for 6 years which we published through MagCloud.
Recently I designed a short photo project as a MagCloud digest and ordered 10 copies to experiment using it as a basis for making different artists books. I’ve removed the staples, shuffled pages, modified pages, added ephemera, created different narratives and then rebound each with a different type of binding.
For anyone photozine/photobook curious it’s a very affordable way to try out ideas, build editing, sequencing and design skills before switching to a Blurb project.
Author
I find MC users are more driven by things like you describe. And, it’s the only small, landscape format between the two companies. Nothing better for leave behinds. I like the 8-page as editing tests.
I love the idea of tinkering with small scale projects as a way for f continuously learning. In high school I made staple bound pamphlet type things with photos, scraps of text and photocopies of found objects. It was fun and fulfilling.
But I don’t want to digress from the real point here – is the M4 really better than the M6? What about the M-A? Discuss (posted with tongue firmly in cheek).
Author
The M4 has a tragic flaw, but once you learn how to avoid it, yes, it’s better. They both suffer from the fragile rewind crank. But, I digress.
I used MagCloud for a couple of publications at the start of the pandemic, just one copy of a square format and six copies of the zine format, and liked both. I then switched to a local printer to do my zines, and liked the convenience and the idea of supporting a local business. That printer has been forced to shut down after its gentrifying landlord forced it from its location in downtown Durham, NC, where it had operated for almost fifty years. I am ready to go back to MagCloud, as I have been unable to find a local substitute for the quality of service and product I had with my previous printer. Thanks for the reminder.
Author
The key is to use anything you can get your hands on. Local printer, POD services, offset if it makes sense.
As a writer, I just recently finished uploading my next book and the covers (hard and soft) to Ingram Spark and Amazon KDP. Between purchasing ISBNs, hiring my favorite Fiver guy for cover formatting, and using Atticus.io to format my manuscript, sometimes I ask myself…what if I crafted bespoke books and short story collections and just sold them off my website? Maybe going small and catering more exclusively to my email list audience would create a different experience than the expense and headaches of casting a wider net? Anyway, I find your creative efforts inspiring. Thanks, Dan.
Author
Build your own ecosystem. That’s my entire line of advice in one line.
Danielsan, Ah, the hurt (just part of the plan I guess). However, you have the international-timeline, where you get home before you left. Makes me think of the Murray line: ” I have that going for me, which is nice.”
Author
Carl Spackler.
Welcome back Dan!
I still have my copy of “Manifesto” and your Vanishing Speed series of photos are some of my favourites.
I think it’s worth pointing out that Magcloud have regular discounts (probably more so that Blurb) and have one right now until October 7th. This old article link of yours (https://shifter.media/create-blurb-and-magcloud-two-and-the-same/) may also be of interest to readers as I think it covers the subject well.
Author
I just used the discount on a $4 order….talk about a waste.
Glad you had a time in Japan.
I’m packing for a trip (very early for me, as I’m also packing to move house) and wondering which lens or lenses to take. So please consider this travel / packing gear talk, not endless consumerism / capitalism gear gear talk. You used to advocate the 50mm, which is what I used to use mostly, so I could relate. Now, with the Nikon Z, there is no compact / lightweight (and cheap) 50mm. So it’s probably the 40mm. Or my cheap Chinese 50mm. But how did you get on with the 28mm?
Thanks.
Author
I used a 28mm the entire trip with one tiny exception. I did this as a test. Used a strobe for the same reason. Would I have done this if I was there working? No. I’m a 40mm guy. One body, one lens. X100 as backup.
“No. I’m a 40mm guy. One body, one lens” the Q3/43 ticklin’ your pickle yet?
Interesting. So what were you testing? And did you or the subject of the test pass?
Author
I can’t remember what I was testing. I would LOVE to have the Q/43 but never gonna spend that kind of money. I can buy the X100VI and a new fat bike for less.
Only tangentially relevant, but I’m bothered by the recent frequency of Blurb discounting offers… Are the numbers as seen by men in suits on those spreadsheets not working any more? It’s OK, say nothing and just nod, if my fears are borne out… I’d be very sad if my 30+ Blurb publications became unavailable…
Author
Nope. Time of year. We are approaching holiday. Happens every year.