Palm Springs Photo Festival Portfolio Review Time Slots
Heather Elder of Heather Elder Represents reached out to me yesterday to become the word out nearly helping the people of Ukraine through donations for beautiful photographic prints. There is a link for other photographers beyond her roster to join in the efforts to aid. Together we can brand a departure.
Photography has a unique power to connect us to people in means that words simply cannot. And, when disaster or life changing events hit, photography has the power to bring united states together and remind u.s.a.of our commonage experiences and shared humanity.
With this understanding, Giving Photography was created to connect people and artists who want to make a difference, all while making the earth a little more than cute.And, right now, nosotros want to focus our attention and efforts on aide to Ukraine.Whetheryou are a photographer, or someone interested in making a donation in substitution for print, we invite y'all to join united states.
Link here if you are a photographer or artist who would like to employ the #Giving Photography and your own social platforms to offer prints in commutation for donations.
Also, photographers in Heather Elder's group are offering an 11″x17″ prints in exchange for a donation to World Central Kitchen or i of these vetted agencies.
Link here if you are looking to make a donation in substitution for a impress. Or explore the#GivingPhotography for more options.
Giving Photography understands that people want to make a difference in the globe and want to lead positive and impactful lives. By connecting photographers to buyers with shared philanthropic interests, Giving Photography tin become the catalyst to start meaningful conversations effectually urgent issues and raise money to help support them; all while making the earth a little more beautiful.
To run into more of the prints and charities existence supported, check out our website or follow us on Instagram.
APE contributor Suzanne Sease weekly postal service "The Art of the Personal Project" can be viewed every Thursday.
When I go to a portfolio review these days, I've got to get on an airplane.
Information technology's a big deal.
The packing.
The planning.
The 3 60 minutes bulldoze to the airport.
I'thousand not lament, per se, as getting to travel to great cities is a pleasure, not a trouble.
But heading to Review Santa Fe concluding month, it was quite a dissimilar experience.
I woke upward at a normal hr.
Made breakfast for the kids.
Then I went to ii parent-instructor conferences at their schoolhouse. And I ate in a gas station burrito articulation.
Then I went to visit a furniture store, all before I joined the photo festival on a Friday afternoon in tardily October.
(Quick sidebar, before yous scoff, for whatever reason, in that location are a ton of great little taquerias in gas stations throughout Northern New Mexico. My favorite is run by a couple of ladies from Chihuahua in an Alon station on the North side of Española.)
But back to Review Santa Iron.
It was no great drama to go there, only an average 24-hour interval. And every bit information technology was my 5th of half-dozen portfolio reviews this yr, (I'thousand going to Photo NOLA next week,) information technology's all began to feel a scrap normal.
Shortly later I checked into the Drury Suites hotel, where the event is held, I walked across the street to endeavor to discover a cocktail political party at Radius Books.
Information technology seems straightforward, but you're wrong.
I bumped into Brian Clamp, a friend of the column, and 2 other women who were scratching their heads trying to find the identify. I took the lead, as a local, merely actually had no idea where I was going.
We concluded up in a musty, 2nd-story-carpeted-hallway, chatting nigh what to practice adjacent, when a heavily-plastic-surgeried older woman popped her head out of an office.
She barked at me to shut up, and I saw, through her open door, that she was a psychic.
I was stunned, equally she was then rude, merely the jokes write themselves.
(If she'due south really psychic, why didn't she know we'd be there? If she's really psychic, how come up she couldn't tell u.s. how to find Radius Books? If she'southward actually psychic, how come up she didn't tell me to shut up earlier I said anything?)
I could get on, merely I won't.
Somewhen, we institute the party, and it was nice to catch upward with colleagues over a potent bourbon, in a sleek modernist space. They have information technology going on over there at Radius. (I'll give them that.)
Beyond the socializing, through, my favorite thing about portfolio review events similar Review Santa Fe is the run a risk to see such a cross-section of photography, and see people from effectually the world, all in a compressed space in fourth dimension.
In this respect, Review Santa Fe absolutely delivered.
I did 17 consecutive reviews on Saturday, and it nigh burned out my brain. But the quality of work was high, overall, and as I also popped through the portfolio walk on Friday dark, I've got a dainty selection of work to testify you today and side by side week.
As always, the artists are in no particular order.
We'll start with Teri Darnell. She had two projects about gay performers, and was also trying to make work nearly the gentrification of a historically gay neighborhood in Atlanta. I liked the first projection, merely was really attracted to her photographs of a cabaret in Berlin.
Co-ordinate to Teri, there'due south a detail cabaret show on in Berlin that was made in laurels of the gay performers who were imprisoned in Hitler's Germany. She said that in one case, the performers continued to stage work until they were murdered in a concentration camp. (Heavy stuff.)
It'due south rare that photographers really play with the element of time, I find, just Teri'southward moody, saturated images dovetail so well with the historical-recreation-vibe of the Berlin cabaret.
It'south trippy piece of work for sure.
Speaking of trippy, Jill Brody is a self-professed Jewish grandmother who spends her photographic time hanging out with subcultures and religious minorities like the Hutterites in Montana.
I'm ever impressed when people embed themselves in random places, because the artistic bug just won't leave them solitary. Jill and I discussed the relative saturation of colors in her palette, as I thought one or two of her blues pushed into hyperreal territory, which didn't fit with her documentary style.
Kevin Horan was another creative person who showed me things I liked and didn't like. I don't mean to be flippant nigh it, merely from an advice standpoint, it's proficient to mention hither.
If you can bring more than than one project with you, please practice. Fine art is so subjective, and our ain interests so broad, that one person may well hate 1 thing you've done and honey another.
But if they love anything, you lot're fashion ahead of the game.
Back to Kevin, though, equally we saw images taken from airplanes that he'd inverted upside downward in Photoshop. I wasn't interested.
And so he showed me a beautiful, documentary series almost finding dead things on nature walks. It actually needs no more explanation, as his images are impressive and cohesive.
Santiago Serrano and I discussed the thought of cohesion, both visually and conceptually. He led with 2 or three pictures I constitute sub-par, and so had 15 in a row that were stellar. So nosotros discussed how the context of those get-go few images determines how receptive we are to what comes next.
Santiago is from Quito, Republic of ecuador, where bullfighting has been banned, but lived for a fourth dimension in Mexico, where it's not. He has this cool series about bullfighters in Mexico, just and then there were 2 or 3 pictures of fighters in Republic of ecuador.
I suggested that if 95% of the story was virtually ane place, I'd cut the other pictures, for the sake of story cohesion. In particular, I appreciate his color palette, which captures that sense of the Mexican Baroque.
Adair Rutledge is the gutsy sort, and she needs to be. Adair, a blond, Southern, white adult female, decided to do a story about a youth football team in Nashville, made up exclusively of African-American children.
We had the "stay in your lane" chat last calendar week, so I won't bore you lot, but Adair embedded herself for years, and really got to know these people. I'd argue it's why they engage with the photographic camera so freely and openly.
Leslie Sheryll is a sometime photograph lab owner from New York who crossed the river into New Bailiwick of jersey. Nigh people go in the other direction, and then more power to her. (I left the Tri-State area entirely, so who am I to point fingers?)
Leslie had some intricate Photoshop layered work, based on historical images she'd acquired and then digitized. She wanted to make work that really captured the spirit of the 19th Century women depicted, and her series featuring poisoned plants, which I'k showing hither, was very cool.
Strychnine Tree
Finally, we've got Lee Johnson. He's an Englishman living in Switzerland for work, and has been photographing the ski lifts in summer, hinting at a time when the snowfall won't come up. (Speaking of which, we're very far behind normal here in Taos at the moment.)
He shoots with a boutique European motion picture that approximates the color of expired film, and then digitizes the film, and has it output as a digital polaroid-style impress. Furthermore, for the images below, he's then made digital snaps of the bodily prints.
Are y'all dislocated yet?
Well then, come back next week for all the answers.
I'll be at Shoot LA on Saturday giving a workshop from 3:fifteen – 4:fifteen PM on Social Media Marketing. I'm going to get yous pumped upwardly to use social media for marketing your piece of work and finding an audition for projects and ideas yous have. I see that Andrew Southam has a discussion from eleven:45 – ane:15 and there's a agglomeration of other absurd workshops and talks so it looks to be worth checking out. Come say hi if you're going to exist at that place, I always enjoy meeting readers.
More info here: shoot-la.com
September 23 – 24 Santa Atomic number 26'due south, CENTER has a retreat-style workshop called portfolio bootcamp that I will be participating in. This is a weekend intensive workshop aimed at photographers of all levels who want to become their portfolios in swell shape. If this interests you lot get here for more information on the event including a list of presenters: http://www.visitcenter.org/bootcamp
I'1000 personally excited to hear Robin Fisher-Roffer, of Big Fish Marketing who's giving a talk on how to stand out and get noticed. She'southward a nationally recognized branding expert so I'm certain she volition accept some bully ideas for this. Too that there will be lots of intensive portfolio discussions and 1 on ane time to work on books. Even though everyone is hiring off websites anymore, a well crafted book can be an alibi to run across in person and is still a real deal closer.
I'grand hitting the west coast in a couple weeks to give my Social Media Marketing Talk.
I'll exist in Portland for ASMP Oregon on Thursday, June 23rd from 7 – 9pm at Sandbox Studios. More info (here).
Then in Seattle for ASMP Seattle/Northwest on June 29th from 7 – 9 pm at Demaray Hall, Seattle Pacific University. More than info (hither).
It's ever great to encounter weblog readers at these events. I shook a lot of easily in Denver and everyone idea the talk was the best they've seen on the subject. Promise to see you there.
1 of the great things nigh existence on panels with fine art buyers and other creatives is the interesting things you learn from them. On this terminal panel for APA LA called "Why Nosotros Hire You" I kept some notes to share what I found out. I was on the console with Jigisha Bouverat the Director of Art Product at TBWA\CHIAT\Mean solar day, Los Angeles and Mike Kohlbecker the Acquaintance Creative Director/Art Director at Crispin Porter + Bogusky, Los Angeles. Jigisha has been with the agency for 22 years and manages a squad of Fine art Producers. Mike has worked on some major campaigns.
Here are the things that I thought were worth noting:
1. Before the event Jigisha told me they have been shooting a ton of campaigns in 2011. More this year than in the last year combined.
ii. Jigisha loves the web log Feature Shoot and reads it regularly.
3. Several photographers asked the flash vs. html question for websites. Mike said I don't care. Jigisha said I have no idea what you're talking well-nigh.
iv. Mike said he reads most of his email on his android telephone and likes information technology when there'due south a mobile version of a site to expect at.
5. Mike said on the campaigns he works on, the photographers being considered all are qualified to shoot it, so it comes downwardly to personality as the deciding factor.
6. Jigisha gave an emphatic yes when asked if she likes looking at personal work and said many times the personal work is what they hang on to from marketing textile.
7. When asked where she finds new talent Jigisha she's had good luck with portfolio reviews at the photography schools in LA.
8. Mike and Jigisha agreed that editorial is nevertheless a place where they find photographers who are established but haven't shot advertising before.
9. Mike said he volition draw the type of photography he wants for a concept or show moodboards and and then Jigisha said she could name 10 photographers off the top of her head that fit any manner he could come up with (i was tempted but didn't test this).
x. Jigisha and her art producers continue internal google docs where they have photographers categorized. She saves links to things she likes to these documents.
11. the advice for the creative call from both of them was:
i. Don't be the first to speak, get together clues near where this is going from the AD (e.1000. it'southward going to be vivid and happy or it'southward going to be nighttime and moody). If they've had other calls before yours you lot will hear clues on where things are headed.
two. it's all near your enthusiasm for the shoot.
iii. it'due south easy to tell when you're faking this.
iv. Mike admitted that sometimes the project has inverse and he'southward lost his enthusiasm so it'south good if you are enthusiastic about it.
v. Did I mention enthusiasm?
12. When asked if in that location was anything that happened on a shoot that made them not want to work with a photographer again Jigisha said there was a shoot where the photographer was bad mouthing the Art Manager but didn't know his radio was on. Mike best-selling he could be a pain in the donkey on shoots asking for more coverage of things on the wing.
13. Questions most the triple bid, budgets, pricing and negotiation had Jigisha explaining the Art Producers job is to make sure they get a fair market price for their clients.
Thanks to Andrea Stern for the great questions. Hither's a take of the event from the audition.
I'1000 giving my talk on social media marketing for photographers in Denver on Tuesday. Here's the ASMP Colorado page with info and the facebook page. If you read the blog and your going to the consequence come say hi. I've found these events are a good opportunity to milkshake hands with some of my readers.
Date: Tuesday May 24, 2011
Time: 7:00 PM – 9:00 PM (Social Hour at half-dozen:00 PM)
Location:
Denver Pro Photo
235 S. Cherokee Street
Denver, CO 80223
This Wednesday, May 18th I volition be on a panel with an Art Producer, Creative Director and Art Director at the offices of TBWA-Chiat-Day in LA to aid answer the question "why we hire you." The event is being put on by the LA chapter of APA and Andrea Stern of SternRep. More information can be constitute (here). I'chiliad excited to talk about the way in which I used to choose and rent photographers and also impart knowledge gained from 3 years of blogging near the subject. The rest of the panel is strictly advertisement folks (Jigisha Bouverat, Director of Art Productions TBWA\Chiat\Day; Mike Kohlbecker, Associate Creative Director/Art Director, Crispin Porter + Bogusky; Jake Kahana, Art Managing director, 72 and Sunny), so it will be interesting to acquire about their processes and report dorsum what I find out.
As part of MOPLA (month of photography LA), I'thou moderating a console this Wednesday (April 20th) at Smashbox Studios in Culver City, CA on using new and old media to market your business [New Media + Diversified Marketing Strategies = Business Longevity]. I've got Jen Jenkins (Founder, Giant Artists), Kiino Villand (WSTRNCV.com), Keith Goodman (Modern Postcard), Jeremy and Claire Weiss (day19.com) and Heidi Volpe (Design Director at Zinio).
The goal will be to talk over the mix of new an old marketing methods that are used to land jobs and reach out to prospects. Likewise, I want to explore how companies use new media to hire photographers and what they look for when hiring for projects that are a mix of new and old media.
I can't promise any silverish bullets, but I think you will come up away with some ideas and inspiration on how you can suit the mix of your marketing methods.
Wow, this is impressive. Former Baltimore Sunday paper lensman David Hobby and Joe McNally of LIFE and National Geographic fame have turned their burgeoning blog/workshop business of teaching hobbyists and semi-pro photographers how to lite with small strobes into a 29 city xiii,000 mile fully sponsored bus bout (here). Get-go off, it's amazing how effective blogs are at getting the word out. I honesty don't think they volition have to practise a stitch of advert to sell out all those cities (unless they're rocking an arena tour). I'm also marveling at these two photographers who've looked at what was happening in the business and embraced didactics all these people clamoring to acquire more than about shooting. Obviously, both are groovy teachers and this non something you just decide to do overnight unless yous have the proper skill set and have spent a good portion of the last 3-5 years developing an audience for it. And the photography manufacturers who've gotten on board, what an incredible method to get the discussion out most your product, a frickin' autobus tour of all things. It'south amazing isn't it, that in the internet age it comes down to a couple of dudes on a coach. Of course, teaching amateurs how to light their badly conceived images may horrify many of yous, only that cat ain't going dorsum in the purse.
John Eder sent me this entertaining written report from Photo LA 2011.
I went with my buddy the location scout – he got into that after a career as an assistant. Nosotros were gonna play a drinking game where nosotros would accept a shot if we saw pictures with:
empty swimming pools
Russian hookers
Indian hookers
whatever kind of hookers
brothels
Indian brothels
deserted strip malls
incredibly precipitous images of bland intersections with gas stations
enigmatic pictures that look like stills from movies that never happened
girls in gowns underwater in swimming pools
Anything with 20 of the aforementioned thing in a grid pattern – watertowers, neon motel signs, etc.
Anything with Northward Korea in it
Douglas Kirkland – in whatever form – on the wall, in person, endorsing something, in a workshop, advertising for a hereafter workshop, anything
We didn't practice information technology, tho, which is a skillful matter cos nosotros would take gotten hammered!
Anyway, by Sunday, when we went, all the vendors were bored stiff and would talk your ear off. The gal from Low-cal Works was cool and expounded at length about their really slap-up programs for photographers – residencies, grants, access to their print lab. I'one thousand into that! The guy hawking beautiful ltd. editions of my sometime teacher Jerry Uelsmann allow me paw thru all his stuff even when I told him I didn't have $5K to buy one. Jerry's piece of work still holds up for me, fifty-fifty in the digital age. I could have sworn the two babes manning the booth for some gallery from Santa Fe were flirting with me, I wonder if they hooked up at the after party with the guy from another gallery who sounded similar Cary Grant, or more like Tony Curtis imitating Cary Grant in "Some Similar Information technology Hot." Counted five female patrons with shaved heads, simply in that one afternoon. Lots of dudes in designer eyeglasses along the lines of Hockney or Phillip Johnson.
What was striking was the lack of anything really all that new. Nobody from this yrs MOMA "New Photography" show – Alex Prager, Roe Etheridge, etc. No Gursky this yr. Only one by Kahn and Selesnick, kind of tucked away, odd cos they seem to exist making a big splash with their cool piece of work http://www.kahnselesnick.com/. No Jill Greenberg, who is normally represented. Some truly weird stuff – ane matter where you could take your moving-picture show in this booth and they photoshopped information technology into some kind of weird Buddha garden matter. None of the large NYC galleries similar Yancey Richardson or Yossi Milo, I guess they don't accept to, no Clampart, naught like that.
I was thinking nearly the Clint Clemens interview you did besides, regarding China – at that place was ane Chinese gallery represented, which had a spiffy booth and some nice giveaway postcards, but they were dealing in vintage images of stuff from the 50s in Red china, which was visually nice but goose egg leading border.
If I had $100K to buy for a zillionaire'south loft, you lot could have gotten a lot of cool stuff, tho non necessarily for a song, but reams of famous vintage images from the worlds of manner/ celeb/ journalism available for under $10K. Fetching BIG prices was Helmut Newton. You could have gotten some nice Lillian Bassmans for relatively cheap – 1 well heeled West Side type power couple were mulling over a purchase equally "She'southward going to die whatever infinitesimal and they'll triple."
Hardly any fake Eggleston, except for something called "LA Matrix La Brea", which was heavy on the intersections with gas stations incredibly sharp, Steven Shore involved there forth with younger types.
I recollect the most of one thing we saw was Antarctica/the Arctic/ frozen wastelands with scary icebergs – tons of that! Lots of photo-shopped, manipulated landscapes, which were neat to look at for the virtually function, tho some of them a little hokey. Also, every bit usual – we should take put this on the list for our drinking game – there are Always a meg pics of Muhammad Ali at this thing, as was the case this twelvemonth.
One of the best things virtually it, from an overall industry view, was information technology was way more heavily attended than last twelvemonth., and stuff seemed to be selling, even the smaller galleries said concern had been good; they felt justified in the outlay of putting upwards a booth. Last twelvemonth it was like oh my God the sky is falling, it was non so hot saleswise. At that place was a lot of stuff with ruby dots on it, for sold, so that'south encouraging.
I think my fave thing – that stopped me in my tracks and made me laff – was this Corey Arnold pic, on display as the cover of his book:
OK that's my entirely unsolicited review.
I'm giving a talk adjacent week in Boise, ID on social media marketing for photographers. If you're going come say how-do-you-do afterwards. Here are the specifics:
Social Media has rapidly inverse the way people communicate and do business. If y'all're like most photographers you have Facebook, Twitter and LinkedIn accounts and mayhap you lot've done a bit of blogging, but you oasis't figured out how this fits into your marketing plan. You're not lonely, long established media and advertising businesses were defenseless off guard equally social media revolutionized their industry. Staying informed, making a program and taking action is essential for anyone running a business concern in this new environment. In this presentation Rob Haggart will help you make sense of how these new tools work, show y'all photographers who are finding success with social media and inspire you to have action.
Wed, January 19, 2011
7:00 PM – 10:00 PM
Hotel 43 Downtown Boise
Longitude Room
981 Grove Street
Boise, Idaho 83702
Students $5
ASMP Members Costless
Non-Members $15
/sponsored by me.
Lensman Tony Gale visited the Adhesive Effect for APE and here's what he saw.
As a follow upwardly to my mail service entitled Pay For Meetings?, where I looked at the NYC FotoWorks portfolio reviews taking identify at the same time as the trade prove, I asked a few photographers who attended to give us their feedback:
Terence Patrick:
Thanks for the post a few weeks ago on the NYCFotoWorks portfolio review. I would not take heard about it otherwise. I'm really glad I went and fifty-fifty though I didn't get to see everyone I wanted, the feedback from those I did run across was tremendous. An assignment offer was given on the spot and lots of great contacts were made. For an event of its size, it was very well run. Totally worth every dime I spent!
Kevin Steele:
I didn't pull the trigger to do the reviews until 2 weeks earlier, when I realized that a possible consignment was not going to happen the same week. I was notwithstanding able to get a bargain on airfare from the due west coast and I have a cousin and a identify to stay in the city. I felt the timing was right to get feedback as well every bit get my work out at that place after contempo awards and a twelvemonth in which my book has inverse almost completely every bit I focused on where I want to be next. I compared both the juried NYCFotoworks and the PDN/Palm Springs reviews at PhotoPlus Expo and decided to do a set of of 14 editors/5 ABs on Thurs/Friday at Sandbox studios with NYCFotoworks and then the Sat with 5 more at the event at Photograph Plus Expo. $990 + $250.
I made my selections and take to say I was pretty happy with who I was able to encounter at both events. I prefer how NYCFotoworks handled the registration and selection process although I wish I knew the final schedule sooner. At that place were some cancellations and rescheduling and I was able to secure an bureau AB when a magazine PE could not make it which was better for me. Just one reschedule caught me equally I did non make annotation of the change and was out on a break, missing my time slot. During the events I too met with a rep and an bureau AB who wanted to run into my book in the hallway outside of the schedule. And an artist adviser was on site at Sandbox for costless 20 minute consults (smart for her as a great mode to market herself). I did not go in expecting to find work – having launched a direction this year I wanted expert advice and critical feedback on my piece of work, my edit, my way, my strengths and weaknesses. I was really surprised that some of the near helpful sessions came unexpectedly, from those reviewers who were well-nigh the bottom of my preference list. And that some of those on the tiptop of my list did not provide a disquisitional level I expected. Only all in all information technology was well worth it – it did result in a mag request for an prototype to run and one AB said I made her day after she saw an image and realized I was the 1 she could pitch for a client meeting the next calendar week for a 2011 project.
15 or less minutes (equally changeovers were every xv minutes) at Sandbox was too curt. On Friday evening I had 5 sessions that were back-to-back. What I appreciated were the reviewers who would ask why I was there and what I wanted and then would flip through the book very apace, close it, open it once again and go more slowly, sometimes making a third laissez passer even slower. The sessions at Photo Plus Expo (on Saturday) were 20 minutes and seemed to be less hurried – both in that the actress 25% helps equally well and then a little overage was OK and everyone was cleared from the room before the adjacent review session. That is in dissimilarity to NYC Fotoworks where I was more than once in the awkward position of standing at my next reviewer's table while the photographer from the final session was however wrapping up.
This is the first time I have done these "speed dating" sessions. I will normally block a week to visit a metropolis and become appointments (LA, SF, NY). The last time I was in NY I had x bureau AB and editorial PE meetings in five days – and that took a proficient office of two weeks of preparation: calls, emails and more emails, and a lot of dead time "on call" and leaving voicemails during the visit week.
As a issue of all of this I accept had face time with an incredible number of editors, reps and agencies that have seen my work now and I tin can follow upward with a level of familiarity that would not take been in that location otherwise. Some images are now axed from the book, the sequence edited and my management affirmed while a hereafter personal project has been inspired from 1 of the reviewer'southward prompts.
Brian Stevenson:
I had some apprehension well-nigh the review events value to me earlier I went. Information technology's non cheap and since I don't live in NY it was a large delivery for me to make the trip. But, I felt similar if I made the decision to become, I should practise everything I could to make the nigh of it. I ended up purchasing a pretty significant package of reviews and I balanced my reviewer requests fairly evenly between editors, art buyers, and agents.
The list of attention reviewers was pretty impressive. I signed upwards early and I ended up being scheduled with most of the people I really wanted to see. When the two day consequence began, there were also opportunities for me and all other photographers to meet with both photography consultant Colleen Vreeland and a representative from Corbis without incurring whatever additional costs. I signed up for both additional sessions.
I did my homework earlier the outcome. I read everything I could find most the people I was coming together with. I made lists of the art buyers' nearly relevant clients. I checked everyone's resumes on LinkedIn to find out where they'd been before they arrived at the jobs they hold at present. I looked at recent copies of the editors' respective publications. And I looked at the work of all of the photographers who are represented by the agents. I call up I was as prepared as I could accept been and I think information technology made me more than confident going into the reviews.
Each scheduled coming together was 15 minutes long and the organizers of the event did a pretty good task of making sure the transitions occurred on fourth dimension. Things got a little backed up throughout the outset day (mostly considering a couple of the reviewers arrived late) just it didn't consequence in anyone existence denied meetings. In that location were ane or two reviewers who neglected to show up at all but in those instances, I believe the organizers did everything they could to reschedule photographers with other reviewers. All in all I'd say the upshot was well run.
I hadn't attended a review consequence like this before and I was concerned that reviewers might be so overwhelmed with the number of people they were seeing that they might get disengaged subsequently a few reviews. But, my schedule on both days was pretty spread out and the people I met with seemed genuinely invested in the process throughout the mean solar day. I received a lot of positive feedback about my work equally well as some valuable suggestions regarding the editing of my portfolio. The agent meetings were helpful to me, not because I expected anyone to sign me to their roster, but because I was able to hash out some specific questions I had nearly tightening up bids and writing treatments for commercial jobs. I think the 15 minute review times were appropriate since they're about on par with what I think most photographers tin expect in meetings they fix upwardly on their own outside of events like these.
I met with a lot of people in the two mean solar day period. I doubt I could have arranged to run into half the number of people on my own and if I had it would have taken days or weeks of repeated phone calls and emails to brand happen. I also would have had to spend more than time in New York (I love NY simply, of course, it costs a fortune to be there) and I'd have had to do a lot of running around to see everyone. My time is worth more to me than the money I would take saved by trying to set up and then many meetings on my own and, again, I'1000 certain I wouldn't have been able to arrange meetings at all with some of the people I saw at the event. I made some bully contacts and I enjoyed the process.
Update: Jasmine DeFoore gives us portfolio review practice's and dont's from the PDN/Palm Springs Review (here).
I have a several interesting posts coming from the show flooring, seminars I was involved in and the portfolio reviews. In the meantime in that location's some skillful stuff up on Stella Kramer's weblog stellazine as she and several others were reporting live from the event.
I institute this note posted past Allegra Wilde on her facebook page quite good as I'm certain it'southward advice she was handing out at the portfolio reviews:
"Yeah, But I Accept To Make Coin…."
(And other ways to ignore the reason you became a professional person photographer)
When you are in the business of selling something subjective like photography, there is no standard formula which will tell yous who is going to connect with what you do, any more than it is possible to predict who is likely to autumn in love with you.
Following what's hot right at present; doing what you accept been seeing out there already – imitating the same content, styles, or processes as everybody else is going to be futile in the terminate.
If you make and show images with the intention of speaking the linguistic communication of potential clients (and that is what most people exercise)…yous will simply end upwards looking similar most people. You volition wind up moving away from yourself.
"Yep but I accept to make money".
And you may, for a while. All the same, your career volition ultimately suffer.
And so volition your heart.
The respond: Make work that is fabricated entirely of… You.
Your life, and your passions.
The things that no one else tin appropriate.
If you do that, (and get by your fears about whether it will work), y'all will have less, or even no competition. And that is always safer and more profitable than being office of the oversupply.
The strongest part of you, is the honest you, and that remains true regardless of the economy, engineering science, or the weather report.
The connection between a photographer and a person who is in a position to hire them and collaborate with them, begins with chemistry. And chemistry begins with honesty.
But that is not the whole story.
You will never accept a career being the all-time-kept secret in photography.
The formula for success? It starts hither:
Show yourself in your images, and stand up past them no matter what. Show your work to people who tin can rent y'all. All of them. EVERYWHERE. Mass market and send your photographs far and broad.
Those who see your pictures and are moved by them will empathise y'all. Will desire to be around you. Work with y'all.
Isn't that your ultimate goal? Isn't that why you chose this career in the first place?
Allegra Wilde
Portfolio Reviews, Marketing Consultation + Visual Strategies for Photographers, Agents, and the rest of the Professional Photography Community
When: Thursday, Oct 28 from 3:45 pm to 5:45pm
Where: PhotoPlus Expo in NYC
What: Myself, Amanda and Suzanne volition moderate a panel of industry pros:
Kat Dalager, manager of print production at Campell Mithun
Greg Lhotsky, agent and partner at Bernstein & Andriulli
Jennifer Pastore, DOP at Teen Faddy
Nick Onken, Professional Photographer
Jim Krantz, Professional Photographer
Why: I thought it would be fun to take the enquire annihilation format and brand it live which boils down to this: Amanda, Suzanne and I have all the tough questions yous would love to put to these people, simply nosotros all know this industry is small and who wants to inquire Kat Dalager "Why do agencies tell me to cut expenses and then care for a photoshoot like an all expenses paid holiday for the bureau and client? Your catered luncheon would pay my assistants rent for a yr."
We're going to inquire those questions.
I hope to have a live feed setup besides and so stay tuned to that if you're interested.
One of the highlights of last weekend's Telluride Photography Festival was seeing the work of Robert Glenn Ketchum and learning about the International League of Conservation Photographers. If your photography had the kind of impact Robert's has just one time in your career you would die happy. He does information technology over and over again with a multitude of grants from people who understand the impact photography can accept in irresolute peoples minds. What really brought this idea home for me was watching the presentation by Christina Mittermeier, president of the iLCP, where she said the goal of their RAVE (rapid cess visual expedition) projects was to "create tipping points around conservation issues using the power of photography." Seeing the successes of both Robert and the iLCP emboldened my thoughts about the vast power of photography and its identify in our time to come. Not just for conservation, but as a tool for reaching people in an increasingly crowded media space.
There's a Photography Festival in Telluride, Colorado happening this week. I'll exist there Friday and Sat doing some portfolio reviews, giving a couple seminars and hanging an outdoor exhibit. If you're going to be there equally well stop past and say hi. The boys from PhotoShelter will be effectually as well equally the PhotoAttorney so information technology should be a adept fourth dimension. I'm excited to encounter the work of Robert Glenn Ketchum and hopefully meet him as well. This is the starting time twelvemonth of the festival and I'm looking forward to this turning into a significant event for the photo customs in my cervix of the woods.
Source: https://aphotoeditor.com/category/events/
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