Three years in a row the publisher/designer of Street stood at the Leipzig Book Fair with sample pages of the book. It was the responses she got there that determined what kind of book Street has become, a photo-journalistic document intended first and foremost for the people who – either in person or through the proxies of their parents – were part of the history that is told here in words and images. Street gives those participants a face – and, surprisingly often, a name.
The panel noted that the book has been structured consistently from inside to out. Whatever their orientation, portrait or landscape, the pictures all have the proportions of a 35mm negative. They provide the book block with a consistent horizontal and a consistent vertical dividing line between text and image. Contrary to the fashion of banishing captions to the end matter, here the texts are entirely in their place close to the photographs where they complete the drama.
This structure has produced an oblong book that even won over the panel member who believes oblong books are an abomination. Despite all the consistency of design, there is no sense of rigidity: that has been taken care of by the occasional roll of colour film, blank page or page with nothing but text. The inner cover produces a nice red accent on the inside of the hollow back.