So you’re thinking about making a Print-On-Demand book but you don’t know which company to use, or whether it’s going to be worth the money. Well ASMP has done the groundwork for you. Their great idea was to try eighteen different companies and invite people to review and rate the results. About 100 people showed up to studio 385 and here’s how it averaged out (on a scale from 1 to 10. The results are listed from the least expensive to the most):


Printer Overall Rating
MagCloud 6
Create Space 4.8
Comix Press 4.7
LuLu 5.7
Apple 7.4
Adorama 7.5
My Publisher 6.7
Blurb 6.7
Pikto 6.3
Shared Ink 7
White House 7
Mpix 7.1
Bay Photo 7.4
A & I 8.2
Embassy 6.3
Fastback 6.9
Paper Chase 7.3
Asuka 7.9

People were asked to rate these categories on a scale of 1 to 10: color, detail, binding and cover, spread (gutter), paper, bang for the buck, overall. There was a handout with other information, including notes on each interface, turn-around information, brand mark and cost. All books were the same amount of pages and used the same photos. If anyone is interested in more of this information, email me and ask and I will get it to you.

Every photographer I talk to wants someone to publish a book of his or her work. But book publishing is falling apart like every other part of the publishing world, and POD can give you the power to make something happen for yourself. That’s a very good thing. But it’s up to you to take control and make the book what you want to have.

More and more photographers are using print-on-demand for their portfolios, to promote projects and create leave behinds for photo editors and art buyers. From people I’ve talked to, and from my own experience, the response is pretty much positive across the board. POD gives photographers options that didn’t exist before.

Now I know many photographers bitch about printing quality and consistency, and if you’ve got a story to tell, tell it here. But there’s more to print-on-demand than that--editing and sequencing are as much if not more important.

If the images in your book aren’t the best representation of your work, and the flow of the book doesn’t work then I don’t care how perfect the color match is. In all the debate about POD, quality and color match are all I hear photographers talk about. Having been a photo editor for many years, it seems that editing and sequencing are the least valued factors in creating a print-on-demand book.

You have to put the book together thinking about the people that are going to see it. Don’t get so wrapped up in your own work that you can’t see it clearly. From my point of view print-on-demand gives you the flexibility to put your work together for all kinds of different audiences. But if you aren’t thinking from their point of view your book won’t create the kind of success you’re looking for.

This is my inaugural blog for ASMP and I want to know what you want to hear about. Send me your comments, your ideas, your suggestions, and if necessary, your criticisms, and I'll let you know what I think.

Here are the links:
http://magcloud.com/
https://www.createspace.com/
http://www.comixpress.com/
http://www.lulu.com/
http://www.apple.com/ilife/iphoto/print-products.html
http://www.adoramapix.com/PhotoBooks.aspx
http://www.mypublisher.com/
http://www.blurb.com/
http://www.pikto.ca/books/
http://www.sharedink.com/
http://www.whcc.com/
http://www.mpix.com/
http://www.bayphoto.com/catalog/pp_books.htm
http://www.aandibooks.com/
http://www.embassyprobooks.com/
http://fastbackbooks.com/
http://www.paperchase.net/
http://asukabook.com/

People were asked to rate these categories on a scale of 1 to 10:
color, detail, binding and cover, spread (gutter), paper, bang for the buck, overall. There was a handout with other information, including notes on each interface, turn-around information, and cost. All books were the same amount of pages and used the same photos.



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Labels: a and i adorama apple ashuka asmp bay photo blurb comix press create space embassy fastback lulu mag cloud mpix my publisher paper chase pikto print on demand shared ink white house
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  1. my favorite is still magcloud bang for buck end of things, only thing i wish it had was a hardcover option for better longterm life and storage but i guess that defeats its purpose. After looking at most of the books we had i noticed that it is very important to have an image on the front and ideally printing on the spine to make it more identifiable once its on a bookshelf. We got some great feedback at the event but please post more here so we can all learn from this!

    ReplyDelete

  2. Great event Steve, and the blog looks terrific.

    Stella, I can't find A&I listed anywhere. Could you post links for these companies?

    Thanks. and congrats!

    ReplyDelete

  3. Stella's article is really a bit rubbish... it misses the point and is a cheap sell at her consulting services..

    here's why... yes we need to make our presented work flow and to have unity etc.... but what has that got to do with POD...? nothing, it's a completely seperate issue about editing your work.

    Yes we bitch about print quality and paper and colour matching because it's the same no matter what medium we choose to show our work, an old monster 11x14 or a POD, it all needs to be 'just so' or why are we bothering...? again a totally irrelevant point to make when the article is about POD and NOT photo editing...

    I asked two very very prminent photo editors their views generally about portfolio's and in particular POD's. They both said that some POD's the paper is too thin and POD's are a great way to show your range by giving art buyers and editors a small book on a personal project. However the mantra is still the same, whatever way you present your work do it very well.

    If you have worked with a POD company like I have, chances are you will have seen them make temendous avances in colour management in the last two years, several POD's do allow you to use a better paper.

    Stella could have mentioned these relevant facts instead of turning it into a personal plug to get her to edit your work..

    Great event as people have said... pity about this silly blog part..

    ReplyDelete

  4. Great blog, and impressive results for Adorama; the only book publisher to beat us for quality (by just 0.4) was also by far the most expensive.
    I think that your survey showed that for competitive pricing combined with high quality, AdoramaPix is hard to beat!
    BTW, we are always open to customer suggestions as to how we can improve the service we offer - at AdoramaPix, and Adorama Camera - so do get in touch with me if you have an idea; we'd love to hear from you.

    Sincerely

    Helen Oster
    Adorama Camera Customer Service Ambassador

    helen.oster@adoramacamera.com
    www.adorama.com

    ReplyDelete

  5. For those of us who were not present, can you reveal the question(s) asked of the participants who scored the products? Was there a single question (such as Rate this POD book on the 1-10 scale, where 1 is 'ugly' and 10 is 'amazingly beautiful')? Or were there several dimensions to the rating? And did you print the same book at all the printers - comparing "apples to apples"? Or did you choose a variety of different books printed by the various companies? (If we wanted to replicate the event in another locale, we'd hope a similar group of professional and advanced photographers would rank similarly, but only if they had the same or similar books to view and the same ranking criteria.)

    I understand and appreciate the comment about editing. For those of us who come to this exercise as intermediate amateur photographers creating "leave behind"s for special occasions or family events, it's an apt reminder.

    Still, it would still help to interpret the ratings if we know how the ratings were determined.

    ReplyDelete

  6. This event has just been confirmed as one of the events at Photo Plus at the Javits center in oct- if you missed us in june please join us then. Please be advised this is not a free event and unfortunately we don't have the ability to discount asmp members. We are looking into getting vender coupons if you come to the event- stay tuned! If you have any requests please post them here!

    ReplyDelete

  7. I've been printing a book of mine through Blurb -- which didn't get a particularly high rating in this test, I see -- and I have to say I am EXTREMELY pleased with the results. I didn't even choose the highest quality paper, and the results are still absolutely stellar. I checked out A&I and Adorama, your two top winners: A*I doesn't even have an 8 x 10 size, and their 8.5 x 11 only comes in hardback, so it's VERY pricey. Adorama doesn't say, at least immediately, whether they're offering a softback or a hardback 8 x 10, but whatever they're offering is $8 a copy more than blurb. So I'm not sure what people were judging on, or if they were fully taking price into consideration.

    Having been through a few rounds of this, I have to say your remarks about the importance of editing are spot on: though some of the challenges I've encountered have to do with the software Blurb provides (it's extremely hard to tell where the final paper cuts will fall) it has definitely been my editing, not their production, that has proven to be the biggest problem -- and I have some 20 years of editing experience in my background. You just have to be very very attentive to the work, and that's not always easy when you're working under deadline.

    ReplyDelete

  8. AdoramaPix 8 x 10 books are indeed hardcover, and are printed on Fujifilm Crystal Archive Album photo paper, so they are not press printed, and as you are aware, this makes them very, very different from all the press books.

    We took this decision as we discovered that with press books, there were frequently issues with color variations, which we wanted to avoid.
    AdoramaPix books are basically digital c-prints bound in a book, with 100% lay-flat bindings.

    These factors could very well be the reason why our books are not as cheap as other books of a similar kind.
    However, we do feel that we are giving our customers an exceptionally high-quality book for the additional $8.

    We do appreciate that this is a relatively new medium, and we are learning more effective methods all the time; however, the only other book in the test that scored higher than AdoramaPix overall was nearly triple the price and took 2 weeks to produce.

    We are careful to ensure that we have no issues of color shift with books printed at different times on different machines. We also have ICC profiles available for download on our website (at no extra charge!) for the maximum control over your images and finished book.

    There are undoubtedly improvements that we could make and we are always keen to learn from our customers where there are issues or problems that we need to resolve.

    Please don't hesitate to contact me directly, if we can provide any additional help, advice or support.

    Sincerely

    Helen Oster
    Adorama Camera Customer Service Ambassador

    helen.oster@adoramacamera.com
    www.adorama.com

    ReplyDelete

  9. I agree with Helen from Adorama that their books are very very different. I know some of my colleagues at the event did not like that but I was very impressed with the image quality plus the fact that virtually no other company produced a neutral black and white image anywhere close to Adorama's (which I thought was spot-on).

    ReplyDelete

  10. I agree with Stephen, MagCloud is the best I have tried. But I think it is mainly because it is not a hardcover book. A magcloud is a great promo, but a blurb book is kind of a cheap book. All in all, the information here is very helpful. Thanks Stella!

    ReplyDelete

  11. Stella, is there a way to break the results out further? The overall rating is interesting but I would love to know the results of the specifics like "Color Accuracy," "Detail," "Paper Quality," "Binding" etc since it can be difficult to know WHY Apple and Adorama are only 0/1 pt apart even though the products are so different.

    ReplyDelete

  12. We at Great Circle Books are very pleased that the outcome of this test shows A&I in Los Angeles at the top of the heap -- but not surprised. As publishers of fine art photography books for the past few years, we have used A&I exclusively as our print services provider.

    What sets them apart is the fact that A&I has a long history as a high-end photographic lab (as opposed to simply a printshop), with a reputation for meeting the most demanding requirements for such artists as the late Herb Ritts and Helmut Newton, among many others.

    Because A&I applies the same high standards in photographic imaging to digital book printing, using HP Indigo technology, the artists we have published have all been very happy with the results.

    But once you have your book, then what? For more information on how we help photographers move beyond the printing stage of the book publishing process, to market and publicize their work, please see visit us at:
    www.greatcirclebooks.net

    ReplyDelete

  13. I've been using A&I for all of my promotional material, film & digital services, AND book publishing. Hands down, best quality, and best customer service. I love that if I have a question, I get a real live person to answer me, not some generic email response. This may have something to do with A&I also being a custom lab. A&I is used to delivering a quality product, and customer service, as demanded by me, and other industry professionals that they cater to. A&I does offer soft cover for 8.5x11, check their site, or just call them. A&I is also consistent with their high quality. You can take a chance elsewhere hoping to be "EXTREMELY pleased," but chances are they can't match it a second time around, I'm not taking a chance on my reputation to save $2. Some of these companies actually outsource jobs, losing all control of their product. Questions not covered in the test are: Who does their books in house? Who outsources? Who can you call, and speak to a person with answers? Who only has email, with generic answers? I want a leg up on my competition when printing promotional material, I want to make an impression for the right reasons, I only want the best, and the best is A&I. Thank you ASMP.

    Astor Morgan
    www.AstorMorgan.com

    ReplyDelete

  14. I've been using A&I for all of my promotional material, film & digital services, AND book publishing. Hands down, best quality, and best customer service. I love that if I have a question, I get a real live person to answer me, not some generic email response. This may have something to do with A&I also being a custom lab. A&I is used to delivering a quality product, and customer service, as demanded by me, and other industry professionals that they cater to. A&I does offer soft cover for 8.5x11, check their site, or just call them. A&I is also consistent with their high quality. You can take a chance elsewhere hoping to be "EXTREMELY pleased," but chances are they can't match it a second time around, I'm not taking a chance on my reputation to save $2. Some of these companies actually outsource jobs, losing all control of their product. Questions not covered in the test are: Who does their books in house? Who outsources? Who can you call, and speak to a person with answers? Who only has email, with generic answers? I want a leg up on my competition when printing promotional material, I want to make an impression for the right reasons, I only want the best, and the best is A&I. Thank you ASMP.

    www.AstorMorgan.com

    ReplyDelete

  15. "Stella, is there a way to break the results out further? The overall rating is interesting but I would love to know the results of the specifics"

    YES!

    I'm helping a friend make her art portfolio, and seeing as she may weigh things more subjectively, I'm interested to know how each is rated.

    ReplyDelete

  16. Really great information thanks for share it.
    I like this idea and really helpful for me.

    Stickers printing

    ReplyDelete

  18. Nice to be visiting your blog again, it has been months for me. Well this article that i've been waited for so long. I need this article to complete my assignment in the college, and it has same topic with your article. Thanks, great share.



    Resume Writing Service

    ReplyDelete

  19. Thank you for the review and thank you to all the additional commenters. You have all been very helpful.

    How about a more current review since POD has made huge leaps in quality and price in the last few years? How about a company that does wholesale pricing?

    It seems that the editorial and the marketing departments have been cut out of the publishing equation but the prices have not dropped. The author is left with no support and four times the work.

    These companies should at least be paying the authors a marketing fee (or dropping their prices) because the author is doing all the work AND generating revenue for the printing company.

    ReplyDelete

  20. I am happy to find this post very useful for me, as it contains lot of information. I always prefer to read the quality content and this thing I found in you post. Thanks for sharing
    I liked the posts and cool layout you have here! I would like to thank you for sharing your experience and the time it took to post!! Two Thumbs up!

    ReplyDelete

  22. Brilliant ideas I got from this blog.Very informative and useful tips especially to those in the area of photography.
    Thanks for sharing wish to read more tips from you. Keep up the good work.

    A webmaster of press printed photo books

    ReplyDelete


  1. ASMP New York has relaunched SHARPEN, the online magazine of ASMP New York.

    We've got Industry News, Daily Features, Over 20 Columnists, and More!
    Stay up to date with the NEW SHARPEN!


    To get to the new content, you must visit:
    http://www.SHARPEN-NY.org/

    We hope to see you there!

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  2. Headshot by Horace Long, Photographer
    Today begins a new feature, a weekly “spotlight” of our fellow ASMP NY members.  I'll introduce inspiring men and women that are world renowned, at the beginning of their careers, and somewhere in between.  Here we'll celebrate each others accomplishments and how their work moves the world forward. My name is Teresa Kruszewski, a current board member and the fortunate person to spend time with each member and get to know their story.  I hope you enjoy our new feature.

    This week, our Featured Member is Mariette Pathy Allen.  Her work focuses on Transgender Themes. Along with exhibitions and books - she consults for documentary films. “In 1998 I worked with Kate Davis and David Heilbroner on a film for A&E television: "The Transgender Revolution". It was the first documentary to emphasize political issues along with personal stories and was nominated for a GLAAD media award.”(Quote from Mariette’s Website)




    T.  You joined ASMP in 1982.  What brought you to the organization initially?

    M.  I met some members of ASMP and got excited by the idea of a photographers' union. It made me feel taken care of. I also thought of ASMP as a special club; after all, I had to be recommended by two members and to have a portfolio to show!

    T.  And why did you continue?
    M.  I continue to see ASMP as a union.

    T.  What has it allowed you to accomplish as a professional that you would not have been able to do on your own?
    M.  I've used my ASMP press card to get into parades and other events. I've gone to a number of educational seminars, as well as parties.

    T.  Has there been one thing that stands out for you as being part of this organization?
    M.  I've always been impressed by the scope of legal efforts. ASMP's lawyers fight for our rights!  Of course, I also enjoy getting to know other members.

    T.  As I look at your work I am both inspired and drawn in to your subjects.  Did you know all along what you wanted to shoot or did it evolve?
    M.  I didn't plan to be a photographer; I expected to spend my life as a painter. When I received my MFA from the University of Pennsylvania, photography wasn't even included in the curriculum. A few years later, just by chance, I took a course with Harold Feinstein, a brilliant and charismatic photographer and teacher. I was doing street photography then, and still prefer working spontaneously. I was surprised that I kept getting hired, and loved my jobs. Being a photographer helped me handle my shyness; it became my passport into the world. Ten years into my career, I had another fortuitous experience: I met a group of cross-dressers, one of whom became my friend and introduced me to a hidden world. Along the way, when I've felt stuck, I've found mentors.  I am very grateful to Allen Frame, highly respected as a photographer, writer, curator, and teacher. To my great good fortune, he substituted for Nan Goldin at a workshop I took in the early '90s.

    "Kiwi at a coffee shop", © Mariette Pathy Allen, Cover of the book: "The Gender Frontier" published by Kehrer, 2004


    T.  How do you feel your photography contributed to the people/community in which you documented?  What lead you to books and then documentary films?

    M.  When I started making portraits of cross-dressers, I may have been something of a pioneer in the way I worked with them. I felt that they were depicted in the media as unsavory, solitary, creatures of the night. I wanted to defreakify the community I came to know very well. The photographs usually offered my subjects their first glimpse of themselves as attractive, dignified, lovable people, which helped rid them of their lifelong feelings of shame and guilt. The photographs were also helpful in offering a different view to people who had fixed assumptions or were simply ignorant on the subject of gender variance.

    T.  Your work has been highly recognized.  And your work touches on issues that still are not resolved, understood.  How do you think your images have opened the eyes of the world to be more accepting and understanding?

    M.  As I continued my work with cross-dressers, I looked for family members who would be willing to be photographed with them, especially spouses and children. I also felt it important to include the voices of my subjects and their partners and children. Many of the wives felt that nobody considered their feelings and were grateful to be interviewed. As a result of this work, "Transformations: Cross-dressers and Those Who Love Them", was published. It had a profound effect on "the community", and had an impact on the outside world as well. As I continued working with transgender people, I focused on the diversity of gender variant people, on youth, and on political activism. "The Gender Frontier" continued my focus on  presenting them in the daylight of everyday life, and in documenting a movement that is evolving exponentially. I continued to include interviews and stories: I believe subjects deserve the right to speak in their own voices.

    I have worked on five documentary films, starting in 1984. Four of them are focused on transgender issues, one on homelessness. I was the still photographer on all, and the consultant on three. Some of the still images from the films are included in my books. I've also participated in many radio and television programs. On my own, I do slide presentations for schools and other organizations. I don't claim to be an impartial observer. Fighting discrimination is part of what I do in this work but it is also my work as a fine arts photographer. Fortunately, it has been exhibited internationally, and is in museum and private collections.



    T.  What is your current project?
    M.  I'm in the early stages of several projects. I've already made some photographs of gender non-conforming people in other countries, including Cuba. I intend to focus on Cuba, and will return this fall. I've started working with a transgender veteran who lives in a VA shelter. I have a series, "Scapes" that is not about people, is totally unpredictable, and feels more connected to my roots as a painter.

    T.  Where can one go to see your work and learn more about you?
    M.  I have a website:  mariettepathyallen.com

    T.  Is there anything that you would like to say to new photographers as they start their professional journey?
    M.  Enjoy your jobs. Don't complain too much. Find your passion, and don't be impatient for (whatever you consider) success.

    T.  Final words….
    M.  Thank you, ASMP!


    I’d like to thank Mariette for taking the time this week to share with us.

    Until next week!
    Teresa, 51art

    EDITORS NOTE: ASMP is not a union, but is the leading trade association for professional photographers. We promote rights, education, better business practices and ethics.

     ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists. The New Site Can Be Found At http://www.sharpen-ny.org/
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  3. Huge thank you to Elizabeth Avedon, Holly Stuart Hughes, Jody Quon, Marc Sobier and Hosanna Marshall for taking time to delve deep in all the wonderful imagery everyone submitted. Tough decisions but lots of fun! Enjoy the pics by Alex Geana.








    ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists. The New Site Can Be Found At http://www.sharpen-ny.org/
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  4. ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists. The New Site Can Be Found At http://www.sharpen-ny.org/
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  5. "You Too,"  by Giuseooe Capozzo

    I admit, it has taken me a long time to get used to the notion that a photo taken with a cell phone is totally acceptable. I was a student of old school photography and I wanted to remain that way for a long time. However, there is a time when one should swallow their pride and admit that technology changes. That was me about 4 years ago. I've had a Hasselblad, a Canon AE-1, a Holga, a Polaroid land camera and still have a Nikon SLR D40x. They all shot great quality images, no doubt, but I found that my iphone (equipped with the best photo apps around) is now my preferred choice. I'm a believer! I turned my prejudice around and into a plethora of positivity for this rather new medium. At this point I'd be a hypocrite because that's all I shoot with nowadays. Specifically, the Hipstamatic app. I never use my Nikon now. It's a bit dusty. Yeah, it is kind of sad. I'll always love old school but my world opened up when I started pushing the limits of cell phone photography. Check out the images in the below article. It's inspiring...
    Inside the 2012 Mobile Photography Awards Exhibit


    ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists. The New Site Can Be Found At http://www.sharpen-ny.org/
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  6. (A wonderful perspective and advice for our community.)


    PRESIDENT’S LETTER

    It’s Just Business

    Several recent threads on ASMP’s on-line forums have dealt with photographers’ frustration with client negotiations. Clients were proposing budgets below and terms beyond what the photographers considered fair. Photographers lamented that clients continually refused to see the value in what they provide.
    The general response was “just say no” to these deals and “seek out better clients who understand the value and will pay for it.” There is some wisdom to this approach, but it hits a roadblock when you take into account that there are only a finite number of quality oriented blue chip clients willing to pay top dollar.
    Photographers tend to price their individual services in a fairly narrow range. “This is my price for one day of production and the rights granted.” Or worse, they say, “This is my day rate”. They set their price and rights package to represent what they feel is a fair value. It may well be so, but value is a perception shaped by largely by the marketplace.
    For many years value and budgets for certain projects were reasonably stable. Many photographers would turn to resources like fotoQuote to see what the “going rate” was for specific usage and adjust for their local market and production costs. But in the past ten years the marketplace has changed. Clients now have many more options for obtaining images, the number and types of uses have exploded in the digital environment, the economy has been a disaster and there are far more image makers vying for fewer assignments. This has greatly affected the market along with the buyer’s perspective of value, driving fees down.

    I had been suffering the same problems and was losing job after job. About $40,000 worth of estimates went south in the first four months of 2010. (It was work that all went to other photographers.) Clearly, it was time to re-examine my business model. I had a number of in-depth conversations with my clients. They made it abundantly clear that they loved my images and wanted to work with me, but felt I was too expensive or there were issues with rights. Even with my emphasis on quality, production values, service and follow up, they could not justify the same value I perceived. My pricing and policies had taken me out of the marketplace entirely. And these were the blue chip companies in my market.
    Losing almost every estimate that came my way, I began to experiment with
    lowering my fees a small amount and broadening my usage rights. I know lowering fees or broadening rights will seem like heresy, caving in and selling out to many photographers. Trust me; it was very difficult to do on an emotional level.
    However, the results were startling. Even after the dismal start, my gross sales for 2011 went up 85 percent over 2010. (And January 2012 will nearly double January 2011!) Interestingly, the average total billed per project has actually increased, even with the nominal fee reduction. I have put myself back into the market. Clients could now justify the value, even if I was often still more expensive than my competition. And, because of my flexibility over pricing and usage rights I was the person in the room when the client decided to make the job bigger and add video or additional stills to the job. What did this billing increase mean in practical terms? In the past few months, I was able to pay down more than $30,000 in long term debt and build a cash reserve that will carry me for nearly nine months.

    My new mindset is, “It’s just business”. I now evaluate projects, budgets and rights requests and ask myself, “Can I do this project at a profit that will sustain my business?” No dogma or blind adherence to some perceived standard, just a flexible approach to meeting client needs and running a profitable business.

    --James Cavanaugh President, ASMP cavanaugh@asmp.org



    ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists. The New Site Can Be Found At http://www.sharpen-ny.org/
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  7. Photo by Ruben Natal-San Miguel, from the Nocturnal/Activo series, Bronx, 2012.

    THIS SATURDAY!!!
    Bronx Masquerade brings together ten emerging Bronx artists who uncover the true stories of the young people in the Bronx.

    Featuring: Melissa A Calderon, Xavier Figueroa, Isabel Figueroa, Edwin Gonzalez, Glendalys Medina, Amy Payor, Elle Perez, Tiana Markova-Gold, Lisa Napier, Ruben Natal-San Miguel, and Jay Paavonpera.

    March 10-April 10, 2012
    Opening Reception: Saturday March 10, from 4-6pm
    Artist Talk: Saturday March 10, 430pm
    Bronx Library Center, 310 Kingsbridge Rd, Bronx, NY 10458


    The exhibition Bronx Masquerade borrows its title from the book by Nikki Grims, and presents a montage of artistic voices whose commonality rests in concerns with uncertain positions of youth.



    ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists. The New Site Can Be Found At http://www.sharpen-ny.org/
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    Labels: Amy Payor Edwin Gonzalez Elle Perez Glendalys Medina Isabel Figueroa Jay Paavonpera Lisa Napier Melissa A Calderon Ruben Natal-San Miguel Tiana Markova-Gold Xavier Figueroa Yulia Tikhonova
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  8. We would like to ask you help us support a former ASMPNY President in this election. As many of you know, Thomas Werner was central to the rebuilding the of New York Chapter, helping to create the strong and vital chapter that you know today. Since then Thomas has brought his insight as photographer, lecturer, educator and gallerist, to ASMP through the creation of the ASMP National Fine Art Specialty Group, participation on numerous national committees, work with the New York Chapter, and his time as a Director on the National Board. He has always been a generous supporter of ASMP and its members, and we are now asking you to support him in return.

    For those of you who do not know Thomas please click on the heading to see a brief bio, his ballot statement, and quotes from members around the country regarding the election and his work for the organization.

    Thank you for your time and for your help. We would love to see a supporter of the New York Chapter and a fellow New Yorker back on the National Board!

    Thank You,

    Frank Rocco ASMP NY Chapter President

    Michelle Kawka ASMP NY Chapter Vice President

    Board Members

    Liam Alexander, Ruth Bernal, Marco Castro, Amelia Coffaro, Andrew Day, Thomas Donley, Michael Dos Santos, Aaron Lee Fineman, Harry Peronius, Jason Gardner, Alex Golshani, Rod Goodman, Matt Greenslade, Brad Hamilton, Leslie Jean-Bart, Katrina Kojic, David Kliger, Salem Krieger, Teresa Kruszewski, Stephen Mallon, Peter Murphy, Scott Nidermaier, Kevin Michael Reed, Barry Rosenthal, Ian Ross, Susan May Tell, Michael Weschler, Mira Zaki
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  9. As a reviewer for the 3rd year in a row I remembered how fast-paced the reviews can be. How stressful it is for the person getting reviewed. It reminds me of what speed-dating must be like. You have to be prepared for your "elevator speech" -describing in less than a minute what your work is about and for the lasting 9 minutes you are engaged with your chosen reviewer. Now the pressure is on from the reviewer and it's up to us to give them what they are there for, an honest, unbiased and clear response to what we are looking at. For the most part the work I saw was pretty good. There were 2 stand outs in my case but most of the reviewers were surprisingly happy to have seen much better work this year. Thank you ASMP NY members for stepping it up! I overheard one woman say she stood in line to see Elizabeth Avedon for an hour! Of course, the wait was worth it because she got her undivided attention for a good 10 minutes.

    From observing, it seems the best tactic is to case out your top 3 reviewers to get the most out of the reviews. Maybe see a photo critic, a curator and a collector. All 3 types of industry people will have different things to say about your work. Take note and listen, let go, experiment, try some of these suggestions, you'll see some interesting new things.

    See you next year!



    ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists. The New Site Can Be Found At http://www.sharpen-ny.org/
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    Labels: asmp ASMP fine art portfolio reviews calumet elizabeth avedon
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  10. Tuesday, Feb 7th is the annual Fine Art Portfolio Reviews, are you ready to show your stuff?
    6:45-9pm

    ***Only prints will be reviewed (no iPads or laptops) unless the work is meant to be exhibited in a museum or gallery hooked up to a computer.

    Get your book reviewed by some of the most prestigious names in the business.
    Aperture
    Elizabeth Avedon
    Jen Bekman Gallery
    Steven Kasher Gallery
    PDN
    Reinberger Galleries
    The Center for Photography at Woodstock
    Plus many more....

    Please click here for more information



    ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists. The New Site Can Be Found At http://www.sharpen-ny.org/
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I've been in the art and photography industry for 15 years as a photographer, curator and art consultant. I've been fortunate to work with ASMPNY as a portfolio reviewer as well as a panelist for photography events here in the city. Earlier this year my exhibition, "Hotter Than July" was reviewed by senior art critic of New York Magazine, Jerry Saltz. In the past I founded veaux.org, a site for emerging creatives with a gallery space in Chelsea as well as curator/consultant of exhibitions for the Hipstamatic iphone app. Currently I'm working on a project documenting the New York art world while curating exhibitions around the city.
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