Once I opened the box containing an eagerly anticipated photobook only to find that the cover was warped. It curved in an arc that radiated from the full length of its spine to its front edge. The book had a chrome yellow cloth cover. It was beautiful. But as an object, it was useless. 

I always thought the book was warped because the grain of the cover board was running in the wrong direction. But I recently learned that this flaw could be caused by not permitting the materials of a book to arrive at proper room temperature before putting them to their tasks. This information was offered by Gerhard Steidl, at a talk he gave two weeks ago at the Strand Book Store.

The legendary publisher, known for the precise handling of every aspect of putting out a photobook, under one roof [except for the bindery], gave a true lecture, reading from a sheaf of notes. The Strand's Rare Book Room was filled to capacity with photographers, bookmakers and booklovers, in a true instance of preaching to the converted. Steidl, an intense, rather monkish man, spoke of his devotion to the printed book; of the importance of being selective, from deciding what to publish, what papers, inks and binding materials to combine for the best possible book; and of how he works with artists as collaborators.

The model he chose for his operation, known as "Steidlville", was that of his countryman, Johannes Gutenberg, who not only modernized the production of books but also controlled every aspect of production and distribution. But while Gutenberg was not financially successful, Steidl exerts such control over his operations that he generally avoids losses. He also does a certain amount of commercial work for a select few clients, including the House of Chanel, which help oil the machine. In addition, Steidl publishes The Complete Works of Robert Frank and several other 20th-century giants, which sell in large editions.

The centerpiece of Steidl's lecture was his bullet-point delivery of rules on How to Make a Book with Steidl. The process begins one day at 4:45 on a given morning and lasts for ten days. On any week there might be six photographers lodged in his apartment building next door, waiting to be called to a press check. Because Steidl is a perfectionist with his process as much as he is with his materials, and the workflow is smooth and uninterrupted, there are very few unpleasant surprises. While there are often long delays in getting a book started, most artists believe that the wait is worthwhile.

The results speak for themselves. Titles on Steidl's Fall/Winter 2015 list include Robert Adams: The New West; William Eggleston: The Democratic Forest; Edward Burtynsky: China; and Lewis Baltz: The New Industrial Parks. Info and  Info  If you missed the lecture, or want to view the film, How to Make a Book With Steidl, go here  Photo: Peggy Roalf