I am posting a link to an article which touches on issues which are important. Although it is long, I think you should stop the attention deficit disorder for a few, and force yourself to read through this, especially if you are new in the game of exhibiting. IF YOU WANT TO BE TAKEN SERIOUSLY.
Last year (August) I had an exhibit. It was only 10 pieces, but they were LARGE pieces. The first time I went to pick up the frames, their was so much crud (dust, lint, carpet fibers) on my nice beautiful wide mats, and between the glass, I cringed. I had to basically insult the framer by pointing it out,, which put me in a precarious position. I had to say, “this is a very BAD frame job, and needs to be redone.” I hate confrontation. I continued, “I can’t ask the prices I am asking and expect to sell them like this.” I returned to have it happen a second time. My mouth dropped. I couldn’t believe it. Then I noticed there was a rippling in the glass as the light hit it, I missed the first time. It resembled hamburger meat scroll pattern inside the glass itself. If you can believe it the worker at the framer argued, that this was normal for that particular order to have this in the glass. Aghast, I said no. The work stayed at the framer for the glass issue to be straightened out. This 10 piece preparation took me 3 weeks to get sorted out. My advice is to plan as far ahead as possible for mistakes. It will hinder YOU. A gallery may not have you back, as an exhibiting artist, if your presentation is not acceptable. Art collectors will not pay top dollar for your work, if you present it badly. The article discusses GOOD PRESENTATION. This was my experience, and I could relate.
The article is rich with other areas of getting your work out there in front of galleries, marketing, building your resume/art history/C.V. Click here to read in full
CHOSEN PHOTOGRAPHERS EXHIBIT for LOW OR NO COST OVERSEAS!
I am re posting an email text I received today for you, below the line. It is rare to get a competition willing to pay for your printing AND framing for exhibition once you have been accepted. It’s brilliant! THANK YOU SINGAPORE!
Once an artist’s works have been chosen by festival curators, the festival office will ask for high resolution files in DVD to send to Singapore for the purpose of exhibition. The print sponsor, in the case of 2008 SIPF, Epson supplied the ink and papers for the exhibition prints and printing are oversee by Print Master Paul Kohl. The remaining cost of mounting materials, frames, and exhibition structures are fund raised by this non-profit festival so that artist need not pay anything else to showcase their works to 30,000 people in a period of 3 to 4 weeks depending on venue sponsors.
The festival have invited 3 curators to put together chosen works to present meaningful shows to the public and to ensure proper presentation of artists’ works. The curatorial fees, the flight tickets and accommodation of these curators are costs covered by the festival fundraising effort.
The submission fees of US$30 and a special rate of US$20 for Southeast Asian citizen is to offset cost of website software, food & transport allowances for the interns & volunteers helping out during the festival, and most importantly to provide some travel subsidy to individuals (with financial challenges) who have been chosen for the exhibition and/or SIPF workshops to travel to Singapore in Oct 2010. We understand in some developing countries, grants from local arts agencies are limited, and this is funds are made available to them.
There is no full time staffs in this festival, and everyone are volunteers or interns to facilitate and to make this platform possible for the community at large. Ultimately fulfilling the mission and purpose of the festival as a biennial gathering of minds from around the world with the common pursuit of advancing the art & appreciation of photography.
In last festival 2008, with tremendous efforts from everyone (volunteers, partners and sponsors), close to 700 works from 66 artists from 26 countries are showcased to 30,000 people. Fortunately,SIPF has managed to find a like-minded supporter who came in at last minute to provide some travel grants to individuals like Tammy David from Philippines, Zamroni from Indonesia, Eiffel Chong, Malaysia, and as well a photographer from India.
On top of exhibition, the SIPF has produce a publication (152 pages) featuring the works of artists to create awareness even after exhibitions have ended. Recently last year 2009, SIPF has brought SIPF 2008 exhibits to China, Malaysia, and Philippines as an continuous effort to bring works to more people and to reach out to people beyond Singapore.
Currently, we are still preserving with fundraising so that this festival could showcase as many works that need to be seen by audiences and not kept unknown in hard disk or to limited circles. It is a juggling of everything and at the end of the day, the festival is made possible by everyone, not only the volunteers, sponsors, partners but also the artists/photographers who submit their works.
We welcome submission from everyone from all over the world.
Deadline ends on 31 March 2010.
Please kindly help to spread the news of this Open Call.
An excellent question any artist and/or photographer should ask themselves? When I first started approaching art galleries, and I mean the first few, the biggest eye opener for me, was how unprepared and naive I was. Yes, I had work, and many pieces, but they were mish mash of work. Different styles, subjects, sizes, etc. After talking with a few Gallery directors, they were terrific with feedback, and surprisingly in the most gentle way. Not everyone has this benefit, so I thought I would share this information with you. This is especially geared to young people, who are on the threshold of their artistic careers.
BODY OF WORK: What they were looking for? First, they want “A body of work,” which means, they want a full collection of your work, which is great together as a whole unit. This reason falls on many levels. The obvious is, it makes for a beautiful show. BUT more importantly, it shows you have a consistency, and even better, an identifiable style of your own. 10 – 20 pieces are a minimum “body of work.” Let’s think of Picassos blue period, as a body of work, as an example. In photography this could be portraits, nudes, architecture, etc. Like with like images. This also makes it easier for a gallery to sell several pieces of your work to the same buyer looking to hang a collection of works on the wall, which work well together visually.
HAVE THEY SEEN IT BEFORE?: Galleries have a lot of work submitted. The biggest question you must ask yourself is: Have they seen it before? The flower, the sunrise, the cute kids, the ocean, mimics of others work, travel photos. I had one gallery owner specifically point out, when she juries a competition, the first thing she discards are, “all the travel photos.” I think there are exceptions to every rule, but if you think they have seen it before, they probably have.
A SIGNATURE STYLE: If someone sees your work, can they call you out by name? Have you established your style? An artistic thumbprint unique to you? Young artists tend to experiment. They move all over the board, and play with their mediums, subjects, and styles. The exploration is a great process! I encourage it. The outcomes can be interesting, but over time, a personable style will rise to the surface and become your own. As your time spent working moves forward, you develop your identifiable style. You will see your style evolve, within your own work. Personally I think you should identify it, and move into it, explore it and then master it. Be fearless!
A signature style gives someone the ability to call you out by name, by seeing only your images. Photographers Ansel Adams, Diane Arbus, Edward S. Curtis all created a specific style, identifiable to them, even without their name mentioned. If you see it, and you are a photography enthusiast, you will more than likely be able to recall their name. This makes the work memorable and distinctive above all others. I sit down and think, is my work distinctive? It is a good question for any artist to ask. This does not mean I stop making art I love! I love creating the work, but it is a good question to isolate certain images, and put them together as a “signature stylized, body of work” for your presentation to a gallery.
BRANDING: Galleries want to guarantee that your “branding” will be identifiable, and sell-able, for YEARS. This will help your work grow in value and name recognition as you develop your reputation. I know of artists who worked in one style, sold very well in one style, but tired of it. They changed the style, had a falling out with their gallery representatives over the issue, and lost the representation. It does not mean that you will not find another gallery owner who shares your vision, it is an example of how important a signature style is to a gallery. They sell you as your own brand, unique and special.
PRESENTATION: When you present your work, it should be in a clean format of presentation. This means a clean presentation of the work. It also helps if you have it finished, as it would be shown to their clients, if by chance you are lucky enough to have someone come to you, and your studio. Like a job interview, be prepared. Do not have all your photographs fly out onto the floor, from a clumsy folder, and expect the gallery owner to be impressed by you. Do not dig through piles of garbage to get to the good stuff. They are busy! Respect that they have chosen to spend time with you. There is a line waiting, so if you get an opportunity, it is singular! Go for it! Want it!
EXHIBITION HISTORY: Do you have a history of exhibiting? If so, where and when. It is important to show your commitment over a period of time regardless of whether you are selling or not. Some artists get excited, want everything their first year, and then quit creating work. A gallery wants to represent someone who is in constant creation mode. They have to meet the burden of supply and demand with art buyers. They need new work available. And they want fresh work to be in constant, progressive stages. Galleries spend alot of time, money and effort in promoting a show. They want to know you aren’t going to flake out at the last minute and leave them in a lurch. A solid exhibition history shows you are a professional, long term, artist. Not a hobbyist.
PATIENCE: Art gallery directors and owners represent a lot of people. They deal with alot of personalities, and demands. To put it in perspective, think of the calls they must get from their artists, and from submitting artists, the egos they must soothe, and the angry calls about why work is not selling, add on the complexity of running a business, marketing and their clients personalities and needs, multiply it by 100 and put yourself in those shoes. You need to have a tremendous amount of patience. Your work may not sell for a year or more, and one great review or museum buyer comes in, purchases your work, and people will want a piece of your work. The art world works in mysterious ways. Patience is key when dealing with your gallery.
MONEY: It is expensive to have an art exhibition. And can seem impossible, if you are a starving artist. It is a real part of the art gallery equation. You need to ask yourself, if a gallery wants to represent you, and your work, can you afford to frame 10 or more pieces for a show in a limited amount of time? Imagine you spend months presenting to galleries, you live in a studio, barely afford to keep the heat on, and a great gallery says, “YES WE WANT YOU!” Oh magic to your ears. They set up for an exhibition date, and uh oh, you can’t afford to frame your art, or arrange transport to take it 500 miles away. Do you have a ways and means to afford this? If the answer is no, I would suggest you come up with a plan. This could be buying 10 exhibition frames with your tax return, and storing them for the big day! At least you have the supplies, if you have the opportunity. I only mention this, because I know of an artist who had this happen. They had a call to exhibit, and they couldn’t afford to produce and deliver. Dreaming big, has to have a follow through plan, if you are going to go for the gold. The money issue is real.
Carolyn Wright of A Photo Attorney blog, provided a great response on how to deal with unauthorized usage of your photographs by other entities incorporated into A Photo Editors blog question from a reader. The solution was so thorough I had to provide this information to you. Both blogs are terrific, you should add us all to your bookmarks.
I LOVE THIS! So I am re-posting the email, as it came, especially for you ~ my fellow photographers!
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Please help us spread the word about this upcoming juried show.
Thanks!
The New Orleans Photo Alliance
Louisiana Road Trip
Juried By Nick Spitzer
The New Orleans Photo Alliance and the New Orleans Jazz & Heritage Festival presented by Shell are seeking images that depict the beauty and diversity of the great state of Louisiana. Send us your images from the highways and cities that lead to New Orleans – the landscapes and architecture, people and culture that make Louisiana so special. Selected images will be exhibited in the Grandstand at the 2010 New Orleans Jazz & Heritage Festival presented by Shell.
Juror: Nick Spitzer
Producer and Host of American Routes, American Public Media
Professor of American Studies and Anthropology, Tulane University
Adjunct research professor of Anthropology and Urban Studies, UNO
“After Louisiana, nothing else is real.” Robert Penn Warren
Throughout the history of Louisiana, New Orleans has been the light at the end of the road for most travelers. Though its music, food, and festivals have made the Big Easy the ultimate destination, the highways and towns leading to New Orleans are swelled with the people and cultures that make Louisiana one of the most unique and diverse places in the world. Native American, French, Spanish, African, German, Irish, Jewish, and Italian peoples have all shaped the culture in the parishes that make up this great state.
Deadline for submissions: Monday, March 1, 2010 midnight
Notification of acceptance: Monday, March 8, 2010
Deadline for receiving work: All work must be received by Saturday April 10, 2010
Submission Guidelines
Eligibility:
Open to photographers of all levels, who use any photographic process. All art submitted must be original work created by the applicant. Accepted work must be professionally presented and ready to hang.
Non-Refundable Entry Fee payable online via PayPal
Members: $25
Non-members: $35
Individual Photo Alliance Membership + Submission: $60
(a savings of $10)
-Include up to 5 images per submission.
-Save digital files in jpeg format at 72 dpi and 800 pixels on the longest dimension.
-Title each image file as:
lastname_firstname_title_print-type_framed-size_entry-number[001-005]
-Accepted work should be presented professionally, wired and ready to hang.
-Work that arrives after the delivery deadline will not be included in the exhibit.
-Shipped work must have return postage included in package.
-Artwork will be insured while on premises. Insurance during shipping is the artist’s responsibility.
-Sales/ Commissions: 70% Artist and 30% Photo Alliance
The Photo Alliance reserves the right to reject any delivered art that does not match the online submission, or fails to meet framing and matting requirements. Artists will be given notice regarding a rejected submission and it is their option and responsibility to replace or correct it, time permitting. The Photo Alliance is not liable for any damages in shipping to or from the gallery, or for work left 30 days after the closing of the exhibition.
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New Orleans Photo Alliance
1111 St. Mary St.
NOLA 70130
New Gallery Hours:
Fri 3-6, Sat & Sun 12-4
or by appointment
The long awaited announcement produced a terrific and unique unveiling of the best of the best. What a show! What a unique experience watching each of the nominees, then the final winners winning work, revealed slowly, for each category, over a three hour period. It created quite a sensation as opposed to a list flashed up on the screen. It also forced me to sit long enough to view each and every photograph, which I enjoyed; rather than giving me the excuse to walk away to do my other demands of the day. I did not miss out on all the amazing work. Photographers work was outstanding. This year, the so called “Amateurs” works blew me away! I feel this talent pool is often overlooked by galleries or reps looking for new photographers with a fresh perspective and very strong work. Hmmmm another topic for another blog post.
I was considering entering the call for entries for MOTION promoted by The Center for Fine Art Photography in Fort Collins, Colorado. I have always liked this venue. They have consistently maintained a higher quality of final winners. I don’t scratch my head when I look through the winners, and say ‘what were the jurors thinking?’. They attract a quality group of participants, jurors, etc. This matters! Quality matters. You will like what they have to offer photographers -but more about them in a moment. But first…..
I want to cover two areas:
Why the Center of Fine Art Photography stands out & my biggest pet peeve regarding photography call for entries.
THE PEEVES:HIGH COSTS! HIGH COSTS! HIGH COSTS! Yes I will have a little whine with my cheese. AND the following: You cannot know how many times I read through a call for entries posting on the web, and the misspellings alone on the websites, were a complete turn off. I see it as a larger sign of careless disregard for the finer details in their own business, which would broadly stroke across the board in anything else they are doing. I deduce, that more than likely, the great expense I invest in sending work, I imagine being received, thrown into a corner, stacked under weighted boxes as they arrive, dropped on the floor, thrown in a bin, scratched plexiglass, smashed glass, damaged photograph, or some other unknown trashing in the midst of the lack of attention to detail. Respect for the delicacy of our beautiful nurtured babies (our carefully framed photographs) and how they are handled, matters to us. Our money matters to us. It is a great investment to print, frame, ship. Forget the costs of creating the photographs (travel, props, people, etc.) Even though we bite our tongues when we see or hear about this, we notice! And it affects what we enter yes? I don’t think I am alone in this opinion. Oh yes, call me gushy at the mouth when I turn into the art snob about caring about artists works. I DO appreciate galleries, and venues which have call for artists, I DO appreciate those who truly are promoting the art, and I DO love venues who treat the work carefully. BUT, I have to say there are all sorts of little signals which can cause me to hold my nose. It is like our intuition preventing a bad date…….you just know when to say, “Thanks I appreciate the offer, but no.”
I was in the middle of authoring a blog post (below see LOW PRIZE AWARDS & LONG DISTANCE PHOTO COMPETITIONS DISCOURAGES MY ENTRY. DOES THIS HAPPEN TO YOU?) about the high and sometimes impossible physical costs of entering juried exhibitions which are long distances in which work needs to be shipped. Long distance preparation and shipping costs can discourage entries, especially in this economy. I still review call for entries, because I love participating in just about anything I can manage. It helps me stay on my toes, really evaluate the quality of my work, gives me an opportunity to compare my work to what others are doing, it can be rather humbling, but it also creates a little competitive nudge to create better work next time, refine a strength, correct a weakness, etc.
THE JOYS! So when I stumbled upon the small print on The Center for Fine Art Photography regarding on site framing options, after a photographer was accepted to exhibit work, I was thrilled. An art venue who “gets it!” And in the gesture translates to me, they love their artists/photographers. They understand the economy is directly affecting artists on a grand scale, and have adapted to run to the rescue. The Center of Fine Art Photography offers optional on site printing and framing to encourage participation for long distance participants. I excitedly emailed and asked, “Could you tell me more about this?” I thought this was a great idea, and would like to highlight this as an example.
The Fine Art Center for Photography
The question I asked was, “If I submit a standard sized print of 11 x 14 how can I get a calculation of costs if the Center handles it for me? Do you have a contact who could help me guesstimate my costs if I were accepted?”
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“Hello Debra,
Thank you for your interest in the Center and the Motion call for entry.
We offer a printing and framing service locally here in Fort Collins. This helps our artists with costs of shipping and custom framing. If you were to have an 11×14 print made here, it would cost approximately $12. If you were to have it framed here with custom framing at 16×20, it would cost approximately $70. You have the option to pick up your piece, ship your piece or donate it (if it does not sell during the show). Shipping is hard to calculate due to different shippers insurance, weight and size regulations. If you had your print made here, framed it here and donated it to the Center’s collection after the exhibition, you would pay approximately $82 to exhibit. This exhibition would be in the Center’s gallery for a month, as well as featured for a month online and on our website for 2 years after the exhibit.
In addition to traditional framing, the Center also offers alternative framing options to a few artists to help ease some exhibiting expenses.We understand the economic times and how difficult it can be to manage exhibition costs, so we do our best to help artists exhibit. As time goes on and the Center grows, we are continually working with ideas so that everybody that is selected can participate.
Please let me know if you have any other questions.
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Please keep in mind that the above costs were approximate and subject to change. It is used as an example. Please understand each piece will have to be priced on a case by case basis with regards to size, weight, and fluctuating markets of framing products.
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**IF YOU ARE AN ORGANIZATION, GALLERY, OR VENUE WHICH HAS OPTIONS FOR PHOTOGRAPHERS TO EASE THE BURDEN OF EXPENSES OF PARTICIPATING IN CONTEST, COMPETITIONS, GALLERY EXHIBITIONS, OR OTHER PLEASE FEEL FREE TO BRING IT TO MY ATTENTION: EMAIL: debrasmail@gmail.com THANK YOU – DF
Photo provided by and permissions granted by The Center for Fine Art Photography – Thank you – DF
Great insight from one agency, on how they came to choose their photographers to represent. The old saying, “Its who you know.” seems to apply. But there was an exception or two. The common thread was the strong photographs created by each photographer, and their deep commitment to photography, paid or unpaid work. I did find the notations about organization/business strengths of photographers a plus in this interview. This is an area that is not discussed enough.
I have heard that reps in the industry do look for indicators that a photographer is client friendly, and stable. They want to be sure a photographer will not flake out on a shoot, embarrassing them in front of a nurtured client. Creativity and stability. Good personality a plus! Happy reading. DF
I used to enter alot more competitions than I do today. Online competitions are far easier to enter, if the entries, and judging are all completed online. Competitions which happen with a physical exhibition at the end of the jurying, have completely different financial implications for an artist photographer. And honestly has affected me entering them, if they are not within driving distance from my home studio.
With the insecurities of the economy, and my having to carefully manage expenses it has greatly altered the way I enter photographic competitions. In fact, all long distance competitions which require a physical delivery make me take pause. The actual costs are too high, and completely out of the question if the top prize money is under $500.00 USD. I have to weigh apples to oranges. How could the money be well spent? What is my return on investment? Should I take the money it would cost to enter one competition, hedging my bet to win, OR promote my work by having more printed materials made for marketing, creating more portfolios to submit to galleries for representation, or spending the money on newly created work (props, people, etc.). The entry costs, could pay for two more years of online hosting for my website, which gives me far more exposure to worldwide audiences. Or more realistically, the money could pay my high heating bill for Jan/Feb. These are real decisions we artists make. We all live in the real world.
For example, today, I was considering entering a long distanced, call for entries. I have a photograph I was enthusiastic about submitting until I reviewed the award coffers. I like the venue very much. Sadly reality sets in when I started doing the math for entry.
This is a physical exhibition of accepted work, rather than an online jury selection. This means, if you are selected, your work then must be framed, and delivered to their location. So let’s talk semantics.
ENTRY FEE: I am going to select a generic average entry fee: $35.00 USD for non members (me) = $35.00 USD
PRINT/MAT/FRAMING: Next step if selected to move forward to the jury pool. Print costs, and mat, and framing of the piece = conservatively $100.00 USD (for an average sized print)
PACKAGING MATERIALS: box, popcorn and or bubble wrap = $50.00 USD
POSTAL SIZE OF BOX & WEIGHT: The larger dimensions of flat pieces and the buffer required to prevent breakage have caused my shipping boxes to be larger than “standard shipping rate” category. They require the upgraded special shipping sizes, creating higher shipping costs. The Frame is 14″ x 18″ so we will guesstimate my box is 30 inches x 28 inches x 10 inches deep and weighs 20 pounds
ONE WAY SHIPPING: US Postal Service Priority Mail online calculation from NORTH ATLANTA GEORGIA USA TO CALIFORNIA USA is approx = $55.00 USD (no extras ie: insurance, delivery confirmation)
RETURN POSTAGE: Same = $55.00 USD
My estimated total I am considering if I enter ONE photograph, and assume I am selected, would cost me a total of
In US Dollars
$35.00 entry fee
$55.00 US postal shipping to
$55.00 US postal shipping from
$50.00 packaging and materials
$100.00 print/mat/framing
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THE SHOCKING GRAND TOTAL OF$292.00
Yikes! And no guarantee of any return on investment. The true math can stop me in my tracks.
ATTENTION PHOTOGRAPHY COMPETITIONS & CONTEST SPONSORS: IF YOU HAVE A VENUE WHO HAS PHOTOGRAPHY COMPETITIONS AND ARE ASSISTING PHOTOGRAPHERS WITH HELP TO REDUCE COSTS IN ANY WAY, PLEASE REACH OUT. I WANT TO POST HELPFUL INFORMATION FOR PHOTOGRAPHERS (AND IT MIGHT INCREASE YOUR PARTICIPATION). WE PHOTOGRAPHERS WANT TO ENTER YOUR CONTESTS AND COMPETITIONS. WE WANT OUR WORK HANGING ON YOUR WALLS TO SHARE WITH OTHERS, AND WE WANT A CHANCE TO WIN A PRIZE! EMAIL ME AT debrasmail@gmail.com and I will upload a blog about photographer/artist friendly venues!
I HAVE ONE VENUE WHICH STANDS OUT AND I WILL WRITE A NEW BLOG POST ABOUT THEM……AND AS NEW INFORMATION AND OPPORTUNITIES COME UP I WILL POST ABOUT THEM TOO.
Mr. Lindsey has created photographs for Disney Publishing, Smithsonian Magazine, National Geographic Books, Anheuser Busch, just to name a few on his rich roster of clients.
ARTICLE ON HOW TO SUBMIT YOUR PHOTOGRAPHS TO MAGAZINES
There is alot of information out there on the internet about photography. I thought you might like this particular article (please see click through link below) regarding how to prepare your submission of photographs and story objective to publications. It is well rounded, interesting and forthright. I hope you find it helpful.
It is not important to me where great information for photographers comes from. My ego does not require I produce every tidbit. What IS important is that you have access to great information regarding photography. I read this article on the Stockland Martel Blog. I read it to the end, which says alot! I bore easily.
This article covers mastering success in both commercial and fine art photography. How best to approach the dual worlds. Thanks for visiting! HAPPY READING! Debra
WELL DONE! Congratulations to Lynsey Addario for winning the John D. and Catherine T. MacArthur Foundation Award 2009! I had suspected she was being considered, as the Foundation kept visiting my blog (I had a post on her work in July 2009) looking for Lynsey Addario information over the past month. To read about Lynsey Addario and or watch a youtube video please view the July 29th post.
Photographer Lynsey Addario, began her photographic career in the mid 90’s. Born in Connecticut, but currently residing in Turkey, she is in her mid 30’s and has already claimed a solid place as a freelance photographer for National Geographic, Fortune, The New York Times and other esteemed publications. Recently awarded the Pulitzer Prize, her blazing successes are grounded in her focus to her vision, work ethic, and humanitarism.
Ms. Addarios work is an intimate lacing of observer and subject(s). Bravely going to locations and into situations where most (particularly women) would not. Her images effect a reaction of punctuation, they are a statement, rather than a passing curiosity. I recently discovered her work. Please find a youtube video broadcast, about her, her experiences, and her photographs.
For aspiring editorial and photojournalists, this will give you a genuine, first hand account, of what it is like to be in the field as a documentary photographer.
To learn more, or contact her for assignment please visit her website at: www.lynseyaddario.com
Although the broadcast is in Turkish. Ms. Addario’s portion of the interview is in English.
What: Singapore International Photography Festival (SIPF)
Where: Kuala Lumpur, Malaysia The Annexe Gallery, Central Market
When: September 8 – 20 2009 Exhibition Opening will be held at 7pm
Why: As a photography platform in Southeast Asia, SIPF Roving Show will bring the works of photographers (SIPF 2008) to a wider audience. After the recent participation in 8th China International Photography Festival, SIPF continues to bring the exhibit to Kuala Lumpur, Malaysia. The next stop will be Manila, Philippines.
KL, Malaysia Press Conference
Date: 8th September 2009
Time: 4pm
Venue: The Annexe Gallery,Central Market http://www.annexegallery.com Official Opening of Exhibition: 7pm
Note: Due to large volume of works and space constraints, the works will exhibit on rotational basis across different countries
“Animals” by Robert Zhao Renhui, Singapore. Courtesy of SIPF.
Interested countries or collaborators to host the exhibition may contact the festival office directly at exhibition@sipf.com.sg .
For more information, please email info@sipf.com.sg.
For media enquiries, please contact mary@sipf.com.sg or dorothy@sipf.com.sg
please contact the gallery via link below for more details
What & Who:Subversion des images – Man Ray, Hans Bellmer, Claude Cahun, Raoul Ubac, Jacques-André Boiffard, Maurice Tabard, André Breton and Paul Eluard
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MORE RICH PHOTOGRAPHY EXHIBITIONS! I LOVE THIS LIST FROM RENDEVOUSFRANCE.COM
Robert Haggart of A PHOTO EDITOR or the APE Blog, has a great link with an actual photographer’s contract for services on view.
I read Rob Haggarts blog often, because doggone it, it’s just flat out interesting! It’s full of great material!
He has created a more interactive commentary section than anyone else I know (so far). Juicy stuff!
Rob Haggart is no stranger to our business of photography. An insider for years in the trade, as the former Director of Photography for Men’s Journal and Outside Magazine, he knows how to sort the wheat from the chaff. Happy reading!
WHY I FIND THIS INTERESTING: The interview is less glitzy and A.D.D. audience snappy, it is straight on, non interrupted and clean. I love the casual relaxed feel to the interview because the answers are thoughtful, honest, and insightful. I was interested to hear Mr. Soth state he shoots with all types of cameras, because many think you have to have X equipment to be recognized, or taken seriously as a photographer; when in fact, it is the image that is most important. Also enlightening was where he fills a unique niche with Magnum (somewhere in the middle, in between NY and LA) as I feel alot of photographers feel they have to reside or be from NYC or LA to succeed in their art.
Mr. Soth discusses his shooting on location, how much travel, where he traveled, and why. How he approached several projects, but focused on reducing down the images to pull together a cohesive body of work. A highlight is his discussion of a personal photojournal he was creating for his daughter during her adoption from Colombia, South America. It developed into a larger personal project than planned, which became a formal public project. I always tell artists to follow their “art heart” and see where their intuition takes them……this is exactly what I mean. Defining yourself, following your instincts, rather than try to do what you think others expect of you, will take you to surprising places in your artistic journey. To be different, take the road less traveled, it will be what separates you from others as an artist (therefore your work will stand out). Good luck and keep shooting! – DF
A more recent article on Annie Leibovitz’s situation from Theledger.com gives us food for thought on the meaning of success. The trials and tribulations of the real side of the business of photography opposed to the creation of art, and the balance of doing both.
I chose this article, because I feel it deals a more honest straight forward factual approach rather than blogs which have a lot of conjecture.
For me personally? I am rooting for Annie! I hope she comes out of this a-okay.
Governor Mike Rounds honors 85 year old photographer, Bill Groethe. Mr. Groethes notable accomplishments are many, including being in the collections of the Smithsonian. His most important are the portraits of the last nine surviving Native American Indians of the 1876 Battle of Little Bighorn on September 2, 1948. The State, in a commemorative symbol of the preservation of history through photography, is recognizing September 2, 2009, as “William M. Groethe Day.”
PHOTOGRAPHING DANCERS: PERSPECTIVE FROM A DANCER AND PHOTOGRAPHER, Mr. Mikhail Baryshnikov
I found it interesting that Mikhail Baryshnikov is now a photographer of dancers, as well as being photographed as a dancer. In this interview about his work as a photographer, it is an inside perspective of his point of view (as a dancer) on what makes dance come alive in a still image.
Although this an older news article, I wanted to share with you. It discusses something I find very interesting and accurate about photographing performance artists. Studio work feels very contrived. I do have to say there are a few photographers which I feel bust through this barrier.
Help George Eastman House illustrate the strengths and challenges of our community by being part of the fall exhibition series Where We Live, presented in conjunction with the City of Rochester’s 175th anniversary.
Click each link to go directly to detailed job posting.
Remember the owner of each job posting may remove the link if they fill the position, update or change the information. Please check with each company, institution, etc. for EXACT information. This information is for sharing purposes only. I provide no guarantees, but do want to continue posting opportunities for my fellow photographers.
The Alexia Foundation offers the professional grant to enable a photographer to have the financial ability to produce a substantial picture story that furthers the Foundation’s goals of promoting world peace and cultural understanding.
The Alexia Grant was not established with the single purpose of rewarding the best photographers—this is not a portfolio competition. The grant will be awarded to a photojournalist who can further cultural understanding and world peace by conceiving and writing a concise, focused, and meaningful story proposal, and who can demonstrate the ability to visually execute that story with compelling images. There is no mathematical formula for determining grantees, but the proposal and photography must both be considered of the highest quality.
Submissions must be made by January 12, 2010. For submission guidelines, visit the Alexia Foundation website.
Every year, Getty Images awards five professional photojournalists individual grants of $20,000 each, for a total of $100,000. Professional grant recipients are given the opportunity to sign a one-year exclusive-rights deal with Getty Images whereby their work will be marketed and available for license to customers worldwide through gettyimages.com, while retaining copyright of their imagery.
Starting in 2009, four additional grants of $5,000 will be awarded to students who are under 30 and currently enrolled in photojournalism courses at an accredited college or university.
Applications must be submitted by November 15, 2009. For application guidelines, visit theGetty Images website.
New York Foundation for the Arts 2009–2010 Artists’ Fellowship
Artists’ Fellowships are $7,000 cash awards made to individual artists living and working in the state of New York for unrestricted use. Grants are awarded in 16 artistic disciplines, with applications accepted in eight categories each year.
Categories:
Architecture/Environmental Structures
Choreography
Fiction
Music Composition
Painting Photography
Playwriting/Screenwriting
Video
The deadlines for NYFA’s 2009–2010 Artists’ Fellowships will be October 2009. The application will be available late summer 2009. For application information, CLICK LINK to visit the NYFA website.
Jurying is currently taking place. The winners and finalists are to be announce on Tuesday, August 18th.
The 2009 IPA marks the 7th year of this ambitious photography competition and we are excited to see the decisions made by this year’s jury panel. Annually, the IPA invites a guest curator to create a theme and select 45 to 50 photographs from the winning entries to participate in the “Best of Show.” The exhibition will be held at the stunning Splashlight Studios, Soho, New York on Saturday, October 17, 2009.
All IPA Finalists are invited to the Lucie Awards where their winning work will be shown on screen and the titles of the 2009 International Photographer of the Year (sponsored by atEdge) , Discovery of the Year and Deeper Perspective of the Year (sponsored by Blurb) will be revealed on stage at the Alice Tully Theater, Lincoln Center, New York on Monday, October 19, 2009 in front of the Lucie Honorees, jury members and entire photography community.
Be sure to mark your calendars and stayed tuned for the announcement of the winners and finalists!
Job Description: The Manager of Photography is responsible for managing series and movie episodic coverage, events and corporate assignments for USA Network, Syfy and Bravo. This position reports to the Executive Director Photography.
Job Description: The Reader’s Digest photo studio in Milwaukee is growing! Considered a center of excellence internally and by our competitors, the photo studio staff produces 100% digital food and product photography for leading food media brands including Taste of Home and Every Day with Rachael Ray. As our newest set stylist, you will also be responsible for pre-production and set styling for our brand photography, serving as liaison between the editorial and photography teams to develop and communicate the art direction, look, feel, color-palette and composition for our branded products.
Job Description: This position provides professional photographic services to the university community in support of its strategic communications and publications. Read full description by clicking link above.
“The Italian Cultural Association MoCA (Modern Contemporary Art), in cooperation with Arte Laguna, organizes the Fourth International Art Prize “Arte Laguna”, directed to the promotion and valorization of the contemporary art. The Prize is organized under the patronage of the Foreign Office, Region of Veneto, Province of Treviso, Province of Venice, Municipality of Venice, Municipality of Mogliano Veneto, Venetian Ca’ Foscari University, Ascom of Treviso, NIKON, Venetian Academy of Fine Arts, European Institute of Design (IED). The Prize is subdivided in three sections: painting, photographic art, sculpture. Participants can chose the theme of their artworks.” To read more, click here.
Deadlines:
15th November, 2009 for by mail applications (postmark)
26th November , 2009 for on-line applications
Information is not guaranteed and subject to change. This is for information purposes only. Please check with their official website for any changes, updates, and further information. – DF
WPGA would like to see images celebrating the seasons -in landscapes, cityscapes, people at work or on holidays, as well as images expressing the impact of the seasons on living conditions. In this sense documentary images are also welcome provided they represent a story related to a specific season. Although documentary can but does not necessarily mean drama and tragedy: it can also relate the joy of a summer camp or the happiness of a good harvest.
THE JUROR: For this contest there will be only one juror, G.M.B. Akash, photographer from Bangladesh who has an extraordinary professional trajectory, having been awarded by World Press Photo 2006 and selected as one of the 30 emerging photographers by the magazine Photographic District News (PDN 30). He also won the First Prize at the Asian Press Competition. He’ll be the juror and will host the winner in an amazing trip to Nepal, India or Bangladesh (location to be decided by the winner) that constitutes the prize of The Four Seasons Contest.
THE PRIZE: The winner of WPGA The Four Seasons contest will be awarded a paid trip, including lodging, to Nepal, India or Bangladesh, where he will have the chance to work with G.M.B. Akash on a 10-day photographic project to be decided and agreed by both winner and juror. Date and location of the trip will be freely discussed and chosen between juror and the awarded photographer. In case the winner decide not to travel (or cannot travel) the award will consist in a cash prize of $ 3,000.
Additionally, the images produced in this project (or selected images of the winner if the travel doesn’t take place), together with a visual prologue by G.M.B. Akash and selected images of runners up in the contest will be published in the book WPGA – Asia and The Four Seasons. Images selected by the juror will be exhibit in Asia and in another European or US city to be determined at a later time. Artist will get a 40% commission of exhibition sales and another 40% will be donated to Save the Children.As in all WPGA contests, the selected works will be posted in WonderPick Gallery, at no cost, for sales online.
Entry fees: $35 for three images; $10 each additional image. Early Bird submissions will get a 30% discount.
BLOOMBERG NEWS Article Title: Leibovitz May Have Better Luck in Bankruptcy Court (Update1) Authored by: Katya Kazakina
Hello photography enthusiasts! Photographers and people in this industry are mesmerized at Ms. Leibovitzs’ personal financial circumstances, as it relates to her life’s work. She has been a source of pride in our community; not only for her extreme talent, but also her business acumen and success in our field. However, this recent move has created a MAJOR turn of events. This is a more recent article, from Bloomberg News which I find interesting. It cuts to the core of alternatives to survive and art law. - DF
In the current economy, the trends to conserve, go “Green,” mixed with the car industry woes, people look for smaller more fuel efficient or alternative fuel powered vehicles. This is a fun look at small cars through the eyes of a photographer.
Hello, Officer
Photo: Topical Press Agency/Getty Images
Jun 26, 1926
This information is subject to change. Please check the link provided for information. ACT QUICKLY! The deadline is August 7, 2009.
WHERE: Library of Congress seeks photographer: CLICK HERE
Agency: Library Of Congress Sub Agency: Office of the Librarian Job Announcement Number:
090147
Job Title: Photographer
Salary Range: 50,408.00 – 65,531.00 USD /year Series & Grade: GS-1060-09/09
Promotion Potential: 09
Open Period: Friday, July 24, 2009
to Friday, August 07, 2009
Position Information: Full Time Permanent – No time limit
Duty Locations: 1 vacancy – Washington, DC
HOW TO APPLY: To be considered for this vacancy, applicants may apply online at www.loc.gov or submit a completed applicant job kit. Online applicants must complete all mandatory sections of the online application form. In order to use the online application system, applicants must use a computer that is equipped with either Netscape 4.7 or Internet Explorer 5.0, or higher. Attempting to complete the online application with an incompatible browser could result in the inability to submit a complete application. Job kit applicants must submit a completed application using the job kit scannable form AND an OF-612 or a Federal Style resume. A facsimile of the scannable form cannot be accepted nor will hard copy applications be accepted without a completed scannable form. You can request a copy of the job kit, which includes the scannable form, by contacting the Library of Congress Customer Service Center at the address below. If you experience technical difficulties with the online system or need any additional information, please contact a Human Resources Assistant at the number listed below or at jobhelp@loc.gov.
Library of Congress Customer Service Center
101 Independence Avenue, SE, LM-107
Washington, D.C., 20540-2700
(202)-707-5627
Note: SOMETIMES EMPLOYMENT AGENCIES ARE SECURED TO FIND GOOD CANDIDATES. IF YOU ARE ABLE TRY TO GO DIRECTLY TO HIRING COMPANY TO APPLY.
As a photographer I think it is important to share good opportunities for career growth job postings I come across to help other photographers find employment in this field. Regardless of career stage (new, emerging, established, etc.) I think it is important we nurture other photographers, guide, assist, share.
However, keep in mind, any job posting, including the information link provided below, can be altered, changed, or removed (if they fill the position) by the originator of job links in this blog.
This information is not guaranteed, and subject to change. Please check the Saks 5th Ave. employment/career website for more details. CLICK the link below to go to the actual job posting.
Interested in writing a book review for F-Stop magazine? Here is your chance to weigh in.
The following information is reposted for information sharing purposes:
F-Stop Magazine looking for someone interested in writing a book review for the upcoming issue (October). Its a volunteer type thing. If interested email examples of your writing and/or other relevant info to fstopmagazine@gmail.com
I look online occasionally to see what the current employment market offers photographers in our field.
If I find something interesting, I cut and copy it here for you to investigate further. The economy is tough. I am trying to help out fellow photographers! GOOD LUCK!
PLEASE DO NOT CONTACT ME. Click on links above to find out more about the positions. If they fill, the original posters of these job opportunities may remove the information or disengage the links. I am not responsible for any changes or alterations in the information.
Prints made by the celebrated French photographer, Henri Cartier-Bresson, supposedly destroyed after a flood, are turning up on the market, according to his widow. The allegation is deeply embarrassing …
Photographer Lynsey Addario, began her photographic career in the mid 90’s. Born in Connecticut, but currently residing in Turkey, she is in her mid 30’s and has already claimed a solid place as a freelance photographer for National Geographic, Fortune, The New York Times and other esteemed publications. Recently awarded the Pulitzer Prize, her blazing successes are grounded in her focus to her vision, work ethic, and humanitarism.
Ms. Addarios work is an intimate lacing of observer and subject(s). Bravely going to locations and into situations where most (particularly women) would not. Her images effect a reaction of punctuation, they are a statement, rather than a passing curiosity. I recently discovered her work. Please find a youtube video broadcast, about her, her experiences, and her photographs.
For aspiring editorial and photojournalists, this will give you a genuine, first hand account, of what it is like to be in the field as a documentary photographer.
To learn more, or contact her for assignment please visit her website at: www.lynseyaddario.com
Although the broadcast is in Turkish. Ms. Addario’s portion of the interview is in English.
