Very heavily involved, with all the books. They're all tied together, but I want them to exist on their own as well. There is this feeling that they each organically take on their own character and I didn't think anyone could decide those terms other than myself. I love photo books. I have a very big collection. Its my preferred way of working—more than magazines, more than exhibitions, I love the photo book. So there was always that ambition to design it as well. I started with a design a little more similar to Disco Night, then I realized this work is actually different. Disco Night was very consciously designed in a very sober way, slightly muted pictures, the text having equal placement as the images on the page. That worked for that book. It was a very sober subject and so I thought the sober design fit the subject. This is also a sober subject, but it's a little more raw and personal, so I wanted an intimate object. I wanted the pictures to have space to breath, because a lot of them have a certain amount of intricacy in the detail. I wanted people to be able to see the pictures better than they needed to see them in Disco Night. That's how I arrived at the lay-flat, no-real-spine design. It allowed for big pictures in a small package basically. To some degree, that's how I ended up with the paper choice as well. It's not an exotic, perfectly constructed object. The spineless structure is a little bit fragile, the printing is little bit rough, but that felt like the right fit for this kind of work.