260x210mm Books
4pp Cover onto 250gsm Uncoated FSC Certified
88pp Inside pages onto 140gsm Uncoated FSC Certified
Four colour print throughout
Trimmed, collated and perfect bound
Vaia is a 260 x 210mm perfect bound photobook by Dorset-based photographer Sam, documenting forested landscapes in northern Italy in the years around Storm Vaia. Aimed at avid photobook readers and anyone drawn to Italian topography, the book mixes atmospheric black and white images with contextual text in both English and Italian. Our team helped Sam refine the paper and binding choices, run multiple proofs and arrive at a custom-sized, uncoated softback that feels weighty yet readable in the hand.
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Vaia brings together photographs made between 2018 and 2024, recording woodland, logging sites and rural structures with a quiet, observational eye. The monochrome images sit in generous white space, encouraging slow looking rather than quick flipping.
Editorial sections punctuate the sequences, setting the context of the storm and its aftermath in northern Italy. These passages appear in both English and Italian, widening the audience and reflecting the project’s connection to the region.
Deep green section dividers and title pages act as visual pauses, framing key images and signalling shifts in the narrative arc from devastation through to managed regrowth.
Sam opted for a custom 260 x 210mm format – slightly shorter than A4 – which suits panoramic woodland scenes without feeling cumbersome for readers.
The softcover is printed on 250gsm uncoated FSC certified stock with matt lamination to the outer, giving the racing green cover a refined, durable finish while keeping the surface tactile.
Inside, 88 pages on 140gsm uncoated FSC stock carry four-colour printing used to render the black and white photographs with subtle tonal depth. The heavier text paper gives each page a satisfying weight and, at this thickness, the stack is just starting to “pull shut” – ideal for a photobook that wants to feel substantial without becoming a struggle to open.
Perfect binding provides a clean, square spine so the title can sit confidently on a bookshelf and the book reads like a finished trade publication rather than a simple catalogue.
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The cover is deliberately understated: a solid block of deep green with the word “VAIA” and the years 2018–2024 reversed out in crisp white type. The photographer’s name sits quietly at the foot of the front cover, letting the project title and colour do the talking.
Inside, most photographs sit on white pages with consistent margins, creating a calm rhythm and giving images room to breathe. Some spreads use a full-bleed image opposite a smaller plate, setting up a dialogue between close detail and wider context.
The racing green pages seen inside echo the cover and help organise the book into chapters – a simple but effective device that adds colour without fighting the monochrome imagery. Text spreads use clear, readable type and generous leading, so essays and interviews feel approachable even when the content becomes technical.
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From the first enquiry, Sam was weighing up different paper weights and cover stocks, wanting to balance a premium feel with ease of handling. We talked through the differences between 150gsm, 170gsm and eventually 140gsm for the text pages, plus heavier options for the cover, explaining how each choice would affect spine width and stiffness.
A key step was producing physical proof copies and separate laminated cover test sheets at cost price. These allowed Sam to check how the greyscale images behaved on uncoated stock, assess contrast and decide between cover treatments before committing to the full run.
Along the way, there were honest conversations about duplicated images, paper stiffness and even whether a hardback, section-sewn edition might be the right long-term destination for the project. Our team set out the options clearly – including casebound quotes and advice on materials such as Wibalin cloth – so Sam could compare feel, durability and budget.
We guided Sam towards uncoated stocks early on, knowing they would give the monochrome imagery a softer, more empathetic reproduction that suits mist, bark and fog rather than punchy saturation.
Our preflight checks picked through every spread, and Harriet was able to confirm that the final artwork was “absolutely spot on” before it went anywhere near press – reassurance that the careful sequencing and bilingual typography would print as intended.
We also helped fine-tune the cover layout and spine alignment after Sam tested different image crops and type positions. By sharing templates, running extra test sheets and staying responsive over email, we kept the project moving while allowing room for thoughtful decisions at each stage.
The end result is a custom-sized photobook that feels considered from first page to last – heavy enough to feel serious, flexible enough to be passed around at exhibitions and photobook fairs.
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