The images I have selected for my final prints contain a mixture of reworked archival and newly produced images. I believe that these pieces best capture the essence of my photobook and the narrative as a whole. This is to highlight the intent behind producing family photographs and memories, commenting on the fact that many of these images conceal or fail to express the reality of the people in the frame, and deconstructing the message behind them.
Virtual Gallery
With my final images, I used artsteps.com to create a virtual gallery in which it is possible to have a 360 view of the gallery space. Here, I used more of my images from my photobook that are not from my final prints to create a more full looking gallery space.
Using Adobe Lightroom, I imported all of my final images from my personal study project for my photobook. Here I uploaded the images onto different pages and experimented with the layout of them, seeing which images worked best on opposite pages and complimented each other. I adjusted the size of the photographs on these pages, working out which images worked best as full bleeds and which looked better with a white border. From this I found that a full bleed portrait image next to a portrait with a white border looked best for my layout, with some double page spread full bleeds for landscape images. Although, on some pages I tried placing a landscape and portrait alongside each other and found it looked best when the landscape overlapped to pages displaying the portrait, or with two landscapes stacked on top of one another on one page, opposite to the portrait. In addition to this, I also experimented with the order of the pages and their ability to aid the narrative, as well as presented a balanced feel to the book. With this I found that the double page spread of my stitched family portrait, was a good anchor for the central page of my photos.
Final Layout
Photobook final layout
This is my final layout for my photobook named ‘Manufactured memories’ which includes over thirty images comprised of a montages, archival images and newly produced images, as well as my essay at the back of the book. I believe that this project went well, as I think I have produced a good amount of images that relate to the task of a personal study, as it is about my family, specifically my grandparents. In addition, I am happy with my layout and proud of the photobook I have produced.
Front and back cover
For my front and back cover I used an image wrap of the photograph that will be central in my photobook. However for the cover I made the rest of my family, except from my grandparents, into silhouettes in Photoshop. I did this by using the quick select tool as well as the paintbrush tool to carefully fill in the areas I had stitched in white around. I believe this best represents the contents of my books as it displays the method of reworking images that will be presented throughout my book as well as highlighting who the book is focused on, this being my grandparents. The title manufactured memories was inspired from a quote by Joerg Colberg, featured in my essay, and describes the nature of most family photography and how my photobook aims to deconstruct this.
Pages 1-11
For these first pages, I decided to leave one page at the start of the book blank, allowing for my photographs to start on a double page and be equally distributed throughout the rest of the book. The first double page showcases two simple portraits of my grandparents, which were taken separately however work well together as it appears that they are looking at one another. The following page contains a candid image of my grandad taken at a family Christmas dinner, alongside a digitally edited archive image of him in his former workplace, with everyone’s but his face covered. On the third page I decided to place a close up of my grandparents hands and their rings next to a full bleed of an image of them both, in which I have stitched into and around them. The next pages display two landscape images overlapping, one being one of my own newly produced images, with county outlines stitched into them, and the other an archive image of my mum and my aunt taken during their moving of house. The 10th and 11th page are taken up by a full bleed, double page spread of a digital collage made featuring images and text relating to my grandad, on a bold red background.
Pages 12-23
The pages after this present a full bleed, digitally altered image of my great-grandparents, concealing the upper halves of their bodies, next to one of my own images of my mum and step-dad. Following this is a digitally altered archive image of my grandad at his former workplace, surrounded by multiple emails regarding his retirement. The next two pages feature three images, two being candids from Christmas dinner, and the other a digitally edited archive image of my grandparents, with hexagons and the Manchester worker bee surrounding them. The central page of my photographs contains a full bleed, double page spread of a family portrait I have stitched into. After this is another three image page with two landscapes on one side, one being a stitched into family portrait and another a Christmas dinner candid, alongside a newly produced portrait of my grandparents, also with hexagons and the Manchester worker bee surrounding them, however this time stitched in. Following these pages are a digitally altered image of my grandma with text in her own handwriting surrounding her, with her old college ID and certificate for her nursery course next to it.
Pages 24-35
Next is a full bleed, archival portrait of my grandparents, mum and aunt, with an outline of my grandparents stitched in, alongside a Christmas dinner candid. Following this is another full bleed, double spread collage, this time featuring images, text and documents about my grandma. After this is a digitally edited, archival image of my families old house they moved into after my grandad’s new job, next to an archival image of my mum and aunt standing in the doorway of the house they were moving out of. The next pages display another close up of my grandparents hands, this time featuring another ring my grandad gifted to her, with a full bleed, stitched into portrait I have taken next to it. Following this is a landscape image of my aunt and her son (my cousin), next to an archive image of my grandma, mum, aunt and my sister as a child. The final photographic pages in my book showcase a full bleed, digitally altered, archival image of my grandma who is surrounded by a repeated sentence in her own handwriting, followed by a new portrait taken of my grandma, aunt and mum.
After all of my images, I have included my essay regarding this project, with my influences, analysis’ and intentions. This piece of text is also supported by images from other artists and quotes from other literary sources, which are referenced within my bibliography. I added this in by copying and pasting my essay in paragraphs, fitting the images it references around the text.
Once completing the layout and design for my photobook I then uploaded it to the website blurb which will allow me to order the photobook and print it for me.
When creating digital edits of my images to go into my photo book, I first used Adobe Lightroom to adjust the image qualities such as the contrast, exposure, tone, shadows and highlights. After doing this, I then exported my images out of Lightroom, making sure they had a large image size, and then used photoshop to rework them. I altered these images in a style similar to Carole Benitah, although making sure that the adjustments I made made sense and improved my photo book narrative in particular. I did this using both newly produced photographs as well as archival material. On photoshop I edited the images in order to make products such as photo montages, as well as using ideas from my experimentation with this style to create pieces that I believed would appear better if altered digitally opposed to stitching or other handmade alterations.
Using Photoshop, I digitally altered the images using different techniques to create singular edits. For example, in one edit I made multiple, red hexagonal shapes around an archival image of my grandparents. I then traced over an image of the Manchester worker bee, making it into a PNG, and then placed these around the photograph as well. I chose to do this as my family is from Manchester and the worker bee is one of the best known symbols for Manchester, representing the population’s hard work ethic and the city being a hive of activity. This symbol is often seen in mosaics around the city, which I believe the broken apart hexagons help represent also. In another edit I used Photoshop to erase sections of my great-grandparents. I did this by using samples of the gold-leaf texture from Carolle Benitah’s work, in order to create this appearance digitally without the material. To copy this texture digitally I used the clone stamp tool to create a silhouette of their upper halves. I believe that this texture adds to my narrative as it resembles a faded image and can be said to represent a faded memory of the people in the image, unable to fully recall their character. This also applies to my personal connection with them as I never met them however know of their memory through photographs.
Handmade Edits
When creating edits of my images by hand I first printed off images that had been slightly edited in Lightroom, with qualities such as contrast, exposure, tone, shadows and highlights. Here I used a mixture of both archival material as well as my newly produced photographs. With these, I decided that the method of stitching would work best to improve the narrative function of the images. To ensure that when stitching into the photographs that they didn’t rip I printed them off on card, providing a sturdier material than paper but still containing the levels of detail and saturation that may not have appeared if transferred onto fabric. When stitching, I stuck to the colour scheme of red, white and black thread, with red being the main colour used to symbolise blood lines and family. I used larger needles and thread to create the more basic patterns and create bolder shapes, and used a smaller needle and thread for the more intricate and smaller patterns, using a back stitch to achieve all of these pieces.
With this method, I made similar designs to my digital edits making sure they were coherent. For example, for one of the images I stitched into I created red hexagonal shapes and embroidered bees around the image, resembling the digital edit displayed above. I did this using a medium size needle for the hexagons and a small needle with smaller thread for the bees, as they were smaller and harder to stitch. I also used patterns to alter my photographs, such as using an arch template to plan my stitches, allowing them to be uniform and neat. For all of my stitched images, I first punctured holes into the card for where I would embroider. This ensured that the stitches were similar lengths.
I wanted to select a group of images that I used in my portfolio, which I made in my own time, so that I could print and mount some of the images.
Firstly, I would like to print these 2 examples of my graphic design skills. For the image on the left I used Blender (3D modelling software) and Photoshop, it was the image that I entered into the Eco Active Competition about climate change. For the right image, I made it in Photoshop and is a strong example of photo manipulation using 3 images.
Firstly, I would like to print these 2 examples of my graphic design skills. For the image on the left I used Blender (3D modelling software) and Photoshop, it was the image that I entered into the Eco Active Competition about climate change. For the right image, I made it in Photoshop and is a strong example of photo manipulation using 3 images.
Secondly, I would like to print these 2 images from my Portfolio, as they are my favourite images from it.
The image of the cat I shot during ‘golden hour’ which gave the eye, the central focal point, a vivid golden effect that emphasises the detail of the cat’s iris. I used a macro lens to get really close to the subject. This created more attention to the eye positioned in the centre of the image, and created a slight soften blur to the nose, whiskers, and the mouth. However it still maintains the detail of the hair and the pattern of the cat.
For the aerial image, I used my drone, a DJI Mavic Mini 2, to fly above L’Etacquerel Fort, one of the many Heritage sites in Jersey. The photo was taken from the cliff path, at a height of 120 metres. I boosted the greens and blues to get a more natural look to the environment. I feel this image works well as the curved lines in the architecture contrast the jagged cliff rocks, showing the footprint of the fort really well.
Finally, the mask mask photo, I wanted to create an old, World War 2 atmosphere. In order to do this I took the shot through a cardboard tube with a ripped end, which created a frame around the subject which gives the appearance that the subject is inside a room and you are on the outside of the door looking in through a peephole.
To showcase my images I will make a virtual gallery in Photoshop, so that it looks like my images have been displayed in an actual gallery.
I used CTRL-T to warp the image so that the top and bottom edges of the photo are parallel to the the floor and ceiling. After all the images matched the perspective of the gallery I used blending options to make the images look real and 3D, such as, bevel and emboss and, drop shadow.
Left: Bevel and Emboss. Right: Drop Shadow.
Overall, I think that these extra images help display my photographic and post production abilities and therefore the main reason which I wanted to include them in the next print job.
NFT Project Image
I also wanted to include the poster image from the NFT project, which looks like this:
I used the same technique to make a gallery in Photoshop, by using bevel and emboss and drop shadow.
It will be printed A3 unless the quality is bad as its 2560 × 1440 pixels. If it can’t be printed A3 then A4 is ok.
To decide the images that I wanted to print and mount, I used my photo book and picked my favourite images. I would also decide an additional 5 images from my Portfolio that I would print.
In total there are 7 images in the book that I would like printed. I chose them as they stand out and demonstrate great camera skills. I feel that they represent the photo book very well as they are the best ones from it, however they don’t take the value away from the book as it have created contrast and juxtaposed some of the images by paring them with objects and other different images.
Presentation(Virtual Gallery)
To showcase my images I will make a virtual gallery in Photoshop, so that it looks like my images have been displayed in an actual gallery.
Portrait image display
After postponing the images where I wanted them, I used blending options to make the images look real and 3D, such as, bevel and emboss and, drop shadow.
Left: Bevel and Emboss. Right: Drop Shadow
Overall, I am happy with my selection of images to print as they are my strongest images from my most recent project.
I took all the photos that I wanted to use and, that I have already edited from the photoshoots in Photoshop, then I created a new collection set in Lightroom Classic to import the photos into.
The editing process is shown on the photoshoots blog posts.
After importing the photos into the photo-book collection I used the “pick” and “reject” method using the “P” and “X” keys.
Next, I used the different colours to visualise what type of photo each image was, e.g. aerial (yellow), underwater (blue), hillclimb (green), etc.
These are all of the images that I plan to use in the final book design.
My Book Specifications
Before I design the book I need to decide the specifications and think about the design.
This is information about how I will make the book and about the materials and requirements it needs.
How you want your book to look and feel.
Ideally, a hardback book would be nicer as it has a more genuine feel to it, and it lasts longer. However, it is more expensive compared to a regular, softback book.
Paper and ink
The premium paper will make the images better and isn’t to different to the standard paper, price wise.
Format, size and orientation
I will use a normal A4 book. (8×10 in)
Binding and cover
I will use a hardcover with an image wrap, with Mohawk proPhoto Pearl 140#.
Title
Bouley Bay
Design and layout
Single image full bleed
Single page image with white borders
Double page full bleed
Double page spread
Double page single image.
Editing and sequencing
I will try and create a zoom effect with the images and use certain objects to carry to flow of the book.
Images and text
There won’t be any text except for the essay at the back of the book.
2. Produce a mood-board of design ideas for inspiration. Look atBLURB online book making website, photo books from photographers or see previous books produced by Hautlieu students on the table in class.
This is a mood board of books that have inspired my design process. I found them Blurb’s bookshop page on their website.
I mostly chose these pages from these books as the display the images in a unique way that engages with the user.
I reorganised the order which I the photos would be in, in the photo-book. Then I clicked the book button where I chose to use the “Standard Portrait” book, then put the images in the order that looked the best.
I made use of the page setups to arrange the images to create an interesting composition. I mainly had two images on the double page spread and, they either linked with each other or were opposites.
To create a narrative I tried to create a zoom effect. I started by getting images that where of a general overview of the bay, then I focused on the pier, the water coming on to the pier, then I focused on the long exposure shots of the water on the rocks, which transitions to underwater photos. Once there is a brief introduction to the bay there it focuses on the hill climb which brings in the areas “character”. After I introduce the bay again by using the greens hill and the green around the waterfall in the bay, which shifts the focus back to the bays features like the L’Islet, and the heritage site. I often compared close ups of objects and match colours to create an interesting concept and presentation.
My favourite images are these below, I chose them as they are unique and interesting, and showcase great camera skills.
I achieved my goal, which was to accurately recorded a physical location through images. These images above are the strongest images I have taken which help showcase the environment that is Bouley Bay.
Unfortunately, I deleted all of my work, which meant the pervious book design disappeared. Therefore, I had to redesign the book, which isn’t necessarily a bad thing a I had too many images. This helped me reduce the size of the book and add more contrast, as the pervious version was more illustrative.
This result is more balanced as there is a greater mix of content and I feel that I have used a wide range of different page layouts to shift the viewers focus whilst looking a different images. My favourite pages are, 8-9, 14-15, 16-17, and 32-33.
I decided to add 2 more images. One would be a 2 page spread using full bleed and, then second would be a single image, which would probably be on a double page however, it would only use up one page. I plan to do this to a few more images earlier on in the book and eliminate some of my weaker images.
Creating the book cover
I decided to use an image that had a wide view of the bay which clearly shows where and what the book is about. I am using the image from the extra photoshoot I made with my drone. For the back of the book I wanted to have an abstract image where it is hard to work out where it was taken. Doing this makes lets the front cover have all of the attention. These are the two images I’m using for the book cover:
Left: Front Cover, Right: Back Cover
I needed to create a design for the spine, I thought I would blend the edges of the two images above to create a fade between them. After, I would add text to the front cover, and the spine.
I used layer masks to create a gradient fade on the edges that meet with the opposite image. Then used motion blur to smoothen the transition between the images. This will look better when I add the text to the image.
This is what it looks like without the text on the cover. As you can see it looks good, even without the text.
I have created a mood-board to gather inspiration on books about places to decide how to design a title. These are the designs that inspired me:
Using Photoshop I have made 3 different front cover designs, and just needed to chose with one I wanted to use. I used clipping and laying masks to help me design and layout my process throughout creating the cover.
I decided to use the design on the right as it is more ascetically pleasing than the others as, it is on one line and incorporates a more complex design whilst keeping it simple.
The design on the right I used blending option on the text such as, stroke and inner shadow, with a clipping mask of the image to let the image show through.
For the two similar covers, I used a layer mask to remove parts of the text to show the island, to give the simple look and complex effect.
I changed a few small details, such as moving the text up a bit. Then I added and replaced the image on the front of my book and on the spine to see what it looked like completed.
I added the text to the 2 files (spine image and front cover image) that I had open in Photoshop to my the final cover images.
I quickly made an inside cover page with just text on, which is the same as on the front cover.
Final design and layout
These are the rest of the pages in my photo book:
After some last small adjustments, I’ve come to my final presentation of the photo book. I removed the panorama of the bay, the image on page 54 (underwater image), and I change the bleed on some of the images to removed some of the borders, you can see the before (above) and after (below) of the changes that I’ve done.
I feel that this is the best design and layout, as it includes multiple double page spreads, 2 image layouts with borders, full bleed pages and single page spreads. I decide not to add my essay into the back of the book as I feel that it would ruin the “professional” look.
As well as using new photographic images of my own, I will also be using old archival images from my family photo albums. For these photos in particular I took images from albums created by my grandparents revolving around their time moving houses and their jobs. As these were all physical copies, I had to re-photograph these images to allow me to edit them on Lightroom and Photoshop. I did this by placing the photographs on a white paper background, making it easier for me to cut out the background, with lots of light so there would be no visible shadows. I also took photographs of the documents that were in these albums, such as certificates, ID, work emails and advertisements for houses which my family moved into. These documents will add to the sense of of a family photo album that I am trying to create with my photo book as well as being useful in creating digital photomontages that replicate this appearance.
With these images I will rework them both digitally and manually, by hand, creating new meanings to these old photographs. This will also help these images to fit in with my new images I have made as part of the series, making them coherent as a set of photographs, as some of the images from the new photoshoots will be reworked also. Examples of ways I will use this archival material to produce images for my photobook include embroidered pieces as well as digital photomontages.
Once photographing all of my archival material, I then uploaded them to Adobe Lightroom. Here, I went through the photographs flagging the images I thought would best aid my photo book narrative. I then rated the flagged images out of 5, to further refine my selection. Once I had done this, I colour coded the images I had rated 4 or 5, with green being my best quality and most useful pieces of material and yellow being of lower quality but not useless however, as some may be useful for photo montages. From this selection process I decided which images I was going to edit and rework, these being the green images.
In order to edit my archival material digitally or print them out to be reworked, I had to use the perspective warp tool on Photoshop to make sure the photograph’s dimensions were straight and not stretched out. This allowed me to make the archival material the same image size as my newly produced images.
During my initial planning for this photoshoot I aimed to create images focused solely on nature and the environment, I wanted to capture specific areas around the island where nature has felt both comforting and unnerving to me- juxtaposing ideas of contentment and anxiety. I planned on keeping to locations where memories of childhood lay, such as St Catherine’s Woods and Le Creux Woods – I knew there were possible photographic spots full of twisted trees that I wanted to capture so I made sure to shoot on a bright sunny day to take full advantage of the shadows that would be created. I wanted to reflect the work of Robert Darch using natural sunlight to create a sense of optimism and hope in my images, I planned on beginning my shoot early in the morning to capture some more golden tones around the landscapes. Similar to Darch’s style, I will use an aperture setting of about F/16 to create a balance between depth of field and sharpness ensuring that each element of the image is in focus. Nevertheless, to contrast this and provide a break in the synchronicity, I plan on capturing several ‘nightmare-style’ images with cold blue hues and darker tones throughout. In these images I will experiment with using a wider aperture of F/2.8 to focus on a specific branch or leaf, then using a very narrow aperture to compare which style creates a more eerie atmosphere.
Editing:
I began editing my images in Adobe Lightroom, flagging the images I liked best due to composition, lighting, atmosphere and repetition. I found that the images I captured at St Catherine’s Woods were more successful then those taken at Le Creux due to the location holding more expansive landscapes that related to Darch’s work greater. After flagging my images, I rated them from a score of 1 to 5 to create a final selection of the strongest ‘unedited’ images – then I went in and touched up exposure, vibrancy and contrast to enhance the comforting ‘dream-like’ atmosphere I wanted to create. The theme and intertextual idea of Alice in Wonderland came to me during this shoot, I thought of combining a series of the whimsical Josef Sudek photos with vibrant Darch inspired landscapes to create this fantasy ‘Wonderland’ influenced world where one could escape to in times of panic. It was always an idea I wanted to portray however I didn’t yet know how ‘make’ this world, throughout this photoshoot I tried to capture areas that seemed a little too perfect to stay compatible with ideas of Wonderland and dreams.
When undertaking the 1-5 rating of my images I focused on selecting those that best gave the impression of escaping into another world, may it be over a bridge or through a gap in the trees – I wanted each image to have a sort-of ‘clearing for an escape’. Composition wise, I looked for geometric shapes within my images, many had hints of circles that opened out into an expanse of sky, or distant trees. I was really drawn to these photographs as I believe they tell a greater story for the observer, like there if still more to be seen beyond the image – yet it also allows them to come up with the end of this story themselves. I also aimed to include images with lots of repetition, to keep with this ‘too perfect’ idea, like this magical world is not all it seems to be. Images with repetitive trees contorted around each other that seem to just keep going and going into the background of the image always fascinated me and made me think of fantasy worlds – I wanted to include the themes of escapism, but through natures captivating features. Hues and colour pallets in each image we mostly warm and vibrant, I did minimal editing to keep a cohesive pallet throughout of oranges, greens and yellows. However, when shooting the more ‘nightmare-style’ photos I wanted to use colder, more blue hues. I edited my images, which were taken late evening, by turning down the temperature and adjusting the amount of shadows and highlights to create a more mysterious brooding atmosphere. I aim for this contrast to confuse the observer, making them think of why such warm and welcoming images have been disrupted by these dark reminders of reality and fear creeping in.
Experimentation:
This was one of the first images I captured for my project, on a walk through a familiar woodland one evening I found this branch covered in raindrops. At first I was focused on its beauty, I tried capturing it from different angles and using a wide aperture to blur the background, however when it came to editing I couldn’t decide which atmosphere it created more. Looking at the image it made me feel quite unnerved, the branches closing in from the right have an almost claustrophobic feel to them, I saw a more ‘nightmare-inspired’ atmosphere than a calming one. Nevertheless, this meant editing had to be more thorough to fit with my idea of harsh blue tones breaking up the warmth of other images. I began by decreasing the temperature to -68 so I was able to work with the blue tones, I then increased the contrast to create a sharper image and decreased the exposure slightly however the image had too many purple undertones from the original sunset haze. Therefore I slightly decreased the tint of the image to create more green undertones so the image wouldn’t look too unnatural. After touching up the dark and light tones in the image I was really happy with how it turned out, from beginning my edit with a pink, soft image which I had edited to fit with the ‘dreamlike’ photographs, it was interesting to then completely try to change the mood by using a colder palette.
Final Edited Images:
So much inspiration was taken from Darch’s photobook ‘Vale’, I wanted to create that same welcoming but also disconcerting atmosphere. Some quotes that inspired me, from critics discussing ‘Vale’; “Vale is the latest photobook by the artist, which he has self-published. Images of old trees, verdant valleys and hot summer hazes denote an archetypal British countryside and typify the narrative. Alongside this, disconcerting elements peek from behind; something can be felt amongst the trees. The beauty of nature faces a ghostlike, fractured, and melancholic stillness. There is more at play under the surface of this pastoral landscape.” “The work draws from the lived experiences of ill-health. Darch found comfort in fictional worlds, domestic interiors, and the natural landscapes around him. Vale is a compilation of these multiple worlds, allowing the realities, dreams, fictions and memories to blend together in a space of escapism and meditation. Vale cannot be found on a map. It is not a topographical reality, but a semi-fictional one Darch has lived in for the last decade.” – Isaac Huxtable – 2021. It is these fictional worlds that I wish to continue creating in each photoshoot, I plan on undertaking my second shoot by focusing on this theme of ‘dreams’ and using a pictorialism influence to make some Robert Darch inspired images seem even more mystical and unreal.
The above is the first image I chose due to its powerful use as a double page spread. This is because the landscape can fill the page and create an immersive experience when this page is opened. The negative space is also powerful as it splits the page horizontally and also presents an obscure aesthetic.
I then gathered related images and laid them out to create a photo-story. I chose theme images as they feature good framing, focus and balance while presenting the emotion of the subjects. After presenting them in this way I decided to configure them in a more traditional fashion suitable for a newspaper, with some images bigger than others and set out where a readers eye would easily follow down the page from left to right.
I then decided on another full double page spread using the below image as it presents the idea of identity and community well. With the girl staring into the lens it confronts whoever is looking at at the image and evokes emotion. This images is effective as a double page spread as it it immersive with depth of field created by the subjects in the foreground being out of focus while the subject in the background staring into the lens, makes it feel like you are part of the team huddle. The girls head is placed just before the middle of the spread so her head is not split in half.
Finally I presented a montage of screenshots from the NFT film.
For my newspaper spread I decided to incorporate work from various different projects and topics we have covered throughout our 2 year photography course, including studio portraits, landscape, and object photography. I chose what I think were my best work from these projects and experimented with different ways of laying them out in various sequences and narratives. To begin this process, I went through all of my published blog posts and selected the images that I thought best represented my progress and effort throughout photography. I tried to use images that were not too similar to each other, in order to keep the viewer interested. I then had to check that all the photographs were high quality, and that they had the appropriate number of pixels each. After that I imported all the images into InDesign and began to experiment with different layouts until I found one that I was happy with.
