lababuch /france 2024
I BELIEVE IN THE ENDLESS POSSIBILITIES OF LEARNING. WHATEVER WE DO, THERE IS ALWAYS ROOM TO LEARN. THAT’S WHY I REMAIN CURIOUS ABOUT MY SURROUNDINGS AND OTHER PEOPLE’S CREATIVE PROCESSES. ALWAYS OPEN TO DIFFERENT POINTS OF VIEW, I BELIEVE THE POSSIBILITIES ARE LIMITLESS. EVERYTHING I LEARN, I SHARE WITH OTHERS ON THE SAME JOURNEY, WHICH IS WHY I TEACH.
A couple of weeks ago, I spent an immersive week at LaBabuch, a farmhouse-turned-art-studio in the heart of La Brenne, France. Surrounded by nature, it was the perfect setting for an immersive dive into the world of photobooks.
Led by an experienced team—Chiara Capodici (Leporello Bookstore), Juanjo Justicia (Underbau), Clara Gassull (LaBabuch), and Israel Ariño (Ediciones Anómalas)—we explored every aspect of creating a photobook, from funding and production costs to editing, design, and printing. The focus was on organizing and conceptualizing images to build narratives, developing a visual structure that effectively supports storytelling. We also discussed topics related to new formats and contemporary platforms for distribution and dissemination.
The great thing about photography is that we have many bibles.
Chiara Capodici
For the first time, I dedicated a week entirely to my own work. Having spent years as a commercial photographer and then as a mentor to others, I had never taken the time to focus on my own archive. It was an intense and necessary experience to confront all those photos together, and I realised I needed the disconnection that LaBabuch offered—minimal internet, no emails, no phone calls—just nature and the company of others committed to their projects.
It was a very intense experience to confront all those photos together for the first time, and I know I couldn’t have done it any other way. I needed to disconnect—to be without a strong internet connection, no emails, no phone calls. I needed to be surrounded by nature and by others who were also focused on their own projects, and I found exactly that at LaBabuch.
The instructors were incredible—each brought unique knowledge that enriched the experience. Israel shared his work and expertise as editor very generously, it was specially moving how he taught me bookbinding with such patience, turning a simple process into an art form. Clara guided me in transforming my dummy into a real hardcover book and inspired me even more by sharing her journey in creating a book for her conceptual artwork.
Juanjo’s masterclass on design fundamentals was beautifully executed, reconnecting me with my designer spirit and applying those principles to photobooks. And Chiara, with her vibrant energy and her Leporello Books pop-up library, added a special touch that made our learning even more immersive. How cool is that? Also, special thanks to Berta whose was there to make this happen smoothly.
The camaraderie with the other participants was equally rewarding. It was heartwarming to see everyone evolve throughout the week, each leaving with a book in hand—a tangible result of our collective efforts and the magic of photography on paper.
Photobook narrative, editing and dummies workshop. Aug. 2024.
LaBabuch, lovingly restored by Israel and Clara, is more than just a space—it’s a sanctuary for creators to connect, learn, and bring their projects to life. This week was a profound reminder of the importance of having time, space, and community to nurture creative work.
Creativity is not something that happens, is something that we build through lifestyle decisions.
Having lived this experience I understand even more why I created Roadtrip, ETC. In very different ways we both create opportunities for people’s creativity to flourish.
I’m deeply grateful for this experience and look forward to coming back to Lababuch (maybe for a creative residency?) and crossing paths with my fellow participants—Cristina, Mamen, Francesco, Estefi, Philippe, Brigitte, and Aitziber—again soon.
*This post was originally shared through my newsletter, a private space where I write letters to my friends reflecting on photography and life in general. I also share things I come across that impact me in a creative way; exhibitions, travels, workshops, a flower on the street, an overheard conversation, whatever sparks new ideas. You can join my pen pal friends list here.
ALL THAT GLITTERS
Photography is like breathing for me—it's just part of existing. I take photos, forget about the undeveloped film, and eventually store them in binders and hard drives. This routine went on for years until 2023, when I realized I might not have all the time in the world to work on them.
Organizing my archive has been tough, and facing years of work all at once has been even tougher. But now, I’m diving into the world of photo books, exploring this format as the final medium for my archive—learning, investigating, and defining how these images will live on.
I’m drawn to the endless possibilities of books and see this as my next challenge. Taking photos is just the beginning; it’s in the editing process that the narrative comes alive, and that’s where I am now. I’m laying out hundreds of photos, connecting them like an all-in poker hand, inspired by the work we do at Doublepage. The time has come to shape my own archive, with the book as the chosen medium.
“All that Glitters" is a series of family portraits mixed with photos from my “trips to nowhere”. The only link between them is the gaze and intention of the photographer—me.
A book is always a collaborative project. Many different roles play their part for its existence. Thanks to LaBabuch, this dummy came to life in just one week. We worked hard, and it paid off.
