Already the young photographer Peter Bialobrzeski considered the produc-tion books while making his early photo-series. Given the outstanding qual-ity of his negatives . mostly of them taken with large size cameras . pro-ducing very large prints, has never been a problem. Nevertheless the list of his publications is quite impressive:
"Transit", Edition Braus, Heidelberg
"XXXholy", Kruse Verlag, Hamburg
"Neon Tigers", Hatje Cantz, Ostfildern
"Heimat", Hatje Cantz, Ostfildern
"Lost in Transition", Hatje Cantz, Ostfildern
"Paradise Now", Hatje Cantz, Ostfildern
"Case Study Homes", Hatje Cantz, Ostfildern
"Informal Arrangements", Hatje Cantz, Ostfildern
"The Raw and the Cooked", Hatje Cantz, Ostfilern, not jet in the bookshops
The exhibition "All about books. aims to present an outline of the artist.s work without being a retrospective in itself but rather an invitation for a discussion on : "Wall or book?".
Certainly, one of the basic questions facing the artist-photographer, particularly since the development of half tone reproduction, has been 'book or wall?' Does one make one's photographic statement through the medium of the page or the original print? Of course, most photographers will use both exhibitions and books to disseminate their work, but the question is not an idle one. For the decision about the primary outlet for the work affects its making, to a greater or lesser degree. And more importantly, it can, and has, affected the kind of art that photography might be - whether totally formalist, wholly exclusive, pandering to the relatively confined system of the museum, or more populist (in the best sense), searching for the interesting territory of potentially unlimited fertility defined by the photographer Lewis Baltz. 'It might be more useful, if not necessarily true', he suggested, 'to think of photography as a narrow, deep area between the novel and film'.
From "The Photobook: A History volume 1", Martin Parr and Gery Badger, Phaidon 2004