A4 Booklets
32pp self cover onto 170gsm Gloss FSC Certified
Four colour print throughout
Trimmed, collated and staple bound
When master photographer Tom Lee envisioned the first issue of Focus Quarterly, he sought to create more than just a photography magazine—he set out to publish a tactile, gallery-like experience in print. From the clean, intuitive layout and expressive visuals, to the expert support on artwork preparation and file handling, Ex Why Zed worked closely with Tom to turn his vision into a bold and elegant publication. In this case study, we’ll delve into the styling of the finished zine, the collaborative production process, and the actionable insights that designers, photographers, and independent publishers can learn from to make their own photo-led books stand out.
Focus Quarterly – Issue 1, the debut photography periodical by Tom Lee, offers a masterclass in refined editorial design. The project combines expressive visuals and a timeless layout, encapsulated in an elegant A4, 32-page self-cover format. Through this structure, Tom Lee has created not just a collection of images, but an immersive exhibition in print form.
The first impression is that of refined simplicity. The saddle-stitched binding lends the booklet a sleek, professional finish—lightweight and perfectly suited for a limited 20-copy run. The trimmed, collated and stapled finish enhances the tactile experience without overshadowing the content.
The 170gsm gloss FSC-certified stock plays a critical role in amplifying Tom Lee’s visual storytelling. The glossy surface enhances the dynamic contrast in Lee’s monochrome and colour images, bringing out nuanced details in tonal gradients, textures, and light sources. This paper choice not only supports vibrant reproduction but also reflects a commitment to sustainable printing practices.
The front cover is understated yet iconic. Tom Lee opts for a minimalist typographic treatment, letting a solitary image occupy most of the space. The positioning and scale of the image create a sense of restraint—an editorial gesture that suggests confidence in the content within. The title is elegantly understated, allowing the photographic image to lead. This decision shows a designer’s understanding of pacing, visual balance, and the power of silence on the page.
Inside, the spreads are a study in elegant grid use and intuitive navigation. Tom Lee orchestrates words and images in a storytelling experience that rewards slow, thoughtful viewing. White space is used with finesse—it guides the eye and offers moments of pause between the more intense visual sequences.
Full-bleed imagery appears sparingly, which adds to its impact when used. In contrast, centred and bordered compositions encourage reflection and elevate each photograph’s narrative weight. This careful curation reflects an editorial ecosystem: not just a sequence of images, but a deliberate rhythm designed to engage the reader emotionally and visually.
The typefaces are minimal, modern, and act in service to the photographs rather than competing with them. There’s a consistency in the type hierarchy that reflects a refined layout approach. Captions are unobtrusive, positioned modestly beneath images or in margins, giving readers the option to engage or bypass them entirely. It’s a quiet but powerful design decision that reflects confidence in the imagery’s standalone strength.
The colour work is vibrant but never overwhelming. This is particularly evident in how the 170gsm gloss stock supports rich tonal gradations in both full-colour and black-and-white prints. The reproduction quality captures the delicate interplay of shadows and light, essential in street and portrait photography—two apparent focuses of Lee’s work.
The sequence moves between bold, urban street shots and serene, introspective portraiture, giving the viewer a varied yet cohesive journey. Each spread feels considered—anchored by a bold aesthetic but always supported by narrative structure.
Lee’s photographic voice is both observational and intimate. The curation suggests an editorial confidence often absent in first issues. There’s a sense that the author is inviting us into his visual archive—an intuitive mix of editorial flair and photographic craft. Every page is a visual statement, a gesture of bravado by a photographer seeking to define his signature.
Through his expressive visuals and modular identity, Tom Lee has created something more than a printed zine. It is a tactile experience. A commitment to the authority and endurance of the printed book as a repository of communication and culture.
Following our in-depth visual analysis of Focus Quarterly – Issue 1, we now turn to the behind-the-scenes collaboration between Ex Why Zed and Tom Lee, Master Photographer. This journey wasn't just about printing a photo zine; it was about transforming a concept into a refined piece of editorial publishing—built through dialogue, shared expertise, and meticulous attention to detail.
From the initial enquiry to the final dispatch, every stage was a showcase of responsive service, technical support, and shared creative goals.
The print journey began with a concise request from Tom on Sunday 18th May. He outlined his specification with clarity—A4, 32pp, full-colour, staple-bound on 170gsm gloss stock—and asked for quotes for 10, 20, and 30 copies.
By Monday morning, we replied with tailored pricing options. Our quote included the full spec:
"32pp self cover onto 170gsm Gloss FSC Certified. Four colour print throughout. Trimmed, collated and staple bound."
The tone was friendly but informative. We made it clear there were no hidden costs, and importantly, offered free UK delivery. This sets a precedent we pride ourselves on: clarity and transparency in all our communications.
Tom, like many of our clients, was using Affinity Publisher 2—an increasingly popular alternative to InDesign. However, it didn’t support the industry-standard PDF/X-1a:2001 format we typically request.
Rather than let this become a blocker, we quickly replied recommending the next best option: PDF/X-1a:2003. This practical, flexible response helped Tom progress without disrupting his workflow. It’s a subtle but significant example of our knowledge and adaptability in action.
We also pointed him to our easy-to-follow Preparing Artwork for Stapled Booklet Printing and Best Design Software guides. These tools empower our clients to manage artwork independently while feeling supported throughout.
Tom initially intended to print 20 copies but revised his order to 30 copies just before invoicing. Because we manage everything manually and closely, this adjustment was caught quickly, and a revised invoice was sent within minutes.
“Yes please Mike. However, you may have missed the change on the text I sent with the file…… Please invoice for 30 copies (not 20 as originally requested)! I think this was quoted as £148.”
Again, this exchange speaks to the personable service we offer—real people responding promptly, no automated roadblocks or frustrations.
Before hitting ‘print’, we provided a comprehensive digital proof. Our email explained how to view the trim lines, download a high-res file, and highlighted that previews may appear fuzzy on mobile—especially relevant when reviewing photography.
“If you click ‘View’ in the top right, then turn on Rulers and Guides and Page Boxes, you’ll see a purple line now on the proof which indicates where the pages will be trimmed.”
We advised a careful page-by-page check and provided the tools to do so. This phase is crucial—it's our last shared checkpoint to ensure every detail aligns with the client’s vision.
Production moved swiftly after approval. Within two working days, we notified Tom the print was completed and ready to dispatch. But in a typical real-world twist, Tom needed to delay the delivery:
“Unfortunately I’m not going to be around for a few days…… Any chance you can get them to delay delivery until 17th June?”
Of course, we adjusted dispatch accordingly. No extra charges. No automated courier misfires. Just responsive service that works around real lives.
On 17th June, we messaged:
“DHL are on the way with the books now and will be with you between 11:13 and 12:13 later this morning.”
This level of communication reassures our clients and eliminates last-minute surprises.
Although the email thread ends with Tom saying:
“Looking forward to seeing it in the flesh,”
—the visual documentation of the printed booklet and the professional standard visible in every page strongly suggest satisfaction. Combined with his decision to increase the order quantity at the last moment, it’s clear he had confidence in the outcome.
Given the rarity of 30 copies, Focus Quarterly – Issue 1 now exists as a premium, limited-edition artefact. It’s both a testament to Tom’s editorial eye and a proud example of Ex Why Zed’s commitment to quality, clarity and calm service.
Although no formal testimonial is given, the closing message:
“Looking forward to seeing it in the flesh,”
paired with the fact that Tom runs a post on his website featuring the project, shows clear pride in the final product.
We’ll continue to follow Tom Lee’s publishing journey and look forward to potentially printing Issue 2—hopefully with even more copies next time.
