For most books, the photograph that matters is of a page nobody would think to shoot.
The shot that sells
The book upright or flat with the jacket on, square on, in even light. For a jacketed hardback, this is the frame.
The shot that prevents the dispute
The copyright page, readable. Printing, publisher and year in a single frame, and no description of it is worth as much.
The list
- Front, square on, jacket on
- Spine, full length
- Back, including the price corner of the jacket
- Copyright page, readable
- Page edges, for foxing and toning
- Any signature, close
- Any defect — tears, bumped corners, ex-library marks
- For discs: the spine for region, and the playing surface angled into the light
Light
Even and indirect. Gloss jackets reflect; move the light away or bounce it. For the page edges and for creasing, raking light again — low and across.
Focus on text
Back off slightly and crop. A phone pushed too close hunts and gives you a soft image of the one page that needed to be sharp.
What goes wrong
Photographing only the cover, shooting under a yellow bulb so the paper reads as toned when it is not, and skipping the jacket's price corner. Common mistakes.
Questions people ask
Do I need to show every page?
No. The copyright page, the edges and any defect.
How do I photograph a signature?
Flat, even light, square on, and say what you know about it rather than what you hope.
What about a box of books?
Spines out, in rows, readable. That is the shot that sells a lot.