The photobook market is in decline. What’s the problem, and can it be fixed?

The photobook market is facing a decline, with the reasons behind this trend becoming increasingly apparent. The rise of digital photography and the accessibility of smartphones have led to a decrease in the demand for physical photo books. This has resulted in an anarchy of publishers, both large and small, competing for a shrinking market share. The financial struggles of established publishers like Steidl have only exacerbated these concerns.

Photographers and book collectors have expressed their frustrations on social media, with many citing cost as a major factor. Andrew Bartram noted that he can't afford to purchase both photo books and darkroom materials. Others, like Max Pasion and Jeremy Sutton-Hibbert, have given up buying photobooks altogether, finding them too expensive at £50 or more. Even those who still buy photobooks, such as Conor Masterton, find themselves more selective in their purchases due to the vast number of books being published.

The proliferation of publishers and books has led to a decrease in overall quality, with many photobooks being perceived as uninteresting and lacking unique design elements. Douglas Ljungkvist highlighted the commoditization of photography books as a significant issue. Additionally, the ease and ubiquity of photography have contributed to a sense of apathy towards photo books, as individuals are more inclined to create and share their own digital images.

Publishers are struggling to find a viable business model in this new landscape. With few gatekeepers left, self-publishing has become more prevalent, leading to a deluge of books and a uniformity in design. As David Hoffman pointed out, the key to survival lies in creating photobooks that tell a compelling story, have a unique perspective, and go beyond simply showcasing photographs. This requires a return to curation, gatekeeping, and risk-taking to make the photobook industry sustainable once again.