Monday night was the free, ASMP commercial portfolio review and there was quite a turnout of both reviewers and photographers. I enjoy doing reviews as it gives me a chance to see new work, and also, hopefully, offer some perspective. I usually see people I know and the entire evening is very enjoyable. That said, it was stranger for me this year than last. I saw fewer photographers (but then I’m not as valuable a commodity as an art buyer or magazine editor), and the noise level really affected me this year. As freelance photo editor Lindsay Blatt said, “It was really loud in that studio space, and I had a hard time hearing.”

I asked reviewers for their opinions in order to gauge their feelings, and thought I’d also bring you some of their suggestions on how to make it even better next year.

Joe Pritchard, a freelance photo rep said he like the structure and the fact that it was free for members. “What I would like to see is a larger space, as it tends to get very loud and difficult at times to hear people and to focus on what they are talking about and showing you.”

Julie Grahame, editor-in-chief, aCurator magazine wondered if “we could include a couple of successful photographers as reviewers next year.”

For Patrick Cunningham of Photolibrary, “It was fun, enjoyable, and social. Thanks for the candy. I really liked helping both the newbie’s and seasoned professionals. Everybody needs a fresh perspective sometime.”

Photography consultant Louisa Curtis said, “I think it was perhaps too close to PPE as there were more portfolio review events at PPE this year. The signs above each chair only said the person's name and not their company – that made it hard to identify people. There were too many reviewers and not enough photographers”

“I know that my colleagues in the corner tables did not get to see as much work as I did,” said Jessica Moon, senior visual content editor, online specialist, Scholastic, Inc.

And Anna G. Dickson, photo editor, Clear Channel Radio - Digital said, “I thought the event went well, although I did not feel there were enough timers for the reviewers. It was hard to hear the timer and after the very first review, I was on my own with time and I'm SURE that I went over 15 minutes several times.”

Monica Suder, creative coach, consultant and curator, “found the noise level very hard and was hoarse by 9PM.”

Wini Alcorn, business affairs manager, Coca-Cola-MCCANN ERICKSON,| thought “it would have been helpful to have someone using a BELL for the whole space to time the meetings, instead of individual timers per table. Those were annoying as they went off throughout the event. I think it would also streamline the event to have people all move at the same time to a new table, instead of waiting in lines.”

When asked about the quality of the work they had seen, and if anything was really special, Anna G. Dickson said, “The overall quality of the work was very good, and most, although not all people seemed open to constructive criticism

Patrick Cunningham: “I was most impressed by Ian Spanier’s portraits and lifestyle, as well as Bruce Katz’ food images.
Whitney Tressel of Hearst “loved Carl Wooley, Chad Hunt, and Peter Riesett's work the best.”

Jessica Moon had this to say about what she had seen: “Ashok Sinha – STUNNING! James Leynse – Curious, intriguing, wonderful! Stephen Mallon – lovely.”

Wini Alcorn: “Of the people I met, most of them were very talented. That is a huge step up from other events like these where usually the overall work is mediocre. Loved Mimi Ko, Erin Patrice O’Brien and Chad Springer.

Joe Pritchard felt that “many of the photographers need the support of creative consultants and branding help. I am finding that the photographers are so worried about making money and trying to jump into this so fast that they are not presenting themselves and their work properly. Also as we know photographers are some of the worst when editing there own work.” I would have to agree with that general assertion.

Mike Hartley of Big Flannel was pretty candid in his assessment, saying, “The quality of the work was on average higher than I expected. I am rarely wowed and was not on this evening. I am falsely of the belief my work sells itself, and so were many of the photographers. We should both being trying harder I think.”

Most of the responding reviewers said socializing with other reviewers was an important aspect of participating. Wini Alcorn thought, “perhaps a cocktail hour/mixer BEFORE the event starts (in a separate room) for people to say hi and chat before getting down to business would b better. “I also think name tags would be helpful for both photogs and reviewers.”

Jessica Moon found this year’s music “very cerebral and the party following the review missed an opportunity for revelry. Everybody was starving by then end,” she added.

And Wini Alcorn suggested having, “a 10 minute break to get up and stretch for the reviewers—a bathroom break.”

I would say that I saw most of the work on iPads that evening, and while it’s a fun toy at this point, I found the reflective screen very distracting. I know there are specific iPad apps for showing your work as a porfolio, and I think if that’s what you want to do, you should invest in the best technology. Always consider the chance for a portfolio review (or even casually showing your work) to be a professional situation, and to that end, be professional in how you present your work.

RepAudrie Lawrenceof Levine and Leavitt though that “50% of what I looked at was on iPad. I like seeing work on an iPad in equal measure to a well printed book. Since there is a serious drive toward photographers also doing double duty as directors I feel like having an iPad is an asset. I also think that photography can look really great on an iPad. That said, I do still really love the overall experience of looking at a well-printed book and would prefer that photographers have a regular printed portfolio along with an iPad to show additional work and video.”

Monica Suder added that, “iPads are good for some things. I came across a wonderful book and exhibition project on the Spirit of Tea in China and the images worked great on the iPad (by photographer Matthew London).

Jessica Moon is “happy to see work by any means necessary. iPad, whatever, it doesn’t matter. Next year I hope to see more iPads....”

Lindsay Blatt said, “I still like books, it shows some commitment to what you are doing. People using digital devices seemed flippant in their image selections.”

And Witney Tressel prefers “portfolio books or loose prints. I work for a print magazine so I want to see prints. I had a couple iPads but I don't prefer it, it's deceiving how good the quality is.”

Mike Hartley: “I looked at two portfolios on iPads. I generally prefer any process that engages me with technology. It feels contemporary and of the future. I do this realizing there may be a compromise involved (lack of size and resolution when looking at a screen relative to a print for example). I felt with the iPad, the compromise is still too large for it to be used as a primary portfolio. It worked for me when it was used in support of a primary portfolio, to show a 'hot off the press' project, or an archived project. However, it's an expensive object to achieve this and I think at best it is a useful (and unnecessary) toy in its current state.

“Don't get me wrong,” he continued. “Tthe possibility of touching and sharing a screen is a wonderful one, but the practical experience is so far lacking and the debate about its use seems to focus more on Apple's divisive marketing practice, and whether we can afford to not look like we embrace everything they sell us, rather than any fitness for purpose.”

“I was asked what I prefer and said print but ended up looking at both,” said Julie Grahame. “For me, the iPad is OK, for example, to show a single body of work that you haven't printed or edited yet. Like a kind of oh, by the way, I'm working on this--Robert Hooman's Eddie Adams project was the perfect example.”

“It has a tendency to make one feel stupid,” she continued. “I don't know how to navigate whatever it is you're showing me your images on, it's awkward, and as Ilene (Bellovin) said to me today, we've been trained to not touch the screen!”


Photos:
top: Joe Mondello
bottom: Frank Rocco
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  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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