Curators Jeff Rosenheim of the Metropolitan Museum of Art and Brian Wallis of the International Center of Photography joined Howard Greenberg, one of the preeminent photography dealers sat down this week and spoke about the world of fine art photography. Thanks to moderator Susan May Tell, and photographer Aaron Lee Fineman for his photographs (just as you preferred, they're in B&W).

Here's my account for all of you who couldn't attend.

Each panelist gave a brief history of how they came to photography, and I found the most surprising thing to be Jeff Rosenheim's early interest in Plains Indian beadwork, which led him to the Missouri Historical Society and all their collections, photography being one of them. Not the expected route to become passionate about photography.

When he opened his first gallery, Howard Greenberg said he never thought about who his audience was, he just wanted to show work he was interested in. He wanted to show traditional work and work by artists no one had ever heard of. For Jeff Rosenheim it was not what was on the walls of Greenberg's gallery, it was the photography in the gallery art bins that fascinated him. In fact, he said the Met had never bought anything from Greenberg's walls, it was from the art bins in the gallery.

Each panelist spoke of about how they make decisions about what to show, Brian Wallis spoke about showing work that was known in order to be able to then slip in something unknown to teach people. But he admitted it took guesswork and intuition to decide what to show.

One of the most interesting things Susan asked the panelists was about how long it took from conception to hanging a show. Brian said that it depended, but for historical exhibits it took about 3 years Howard said his gallery did 7 or 8 shows a year and were planned pretty far in advance. It was interesting to learn that he "rode the coattails" of the museums, because he couldn't put up a show of the same photographer at the same time, but after it could be valuable.

Jeff said they do four shows a year of contemporary photography and it took about a year to plan each one. When he hangs shows in other galleries in the museum it can take from three to six years to plan, depending on which gallery he wants to use, since some are shared with other disciplines (prints, paintings, etc.). He said the fastest show they ever did was the Robert Polidori show of his Katrina photographs that they rushed to hang a year after the hurricane. Jeff brought a big laugh to the room when he said photography was "only slightly above musical instruments" in importance at the Met. That helped to explain how shows may be harder to hang there, since money is allocated at the museum by the seeming importance of each collection.

The roles of collectors and auction houses to the curators was discussed and all felt collectors had a very important role in exposing photography. They were the "front line of ideas," according to Brian. And by the way they present different types of work together, auction houses can generate new ways of looking at art. "When a collector contacts you, it's usually an extraordinary experience," said Jeff. For Howard, collectors are fascinating. "They're really curators."

Jeff spoke about the joy of visiting artists and seeing what they collect, "I've learned so much by seeing what artists collect."

The most valuable and probably useful information began when Susan asked about the importance of photographer's prints being editioned. Brian said he was much more interested in something that was one-of-a-kind, and that editions are a multiple medium, and somewhat less interesting. But that is the world we live in. Jeff doesn't care about editions, for him it's up to the individual photographer. But he referenced Lee Friedlander and thought his work was priced lower for someone of his stature due to his printing many editions of his work. Howard pointed out that from his perspective, buyers wanted limited versions of the work they bought. "It's a sad state, but we have to deal with it."

Jeff
spoke about the desire for the unique object, saying "If there is an edition of three or three hundred, they're not the same anymore. My job as a collector for a museum is to get the best one. You know as photographers that there is a better and a not as good print. My job is to get the right one in my collection."

None of the panelists cared about signing prints, but Howard warned, "don't be visually offensive. Henri Cartier-Bresson is the only signature people care about seeing."

When the topic of digital photography and digital prints was broached, the expected outrage never came. "I'm getting used to digital," said Howard. "What does it mean? More important, it's becoming more and more acceptable. It'll become a non-issue as we become more sensitized to it."

"Digital applications of photography extend the democratic promise of photography," said Brian. "More exciting about digital is the reach of photography and the information-sharing possibilities of digital."

"The Met collects the work artists make. We never tell an artist what it should be. We have to accept it," said Jeff. "Stephen Shore made contact prints and was never able to use the potential of film to make the prints he wanted to. Now he scans them and makes new prints, digital allows them to 'bubble forth'--it's one of the great things. It's what they always wanted."

While Brian and Jeff use the Internet to look at new work, and find photography they didn't know existed, Howard, "can't look at works on the screen. It lessens the experience of looking at photos for me. But for museums, catalogs of museums online, it's fantastic."

I think most of the photographers were wondering how they can get their work in front of these three big wheels in the industry. Brian spoke of how he sees work at the open portfolio reviews the ICP has. "Send it in, or walk in and a curator will review it." He also said websites were a source of information for them. However Howard is not looking for new artists to represent. Jeff says they look at portfolios as they come in. So get on it photographers!

When the panel was asked about how they feel about artists taking their own paths to put their work out, especially since it's so difficult to get a gallery or museum show, Howard said," It's great for any artist to put their work out in their own way."

"The important thing to consider is that the means of presentation becomes part of the message," said Brian.

"If an artist can convince me they've done something great in their own home--I want to see that!" said Jeff. "Yes we look at online magazines and curated sites. Paper ephemera is where we are rivals. It's so valuable and germane to photography. We have teams of people looking for this."

The Met will buy print on demand books from artists if that is the way the work is collected. He stressed that the artist determines how their work is presented, and the museum responds accordingly. They have a large collection of artist books, especially if this is the only form the work exists in.

Howard
stressed that raising the price on each multiple edition wasn't something he was a fan of. "Keep the price the same throughout the edition. Rather, increase the price on the first edition."
All of the panelists were open with information, informative about what they do and
why, and had a sense of humor. I think this was a wonderful panel and everyone left with information they didn't have before. Just another wonderful panel from ASMPNY.
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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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