(based on a true story)
Signed Limited Edition, hardcover with slipcase
Right off the bat, we’re uncertain. A folio, held together with string and beads? Twenty-first Century digital imagery, presented in a Fifteenth Century publishing format; this is going to be good.
We understand the familiar spine-creak and fragrant, glossy pages of other photo books that line our shelves. Images set off against white matting, each afforded a respectful moment, each making its unique statement.
This is the opposite of what (based on a true story) aspires to.
The prevailing ethos of photojournalism – as we have known it for the past 50 years – has been that the photographer should somehow be invisible, recording life with an objective, almost clinical dispassion. David Alan Harvey doesn’t do dispassion. He wants to get closer, forge a bond so tight that subject learns as much from photographer as photographer learns from subject.
(based on a true story) is a collection of spectacular, mysterious moments. The story moves with fluidity and ease, all day and all night, through a city that is never named on a continent never specified. Is it journalism? Is it “staged”? As the poet said: partly truth partly fiction, a walking contradiction
(BASED ON A TRUE STORY)
Published by BurnBooks June 2012
66 full bleed photographs 9,64” x 14,17”
1 poster 14,17 ” x 18,50 “
1 roadmap for original re-assembling
1 postcard with clues
Slipcase: double run color print on canvas ‘IRIS’
Cover: hardcover, color print on canvas ‘IRIS’
Contact sheet on inside cover, flap
Shipping box: cardboard, duo color printed
Paper: Fedrigoni Splendorgel Extra White 160 gr
Photographs: David Alan Harvey
Layout and Design: Bryan Harvey
Producer: Eva-Maria Kunz
Production: Andrea Barbato, Michael Courvoisier, Candy Pilar Godoy
Printing by EBS, Verona, Italy
“(based on a true story) seems to be a random machine gun attack of a book, but it’s not. It’s held together by carefully (and very cleverly) calculated clues. External elements such as the postcard of clues and the ‘map’ (it’s a visual map – I found it in the end) of the book point you in one direction…you get a raucous, dynamic and thoroughly enjoyable ride around the hillsides of Rio de Janeiro, in a book where the text, design and layout is incisive, innovative and fun.”
—COLIN PANTALL for photo-eye
"It takes its place as one of the best of the more extravagantly designed photobooks at a time when extravagant design is making a comeback."
—MARTIN PARR and GERRY BADGER, The Photobook: A History, Volume III