The book’s space interviews: A drop in the ocean

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16 ott The book’s space interviews: A drop in the ocean

Book: A drop in the ocean
Photographs: Sergio Romagnoli – Milo Montelli
Book design: Milo Montelli, Alessandro Calabrese
Editor: Editions du Lic
Date of publishing: July 2014
N° of copies: 500
Dimensions: 21×26 cm
Binding: Hot foil embossed printed pearlescent hardcover
Paper: Profimatt


Which are the 5 indispensable pictures for this book?

Photographer: We should probably have asked Sergio but, being 20 years since his tragic passing, it is not possible. There are no “key pictures” to us. The narration is an unconventional one, it acquires its own flow in the moment it exists, it’s very hard to find the most relevant pictures. The cover is indeed a very significant one. It has the power of telling about the entire story itself. It is one of the last pictures taken by Sergio and comes from the film roll that was found in the water, near his body, inside the camera he was carrying in his backpack at the moment of his death.

What is the framed structure of this book?

Book Designer: The structure of the book is very candid. We did not follow any specific rules, we are nor book-designers or graphic-designers. Thus, we only followed our instinct, trying to respect the amateurish approach Sergio followed as a photographer.

How did you develop the work on the book?

P / BD: We worked in a very intuitive manner, we did not want to tell a story, but rather to recreate a scenario. With this book, our aim is to talk about photography from the perspective of a very intense and simple life.


Which narrative slant did you choose for this book and why?

BD: As mentioned before, we did not choose a proper narrative direction. We tried to discover and display Sergio’s potential step by step, picture by picture. We made a real trip inside his photo-albums so, in a way, we tried to make some order in the disorder, looking for affinities between pictures. It was a natural process.

What’s the difference between the book and the photographic project slant?

P: We wanted to speak about authorship, and the book was the most effective way to do it. We also made an exhibition following the publication, and it was more an exhibition about the book, rather than the contrary. However we took more freedoms during the exhibition process compared to the editorial one, we made a step forward also showing our will.


How did you choose the materials and the kind of printing?

BD: Each decision has been taken with Nicholas McLean, the publisher. He is very experienced in making beautiful photobooks so we trusted him from the first moment. We printed in one of the most renowned printing companies in Europe and learned a lot from that experience.

How the materials’ choices are connected to the photographic project?

P: The materials are very “common” in a way. There are no special effects inside the book. Maybe the only luxury material is the pearlescent cover, which gives to the picture an alienating character.

You can also find all the interview archive on 3/3 blog: