Blockchain wrote:Hello Robert.
Thank you for your constructive critisism of our book.
You may be interested to know that all major contributors to this production are members of this forum. Our collective desire beyond a 'picture book' of the bikes we love and admire (which seems to be missing from the book shops certainly with Australian content) was to try and promote the preservation of our racing bike heritage.
Thanks Blockchain, I was very interested to find that out that BNA contributors are so involved with the book. Usernames make it hard to decipher but through personal dealings with Mario and Warren I know they're silverlight and bicyclepassion. I suppose, had I known of so many forum members' involvement in the book, I would have been more circumspect in my observations. I'm sure I'm not alone in my curiosity about the identities of the other featured collectors who are also BNA'ers, anyone care to out themselves? Your collective ambition is truly admirable and I wholeheartedly subscribe to it.
Blockchain wrote:As all the machines are in essence 'old' it was decided to present them in their natural (home) settings, we did not want sterile stuido shots - the result or effectiveness of this will naturally be in the eye of the beholder some will like it some won't..
I know I used Cyclepedia as a point of comparison. I also used Cycle Exif. My point wasn't that studio shots would be better, just that more respect be given to these beautiful machines. Too many of the images feature stunning bicycles posed against less than stunning contemporary suburban retaining walls and garage doors. Bikes are not garden fixtures, it could be argued that their natural setting is out and about. Have a squizz at Cycle Exif for the sort of photography that is possible when proper consideration is given to location, lighting and lens choice.
frailer5 wrote:Many a slip twixt the cup and the lip in prepress and printing. Despite the constructive criticisms, it's a fine book. Especially for the price. OK, if the guys were doing it again (or a Vol 2?

perhaps some tweaking on stuff like Colour Profiles for the target paper stock/presses; stuff like that. Sample press tests are a great thing, but cost money. Sometimes appropriate proofing helps to see stuff pre-print. I know in our neck o' the woods we've only belatedly moved (close) to F47 Uncoated Profile as an alternative, as customers are using recycled (sometimes hybrid) stocks of varying quality. Been an absolute boon.
A great book at a very affordable price.
Let's be frank, my criticisms to date have not been particularly constructive

OK, hand the man a shovel!
Here are some constructive observations that could cause further offense - sorry. If there was to be a volume 2 I suggest that professional advice be sought about the file prep of the photos. A good printed result is dependent on all parties involved using carefully colour managed workflows; photographer->designer->printer.
I've earned my living from photography for decades. A substantial part of my work is documentation of artworks for publication. I've had more sleepless nights over jobs going to print than I have spokes in my garage. I've put my heart and soul into making sure the images we send out are the best they can possibly be and I do my best to be sure that our clients are as invested in colour management as we are, 99% of the time they are. Good dialogue between photographers, designers and printers results in printed work that looks amazing. Colour management is easy today in comparison to five, ten or twenty years ago. In my experience the only things that will unstick a print job today are last minute changes to paper stock or printer or using an offshore (read Chinese) printer who isn't invested in colour management. Price is sending a lot of print work to China and many Chinese print houses are treating colour management with the sort of hit and miss techniques that were common in Australia a decade ago. Having said all of that it still bothers me that the Peter Underwood images have some sparkle that the others don't, despite their black backgrounds. I don't believe press tests would have improved matters, more careful consideration should have been given to the initial raw file conversions for the photos and subsequent post production work.
I have very mixed feelings about criticising the book. On the whole as I said in my first post I think it the curation, research and writing are great. The exposure and promotion of so many wonderful Australian bikes in this format is fantastic. However any book like this is heavily dependent on imagery and my feeling is that, despite being given such wonderful subject matter, the authors have illustrated the book with many images that are technically and creatively substandard. And I'm afraid all the best intentions in the world don't excuse an ordinary print job at any price.
My sincere apologies if this causes any offence.
Rob