Zingy Zines
This was originally published in my Prime Lenses Newsletter. You can sign-up for a weekly update to your inbox here.
Photography is noticing things and Tum Wuthipol Ujathammarat is a keen notice-r of the often ignored. I came across him via his Instagram account where he shares instructional videos that help folks to make their own zines.
I was then delighted to learn that he also makes wonderful bright photos of things that many wouldnât consider beautiful or worthy of capture.
His series of photos of covered cars, for example, speak to his love of making with what you have in front of you. Yes, his zines are meticulously folded and beautiful, but theyâre made using accessible materials, and heâs not hiding what heâs doing, heâs sharing his approach with the world.
âThings are always beautiful only to those who choose to observeâyou can choose to see more of the world or focus on what matters the most.â - TWU
Long time readers will know that this is exactly the sort of thinking that delights me so I was excited to ask him a few questions for the newsletter this week.
You clearly love graphic design and photography, and I can see their influence on each other in your work, but which came first? Did you grow up around photography?
Photography and design emerged in my life around the same time. I began my career as a graphic designer in Brisbane, Australia, in the early 2010s, and my passion for photography deepened after moving to Melbourne, where I launched my personal blog, Melbourne Brought Me Here. It started out as a travel blog, but as the project gained popularity among locals, photography quickly became a serious focus, helping me tell my story through my lens. While pursuing my Masterâs degree in Communication Design in 2014, I was introduced to Melbourneâs diverse zine culture, which led me to participate in The Festival of the Photocopier and Zine Fairâmarking my first step into self-publishing.
This was when I began to find a deeper purpose for my photography beyond digital platforms, exploring print as a medium through the original series like Selfies and W-Class of 2015. After moving back home to Bangkok, I continued to pursue what I used to call âphotographic publication designâ. Not long after, I launched a new project called Aperture Brought Me Here, which serves as a kind of continuation of my Melbourne project, but with a stronger focus on the art of photography. While street photography initially carried over from my time in Melbourne, I gradually moved away from it and began to find my true voice in minimalistic photographyâa style that feels much more aligned with who I am.
Were your parents artists or designers?
No, my parents werenât artists or designers. Iâm a free spirit and chose my own path. Theyâve always supported me in following what I love and being independent.
How do you approach your projects and making photos? Youâve spoken in the past about going out and working with what you have. Is that still the case?
I have a habit of hoarding heaps of photographsâright now, Iâm on my fifth external hard drive! While collecting images can be inspiring, Iâve realised that simply accumulating photos isnât always productive. My approach to creating photography series focuses on revisiting and reconnecting images from my existing archives, weaving them together visually and thematically to build cohesive bodies of work for exhibitions and publications.
At the same time, I continue to take new photos during my photowalks, guided by the projects Iâm developing. I consider whatâs already in my collection and whether I need fresh perspectives, stronger images, or additional content to complete each series. This balance between revisiting my archives and exploring new shots helps me maintain both continuity and creative growth in my work.
Thereâs plenty of folks out there making zines and posting them online, but youâve taken the additional step of producing the dummy zines. Can you talk about where that idea came from and why you chose to invest so heavily in helping others to create?
Iâve been making zines for almost a decade now, and through that experienceâboth in creating and attending art book fairsâIâve grown passionate about keeping the community spirit of zine culture alive. Itâs not just about sharing and selling my work anymore; I also want to inspire others by offering content and tools they can learn from and use.
As my platform has continually grown, Iâve seen an opportunity to contribute to the culture. Thatâs how the Zine Dummy Kit came about. I created it to fill a gap I noticed in abundance of online templates and tutorialsâwhich are often confusing, inconsistent, or overly technical. The formats I use in the kit arenât inventions of mine; theyâve been around for a long time, though it's hard to trace their exact origins. What Iâve done is compile and translate these classic zine structures into a physical, hands-on kit.
The kit allows people to interact with the folding and cutting process directly, helping them understand the mechanics of each format while also visualising how their content can flow within the page sequence. I believe learning through a tactile experience leads to better understanding and creative confidenceâletting people literally unfold their ideas into a zine, right before their eyes.
Did ichi-go ichi-e feed into that? I discovered the concept through an interview with you and love it.
The concept of "ichi-go ichi-e" (ä¸ćä¸äź) is a Japanese philosophy that translates to âonce in a lifetime encounterâ, expressing the idea that each moment is unique and can never be repeated in exactly the same way. The process doesnât just feed into my design and photographyâit also shapes how I approach daily life. Even when folded the same way, no two pieces of paper are ever exactly alike. Thatâs part of the charm of zines. Like all handmade work, theyâre often seen as âlimited editionâ art pieces, with each copy carrying its own unique character. My intention with the Zine Dummy Kit reflects this idea of capturing a single moment in time. Many zine makers even number their editionsâlike 25 of 50âto acknowledge the individuality of each piece.
This idea of âichi-go ichi-eâ comes through most clearly in my photography, especially in The Peeking Cloud series. These quiet encounters with clouds drifting above vibrant buildings arenât staged or constructed; theyâre natural moments I happen upon during my photowalks.
Through composition and observational approach, Iâm able to frame these fleeting alignments. What fascinates me is knowing that even if I return to the same location at the same time, the clouds, the weather, the lightânone of it will ever align in quite the same way again. Each photograph becomes a small, quiet record of a moment that existed only once.
Which is your favourite format or which did you most recently use?
This feels like a trick questionâjust kidding! Honestly, I love all formats, but what really makes one stand out as a favourite is when it perfectly complements the story or narrative Iâm trying to tell. Thatâs when a format truly shines for meâwhen the structure becomes part of the message. For example, in my zine Made Obscure Vol. 3, I used a complex folding and cutting technique I call the âGâ format. The photo narrative explores the vibrant, hidden colours of Bangkokâs Chinatown. To mirror the neighborhoodâs endless maze of interconnected laneways and streets, this format lets readers unfold the zine in multiple directionsâup, down, left, and rightâoffering an interactive experience that reflects Chinatownâs unique urban layout.
And a last question, which would you recommend that someone pick up first if they want to make their first zine?
A simple scrap of paper at homeâthatâs where every zine maker should begin. Thereâs no need to worry about following any established formats or complicated templates right away. Just take that sheet and fold it into a booklet however feels natural to you. This hands-on approach sparks creativity and opens up endless possibilities. By physically manipulating the paper, you can discover how your story flows in real time, long before you reach the design stage.
This process helps you see if your page sequence makes sense and lets you experience how a reader might unfold and interact with your zine. Itâs not just about the visualsâitâs about how the act of unfolding and turning pages shapes the storytelling itself. Each fold, cut, or flip can add layers of meaning or surprise, turning your zine into a unique, tactile experience. Starting with a scrap of paper encourages experimentation and helps you connect with the essence of handmade publishingâwhere the form is as much a part of the story as the content.
A massive Thank you to Tum for his time, I look forward to seeing the Zines you all make! Iâm going to make one once I come back from a trip Iâve got coming up. More on that in coming weeks.