Vv) ^
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PICTURE BOOKS
A Circular Presenting the Technique
For Compiling State Picture Books.
&
W. P. A .Technical Series
Community Service Circular Number 2
Writer#' Program r , i i
MAY 31, 1940
^FEDERAL WORKS AGENCY
WORK PROJECTS ADMINISTRATION
Division of Professional and Service Projects
Washington, D. C.
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CONTENTS
Page
INTRODUCTION 1
PROSPECTUS: State Picture Book Series 2
PHOTOGRAPHS
Coverage ................ 4
Sources ••• ....... 9
v
LAYOUT 13
TEXT AND CAPTIONS 15
PREPARATION OP PHOTOGRAPHS . 16
OTHER PICTURE BOOK POSSIBILITIES . 17
PERSONNEL 18
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F0HS.70RD
This circular provides suggested operating techniques
for compiling state picture books. It is hoped that the sugges¬
tions, as far as they are pertinent, will serve as a guide to
preparation of these books and will aid those responsible for
technical supervision.
The procedures outlined herein are not mandatory. Local
conditions and legal requirements may necessitate some changes.
These procedures relate- only to the technique of prepara¬
tion of the materials involved. Nothing in this circular is to ho
construed as affecting or modifying in any way administrative pro¬
cedures of the Work Projects Administration.
P. G. Harrington
Commissioner of Work Projects
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INTRODUCTION
A picture book should not "be a collection of pictures, for if it
is that and nothing more, it is worth precisely the price of so many pic¬
ture postcards, and does not justify itself as a worthwhile undertaking of
a Writers1 Project. Conversely, picture "books that are used to tell a
story serve a valuable purpose not only as souvenirs—the conventional
pattern—but even more important they are a medium for a documentary
portrayal of American life. The State picture books, now being prepared,
should belong in the latter category.
Such a presentation will require no loss care and editorial
attention than would be required for any other publication of the Writers1
Program. As a matter of fact, instead of requiring less careful attention
than a conventional book, picture books demand the most scrupulous care;
for if it be true, as the Chinese say, that one picture is worth a thousand
words, the opposite must also be accepted: that any error or lack of
judgment in that presentation is immediately and irrevocably apparent—and
not easily excused.
Procedure requires first that a plan be made; second, that pictures
be chosen that will develop that plan or theme; and third, that a text be
prepared that will integrate the pictures into a single unit.
A detailed discussion of the stops involved in the preparation
of a picture book follows.
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PROSPECTUS
STATE PICTURE BOOK SERIES
In "undertaking tlic preparation of a picture "booh the first cues—
tion to dp. asked is mat purpose is to "be served "by the "book. Is it to "bo
a souvenir collection'—a legitimate excuse for a "book? Is it to "be a pic¬
ture of an old State changing rapidly into a new order? Or a State that
sees its future in terms of its recreational areas? Or one that is import¬
ant to the Ration as a repository of its past? Or a State that has a pecu¬
liar interest "because of either an industrial or agricultural development
that gives it nationwide importance?
Once the plan is decided upon, an outline should "be made, show¬
ing how it is to bo developed. Such a skeleton structure is essential as
a working basis for the preparation of the book, enabling the compiler to
apportion the pictures to the main divisions, to note gaps in the cover¬
age, and to plan the text.
As an example of a picture book that has a thematic pattern
Washington; Nerve? Center, by Edwin Rosskam; and the Samuel Chamberlain
books—the American Landmarks series (Hastings House, publisher), may be
cited. Of another order—a book that has a literary importance— Land of
the Eroe by Archibald LlacLeish, an intcrosting example of the interdepen¬
dence of text and picture, may bo cited. Of picture books of documentary
value, a recent publication—As Long as the Crass Shall Grow—by Oliver La
Earge and Helen Post, is well worth studying "because it shows clearly how
text and pictures can bo integrated into a single unit, each developing
the full value of the other.
Of published books of units of the "Work Projects Administration
reference nay be made to: Our -Washington; An Album of the Ration's Capital,
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a Writers1 Project publication; and Changing Hew York, by Berenice Abbott,
a book completed under auspices of the Federal Art Project#
A close study should be made of all picture books on the market
including those in the ten—cent stores; for in such an experimental field
new and valuable techniques are bound to develop, and it is highly probable
that in the preparation of these books the picture book technique may be
carried to further usefulness#
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PHOTOGRAPHS
COVERAGE: The choice of photographs, after due consideration has been
given to their importance to the plan of the book, is undeniably largely
influenced by taste. Nevertheless, there are a few generalizations to be
made. All pictures should meet certain standards of quality: they must
be well—lighted glossy prints, preferably 8 x 10's, of pleasing compo¬
sition, and in good condition. In so far as possible they should be new
pictures.
Beyond those minimum standards there are generalizations perti¬
nent to the coverage, as outlined below:
1. HUMAN INTEREST
Picture books will have interest now, and value later, in
direct relation to how successfully they portray the contemporary
scene in terms of people. Outstanding work in this respect has been
done by the photographers for the Parm Security Administration, whose
work is well worth studying. (Por a fuller discussion of this con¬
sult U. S. Gamera: 1939.) They have taken pictures of individuals,
and in so doing they have succeeded in illuminating many phases of
American life. However, this emphasis on the need for pictures of
people does not mean that they are to be "planted" for the sake of
human interest. A picture of architectural or scenic interest does
not need people; as a matter of fact, their inclusion often detracts
from its value as a composition.
2. STREET AND HIGHWAY SCENES
Contrary to the generally accepted opinion that there is little
variety in the towns and cities of America, actually a wide divergence
exists. Almost every one of the large cities has a street like none
other in America: to mention a few, Beale Street in Memphis; Olvera
Street, Los Angeles; Nob Hill, Son Francisco; Beacon Street, Boston.
Then there are other distinguishing foatures—the row houses of
Baltimore end Philadelphia; the cottage-lined streets of the Chicago
outskirts; the cotton warehouses along the Savannah waterfront; the
iron grille work in Mobile—all unmistakable identification of a city.
Valuable, too, are pictures of streets in towns and villages—
a New England village with the church in the background; main street
of a prairie town; a courthouse square in a southern town. Highway
scenes that give a general idea of the countryside are likewise im¬
portant.
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3# FLORA AIED 3HTA
Good pictures of those t;vo subjects arc sometimes difficult to
find, but if available they usually are among the most popular in the
collection* Choose subjects that are peculiar to the region, avoid¬
ing those that are common to \ddo areas of the country* As an example,
though dogwood pictures are beautiful, they arc rather valueless bo-
cause they are so common; an excuse for using one -would bo the fact
that it was the State flower, or that one area was noted for cm un¬
usual number of such trees, or that a festival was associated with
their blooming* v
In the co.se of fauna avoid the stuffed animal typo—the shot
obviously taken in a zoo*
4. FAELI LIFE
Any collection purporting to give o. survey of the State should
include at least one picture showing a typical farm lay-out, a pic¬
ture that gives some idea of what the countryside is like, the type
of houses and barns common to the region, the relation of the houses
and barns to each other. Such oictures arc often overlooked, doubt¬
less because blind spots develop for something; so familiar, and there¬
fore, coraparativcly uninteresting. As a matter of fact, these ley-
outs vary from state to state as much as any other feature.
Use pictures shoring practices peculiar to the region; for in¬
stance, the use of slate fence posts in Pennsylvania; curing meat by
hanging it in sacks on tree branches,typical of some places in the
South; etc*
In selecting farm pictures try to strike a balance between the
nev; and the old* The latter classification is apt to be favored be¬
cause it is more picturesque, but pictures shoving the most advanced
techniques have actually a greater value and interest. Some of the
most remarkable work in America is being done on the farms, often
under the direction of various government agencies.
In specialized agricultural areas—the rice country of Louisiana;
the wheal country in Kansas; the cotton fields of the South—-give ade¬
quate coverage so that a complete stars'- is told, carrying the process
from the planting through to the marketing*
5. INDUSTRIAL PICTURES
Uherever possible, use pictures of the most advanced techno¬
logical processes, as well as shots of the more dramatic and more
familiar aspects* As an example, consider the modern steel plant.
The most dramatic pictures, of course, are of the men working around
blazing furnaces, but perhaps more important editorially are the pic¬
tures that show how steel is processed now with comparatively little
labor* True, the latter picture will not ha.ve the dramatic power of
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the former, but when accompanied by a proper caption it will be no
less interesting than the old.
Some industries have a national importance warranting the de¬
velopment of a full story through pictures# Examples of this are
coal mining in West Virginia; oil in Texas; automobiles in Detroit;
steel manufacture in the Calumet area; copper mining in Arizona; etc.
6. WOEK OF TEE VARIOUS GOVERMTENT AGENCIES
These books should also portray the work of the United States
government—UP A; NYA; CCC; Soil Conservation Service; the Reclamation
Division of the Department of the Interior (great dam and irrigation proj¬
ects); Farm Security Administration; Public Health Service; Extension
Service; Office of Education; U. S. Forest Service; Indian Bureau, end
others# In many instances these agencies are engaged in work that is
profoundly affecting the American p,at tern; and photographs of these
■undertairings will have historical as well as contemporary interest.
This work has news value and pictorial possibilities: the adult
education programs being forwarded by a number of agencies, among them
the UPA, FSA, and Office of Education, are notable examples.
In selecting such pictures, keep in mind that one of the best ways
to show the value of a program is to contrast the old a„nd the new
7. SCENICS
In selecting such pictures keep in mind that it is not enough
that the picture be beautiful—though there is a temptation to select
on that basis# It must have a topical importance as well# For
example, pictures generally favored are those that frame the landscape
behind trees in the foreground; and these, though beautiful, in time
begin to look pretty much alike. The same criticism applies to trails
through the woods, boating scenes on lakes, driveways through paries#
Select views that belong unmistakably to the region discussed#
In selecting landscapes it is important that the proportions
of the photograph bo considered, for a picture that is very impressive
in the usual 8 x 10 print, loses much of its value when reduced to
half page size. As a general rule, uso either those that will make a
full pa.gc upright, or those that arc of such proportions thai they can ho
used for a double page horizontal- spread# This does net negate the use
of single pago horizontals entirely, for some will takes the necessary
reduction satisfactorily#
To bo highly prized aro pictures of unusual subjects—dust
storms and blizzards; a mirage; star light in a desert slqy; strange
treos and flowers; grasshoppers and corn borers, and other destructive
pests at work; etc.
8. SPORTS AID RECREATION
Desirable pictures in this category seem to be the easiest to pro¬
cure, but experience teaches otherwise# There are,of course,hundreds of
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good sports and recreation pictures, "but a highly selective "basis must
be used for the picture books, in view of their space limitations. That
the picture is good is not enough; it must have a special interest for
the State. A bathing beach picture, for instance, should indicate the
special attraction of that beach—its tropical background, impressive
length, fine layout, etc. In other words, what distinguishes this
beach from others in the country? The same question needs to be
asked in regard to pictures of golf courses, race tracks, winter sports
areas, etc.
In a second category cue pictures of recreational activities
found in few other places in the country—woodsmen*s contests in West
Virginia; frog jumping contests in California; cock fighting in Mexican
quarters; etc.
Select good action shots for the sports pictures.
9. HISTORICAL I1TTEEEST
A few old prints or photographs might be included in the State
picture book collections, but only because of their importance to the
development of the main theme or text. For example, in a layout of
grazing pictures emphasizing conservation efforts, a photograph of a
pile of buffalo skins would be valuable as an indication of the ruth¬
less destruction that took place; or in a treatment of modern textile
industry in the South, a picture of a primitive cotton mill would be
important; or a famous painting associated with the State's history
might well be included, as, for instance, the "Run" in Oklahoma; or,
where the development of transportation is important in the Stole's
history, as well as from national interest, an old photograph or print
might be used, for instance, the driving of the golden spike in Utah,
traffic oil the Erie Canal, a wagon train in the West. Early views of
cities ore popular.
The above is not to be construed as covering the subject of
books devoted wholly to prints and photographs of historic interest,
but as pertinent only to a State picture book series.
10. ARCHITECTURE
Pictures of this subject seldom present many difficulties, pro¬
viding the quality is satisfactory. On the contrary, there is often
a tendency to include too many pictures of buildings in a collection.
As a be.sis for selection the following points might be considered:
importance of building as a type associated with the region; fane of
architect; first of its kind in the country; an outstanding example
of modern architecture. There is a tendency to neglect domestic
architecture, except for historic houses. Trick angle shots are to bo
used sparingly. Unless the "trick" shots are very good, a conventional,
picture of the building or an important detail of it, is much more
suitable.
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M 8 «"*
11. EDUCATION
Include pictures of student activity. Boards of Education in
many of the large cities have interesting collections of photographs
showing adoption of the most advanced educational methods. A class
Building an aeroplane in a vocational high school; a laboratory scene
in a technical school; nursery schools in the slum areas; modern
facilities in country school; adult education classes for the foreign-
born and the Negroes, and in the hill billy country—these are subjects
that mate good pictures: in other words, for the purposes of these
books, what is taking place inside the school buildings is often much
more important end interesting than the buildings themselves.
*****
AVOID:
1. Pictures of buildings with wires and automobiles in the fore¬
ground.
2. Pictures cluttered with detail.
3. Pictures of crowds, unless spectacular; as a rule, a picture
of an individual is better than ono of a g^oup.
4• Air views are a special problem. Keep in mind that the photo¬
graph has to take o, redxiction in the engraving, and this reduction oft on
makes the airviow meaningless.
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SOURCES: The employment of a staff photographer of first rate abilities,
of course, represents the ideal, but in many places that is not possible,
and even so he is rarely of value in getting topical pictures. His work
*
must necessarily be supplemented by a vigilant scouting for photographs.
Fortunately, a proper approach usually wins the fullest cooperation from
individuals and organizations whose help is sought.
Obvious sources .are State government agencies and newspapers.
Overlooked all too often are amateur camera chubs throughout the State:
in the past these have provided the projects with many of their best pictures.
Large industrial concerns have pictures, or will have them made. Railroads
and airline companies are excellent sources.
Watch other publications, particularly the picture magazines.
Often a print will be supplied by the magazine, and even more important,
in many instances, the photographer, whose work is thus brought to atten¬
tion, has other pictures of the area which he is willing to let the proj¬
ect use.
Federal agencies have some of the finest pictures in the country.
The Washington staff is prepared to examine these upon request wherever
help is needed. A list of those agencies, with a general indication of
the kind of pictures available, follows:
I. Federal Works Agency
1. Work Projects Administration
2. U. S. Housing Authority
3. Public Works Administration, Pxiblic Buildings
Administration, and Public Roads
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II* Department of Agriculture
1* Darn Security Administration
The coverage is particularly good on the
following subjects:
a. Darming
Uhilc the PSA is perhaps best known
for its photographs of the farms in the
depressed areas, the collection is being-
built up to include complete coverage by
subject; that is, the cattle industry,
and the growing and processing of Various
products--cotton, rice, sugar cane, sugar-
beets, etc.
b. Small Towns
Street scenes. Public buildings*
Community activities-—auctions, socials,
car-nivals, etc* Very good Americana in
this collection*
c. Industrial workers in the rural aroa-S
Mining, lumbering, textiles, oil
d. Scenics
e* "Americana"
Dor lack of a better none the term
"Americana" is used to include the human
interest photographs in this collection-
folkways and folklore, signs, house furnish**
ings, celebrations, amusements, butchorings,
quiltings, etc*
2* The Extension Service
3. U* S* Porest Service
One of the best of the government collections*
C-ood quality, interesting subject matter, and among
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the lot many "beautiful pictures. Coverage of the
following subjects in particular:
a. The national forests and activities
associated with their development —
lumbering, grazings, sports and
recreation,
b. Flora and fauna
c. Conservation
d. History — a limited collection "but a
good one, particularly of pioneering,
4. Soil Conservation
III, Department of the Interior
1. Reclamation
Excellent photographs of the great dams and
the power projects and the surrounding territories.
2. Indian Bureau
Good collection, "but limited.
3. Rational Park Service
IV. War Department
1. Signal Corps
(Note: A charge of 35 cents a print is made "by
this division)
The Signal Corps has a valuable collection
of photographs and prints of historical interest.
Among the subjects covered are:
a. The Old West
b. Old Forts (drawings)
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c. The Wars, from the Revolution through
the World War. Copies of famous pictures,
portraits of generals, important documents,
otc.
d. The Matthew Brady collection.
2. Air Corps
Air views of cities, mountain ranges, etc.
7. Smithsonian Institution
A number of famous collections are available
here, including the W, H. Jackson and Wheeler Ex-
p e ditio n pho t o grapns.
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LAYOUT
Taste undoubtedly is a deciding factor in any layout that is
made, just as it is in the selection of photographs. There are, however,
a few general rules to be followed:
1. Consider facing pages as an editorial unit. Use
related subjects, and wherever possible, pictures
that are harmonious in composition,
2. Vary the makeup as much as possible. Obviously the
size of the book imposes restrictions upon the
arrangement of photographs, making it essential
that a simple arrangement bo followed; but neverthe¬
less it is possible to break the monotony by such
simple expedients as alternating full page uprights
with horizontals, using a few double page spreads, etc,
3. Avoid crowding. If a picture is worth using, it is
worth a good presentation. A rjicture of unusual
beauty or merit, in many instances, should be given
a page by itself even if it does not use all the avail¬
able space. Bo generous with the white space.
4. Mark each editorial division with an impressive
picture. For example, if in Tennessee the plan of
the book should be based upon the three generally
accepted geographic divisions of the State, then
the first picture in each division should be one
that gives a general idea of the most characteristic
feature of the area.
5. Use double page spreads for the front and back end
pages. These should be unusually fine panoramic
views.
6. Avoid trick layouts; that is, the use of pictures on
an angle.
7. Study each picture to see that it is presented most
advantageously. Judicious cropping often makes an
impressive picture out of one that is commonplace.
This is particularly true of skyline views, street
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scones, industrial scenes, and pictures of monuments
and of groups of people.
8. Consider carefully whether the picture should be
used on a left or right hand page. As a general
rule the main point of interest in the photograph-
should face toward the gutter of the page, that is,
looking into, not outside of, the book.
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Text and Captions
A successful picture look is one in which as much attention has
been given to the accompanying text as to the pictures, for the two are
absolutely interdependent. The text must be used to make the plan of
the book clear; in other words it must develop and carry the theme, and
every caption written must be an integral part of the book.
The plan of the book should be outlined in a foreword of some
250 to 350 words. Short general introductions should be used for each of
the maun divisions. Captions will vary in length, from a single line to
25 or 30 words.
All captions should be written in a straightforward manner.
Avoid "fancy writing". Be careful in the use of superlatives.
Whenever possible indicate the importance of the place
pictured to the State as a whole.
Llake the caption adequate. Include all pertinent detail —
official name, location, date (of building's construction, or of an his¬
torical event), etc.
Write the captions from the point of view of an outsider. Other¬
wise, many of them may be almost unintelligible to those not familiar with
the State, or the place pictured.
Chock and rcchock every caption for accuracy.
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PREPARATION OF PHOTOGRAPHS FOR PUBLISHER
1. Uumber each photograph.
2. A caption, complete in detail, should bo attached
to each print. It should include the name of the
State, the illustration number, the title and the
credit line.
3. A typescript of all captions and a carbon should
accompany the photographs.
4. To facilitate handling at the publishers, and to
insure accuracy, an over-sized dummy in the book's
proportions should be submitted, indicating the
proposed layout for the page, and carrying
typewritten captions. This dummy should be loose
leaf, to facilitate its use by the printer, who may
set type from these pages.
5. It is not necessary that the photographs submitted
bo measured exactly for cropping,publishers usually-
preferring that this be left to their technicians
and the engraver. However, suggestions for the
cropping are welcome o.nd arc given consideration.
6. Pack photographs carefully, between stiff cardboard,
and mark for careful handling. The larger pictures
should be packed separately, between corrugated
paper. Use tissue between the photographs. In so
far as possible, have the photographs arranged in
order corresponding to that in the dummy layout.
Many good pictures are ruined by careless handling —
a crack in the surface of the print shows in the
engraving.
7. Avoid:
Using clips, rubber bands, etc., on prints
Rolling or folding prints
Marking across the face of print with anything
except a greas pencil.
Writing on the back of print with anything
except a soft pencil, very lightly. Pencil
marks on the back have ruined many a photo¬
graph.
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OTHER PICTURE BOOK POSSIBILITIES
A number of States are preparing picture "books of a special
character. Possibilities include collections of early prints and photo¬
graphs of historical interest; conservation studies; books to bo used in
visual education; souvenir books of the cities or of communities of
unusual interest; etc.
The only limits on these possibilities, apart from those within
the project's own framework, are the difficulties the sponsor may experience
in finding a publisher. Many ideas come to a sad end when forced to pass
the test of sales possibilities, in view of the relatively high cost
of producing a picture book. Therefore, it is urged that the publication
possibilities be explored before too much time and effort are expended
upon the book's preparation.
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PERSONNEL
A special group within the project should "bo assigned to the
preparation of the "book. Responsibility as a whole should be delegated
to supervisor who will act as managing editor. T?h:.le some knowledge of
pictures and layout is an asset, the first requisite is that he
be a person of sound editorial judgment. The plan of the book and
its text arc as important as the pictures.
The staff should include, if possible, one or two technicians,
preferably experienced lay-out people. A good caption writer, a research
staff, and the necessary clerical help will be necessary.