I had the pleasure of visiting Jay Seldin in his New Jersey studio, and was treated to beautiful photography and beautifully printed photography. We talked about everything under the sun, and I was impressed by the breadth of his career and Jay's continuing involvement in photographic education. He holds photography workshops both here and abroad, is a member of NJASMP, and is also the newest Canson Infinity artist/photographer--so I asked Jay about his work and his career.

Tell me a bit about your background
I have a BFA in Art from Long Island University and a MA in Visual Art/Photography from William Paterson University. My first photo related job was working at Vogue Wright Studios here in NYC in the early 70’s. I did a little bit of everything there; assistant, carpenter, set painter, you name it I did it.

A few years later I returned to school to become certified as an art teacher so I could pursue a career teaching photography in the NY and NJ public schools. I thought that this might be a little more challenging then my job as a slave--I mean photo assistant!

I continued my personal approach to photography building my portfolio of images while continuing my education in photography.
During my tenure as a photo teacher I received a sabbatical to study photography. I sent my portfolio to the Ansel Adams’ group (The Friends of Photography) hoping to be accepted to his personal program. A few weeks later I received a letter from Ansel congratulating me on being accepted into his program in Carmel CA. The program afforded me a unique opportunity to meet many of the “West Coast” photographers and other contemporary visionaries of our time.

Who are your influences/Whose work do you like?
Certainly Ansel Adams for one. He was a tremendous influence, and of course I love his work.
Walker Evans, Dorothea Lange, Edward Weston, Ruth Bernhard, Mary Ellen Mark, Eugene Richards, Michael Kenna, Henri-Cartier Bresson, Robert Frank, Bruce Davidson, George Tice, I have a long list that also includes: Robert Rauschenberg, Jasper Johns, Sally Mann, Nicolas Nixon, Bill Owens, Garry Winogrand, and Jerry Danzig.

Tell us about your workshops (how they started, where you go, how long have you done it, what’s the best part, the hardest part?
My workshops started about 5 years ago shortly after I built my studio out here in Jersey. Once a teacher always a teacher. So I had a need to continue teaching after I retired from my college and high school teaching careers. It just started with people asking me to show them how to make a B&W print like the ones I was producing for myself, using my digital workflow and printers.
Now I offer two types of workshops. In-Studio and Travel. The In-Studio workshops include: Photoshop or Lightroom two day workshops, Digital Bookmaking a 2-day workshop, Digital Printmaking a 2-day workshop. Plus private tutoring in PhotoShop and Digital Printmaking .
My travel workshops have two sides to them. Local and International. The Local Workshops have included photo excursions to NYC, “The Mermaid Parade”, Coney Island, Across the Brooklyn Bridge, Lower Manhattan, and The Cloisters, just to name a few. I’m always adding new experiences.

The International Photo Workshops have included Italy and now India. This is a new part of my company. Our first trip was to Italy: Tuscany and Umbria and we are going to Southern India this coming Nov 2009.

The best part is always meeting new people. For me every experience is unique and rewarding. Plus I get to follow my passion, which is traveling and picture taking.
The hardest part is always the planning. I spend a lot of time making sure I have all the pieces of the puzzle fitting together. I want to make it uncomplicated for the people who travel with me. That’s the difficult part.

Talk about the value of printing your own images.
The printing part is almost as important to me as the visual statement that the image makes. I believe that if your print is muddy, unsharp with poor contrast choice and not toned properly, no one will appreciate it. On the other hand, without a visual impact a great printing job means nothing. All my B&W prints are controlled by proper profiling, the use of a RIP, pigment inks and the finest digital papers. All my prints are being printed on Canson Infinity digital papers. My choice of their paper stock is Rag Photograhique 310g/m.

You’re primarily a B&W photographer, what made you start adding color?
It was just a natural process for me, because I prepare all my images through Photoshop. My ability to mask color back in, just seemed like a natural evolution for me. These photos I create are part of a new generation of image making in the 21st century! Photography has gone through many changes in imaging in the past 120 years. It will continue to change in the future, I have no doubt.


Tell me story about the Cuban woman chewing the cigar
She’s a fixture at that spot! It’s her wall, figuratively that is. She owns that pose though. The image was taken in the “Old Havana” part of the city where the government is renovating most of the building. This is the “tourist section”. So with that in mind she has a purpose and that’s to make money from the tourists that pass by.

Is there a future for professional photographers?
Good question. I’m sure there is a future. But what it is I don’t know. More and more people who have digital cameras all think they are professionals. Fortunately, the camera still requires a person to create a composition and visual structure.

What has been lost, what is great now?

I not sure anything has been lost. I put my B&W darkroom to sleep a few years ago when I finally figured out how to make a B&W print digitally, that emulated the look I was getting when I was printing on Agfa Portriga Rapid. I think I’ve done that now. As far as what is great. I’m a technology junkie. I love being challenged by Photoshop and the printing process today.

Best career advice?
Become an accountant!

What do you say to young photographers?
Follow your passion and your sixth sense! Always make photographs for you first.

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  1. Great post! Jay is an amazing photographer and teacher. He is the reason I became interested in design and I am so thankful to have had him as a teacher and still have him as a good friend!

    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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  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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  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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