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MVS MARKETING BLOG MOVED to www.mvswanson.com!

To my readers:

I am pleased to tell you that I have merged my blog into my updated website. On my new homepage you will see the three most recent blog posts, as well as being able to navigate through the blog categories directly at any time.   You will also easily find “PLANNING AHEAD: Industry Events of Note” as its own category, as well as my event calendar “MVS ON THE ROAD” prominently featured on the new website.  Click here now:

www.mvswanson.com

I’m sure you will find the new combined blog AND website an even greater resource!

Thanks so much for visiting the past five years, and hope you will bookmark my new website.

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PORTFOLIO REVIEW EVENTS: IMPORTANT DEADLINES AHEAD! To attend, or not to attend?

Photographers frequently ask me about the value of attending portfolio review events, which events to attend and why. The offerings are vast and the investment of time and money varies. Deadlines loom for several of these opportunities so I am taking the opportunity on a long travel day to give you an overview of my opinions on the subject portfolio review events, as well as upcoming dates that are essential to mark on your calendar if you would like to attend any of the 2008-2009 offerings.

Do I think attending a portfolio review event has value? Absolutely.

Will each and every photographer benefit from sharing their work at these events, no matter how resolved their body of work is at that time? YES. Reviewers can provide creative guidance for works in progress, as well as marketing advice for completed projects.

Can participating in these events help move your career to the next level? Without question. But to do so effectively you must continue the dialogue you have started at the event.

Will every single appointment be a match made in heaven? NO. But responsible Reviewers will find much to share with you about your work, regardless of whether it fits their gallery, their collection, their publication program, and know too that you can ask them questions about their industry, from market trends to pricing and editioning to whom they might suggest would be interested in your project.

From my perspective, there are three main reasons you should bring your work to a portfolio review event:

First: The process of applying and preparing to attend is a valuable experience. Writing about your work, editing your work for a 20-minute reviews session, and preparing a printed piece or CD-Rom sample with your imagery to share with others attending are activities that in themselves will lend clarity to your work.

Second: presenting your work to industry professionals and peers alike. This is an experience that can’t be matched. The standard model is a 20 minute session with each Reviewer; the number of sessions you have dependes on the length of the event. The number of times you will share your work goes beyond these formal sessions as you will share work with other photographers too. Through having a dialogue about your work your clarity about and commitment to your bodies of work, your presentation to your target audience, your explorations toward desired final print(s) and in what format to display the work – all this and more comes from attending a portfolio review event.

Third: Beginning relationships. Portfolio review events provide an opportunity for you to to share your work and ideas with your peers and industry professionals, be it discussing craft or intention/audience that you devote your twenty minutes session to. It is of course your responsibility to follow up with those Reviewers who encourage you to keep them posted on the evolution of your project.

We owe a tremendous debt of gratitude to Fred Baldwin and Wendy Watriss from FotoFest for bringing the Portfolio Review to our community; 2009 will be the Thirteenth International Bienniel of Photography and Photo-Related Art which continues to be a catalytst to creativity and a conduit to international dialogue for Reviewers and photographers alike. Hats off to FotoFest! You and your colleagues have set a strong example for which we thank you, and know that we look forward to being in Houston during the spring 2010 Bienniel, most certainly.  Sign up for the FF2010 newsletter here(Be sure to check out www.festivaloflight.net, a website FotoFest has developed that brings together information on photography festivals internationally.)

As the number of portfolio review event offerings has increased, occurring now in every season and in nearly every region of the world, some organizations have decided to require submission for consideration by a jury before allowing acceptance. I believe Review Santa Fe was the earliest to transition to be a juried event with PhotoAlliance’s OUR WORLD: A National Juried Portfolio Review requiring acceptance by jury from its inception in 2007; the 2008 co-Sponsor was Orion Magazine. This year the portfolio review component of Atlanta Celebrates Photography required submission of a portfolio for the first time in the ten-year history of programming.

If an organization declares that it will require entrance determined by a judging process, I am admittedly happiest when you, the applicant, have full knowledge of the names of members of that all-important pre-screening team; this, combined with some thoughtful research on your part can aid in your decision as to invest your time and money in applying for that event. Personally I feel there are enough of you ready to participate in these events that are aware of deadlines who fill the roster, and find the level of work very high regardless of any jurying process in place.

The next step in your decision to apply is to look carefully at the Reviewers that have been asked to participate. An increasing number of events are inviting a diverse group of reviewers, going beyond professionals from the fine art arena to include influential photo editors, photo researchers, graphic designers, corporate art consultants and others who bring opportunities for your work to be seen in multiple markets. I applaud this effort and encourage you to try to schedule a session with an individual whom you are not as likely to secure an in-person meeting outside of an event such as this. Among those from related professions whom I applaud for serving as Reviewers are photo editors Kira Pollack of the New York Times Magazine, Paul Moakley from Newsweek and Whitney Johnson from the New Yorker, photo researcher Mary McClean from Random House, corporate art consultant Julie Kinzelman from Kinzelman Art Consulting and corporate curator H. Scott Westover from The Progressive Art Collection. If you are interested in learning more about marketing opportunities in areas other than simply fine art, I encourage you to seek our reviews offering a diversity of industry professionals. Note: depending on the event, you may be allowed to make a “wish list” of participating Reviews to meet with, and in some cases, learn your schedule in advance of the start of the event furthering your ability to prepare.

Geographic location too could be the reason you register (or apply) to one event over another. I want you to know your local community, and to introduce your work to others beyond your local area. Every event will do its best to invite professionals from all parts of the country however most invite a strong contingency of regionally-based reviewers for ease of and cost of bringing those professionals to their event. If your work is well know in the east, you might consider attending a review event in the west.

Educational component – another plus from my perspective. If you are committing time and resources to travel to an industry gathering such as these I wish for you to gain insights from professionals and peers in attendance in the form of lectures, panel discussions, and more. When weighing your options, educational offerings may be a factor for you in putting an event in your “plus” column.

Introducing your work to individuals from multiple markets is a growing focus of some events, while others invite a majority of reviewers from the fine art community. Many publishers seek invitations to attend JURIED events. Study the list of the reviewers who have been invited to all events, and this should be a strong factor in weighing the value of your attending that particular event.

My enthusiasm for your investing in portfolio review events grows as I become increasingly frustrated and in fact pessimistic about the value of entering many exhibition and/or publication competitions. The reproduction rights demanded from the winners, and more often now from those who simply apply, are frustrating, unnecessary and unfair. The physical space and the circumstances at the actual judging of the work can vary, within a physically environment that may not lend itself to optimum viewing of your work, or judges working remotely without a dialogue, or so few examples of your work presented that we can barely get to know your work. (My most interesting judging experiences of late have been being part of a team judging the 2008 Photography Annual for Communication Arts Magazine, and reviewing entries for Critical Mass in the solitude of airplanes (more on these competitions in upcoming blog entries).

So I encourage you to review the offerings, join their e-mailing list, mark these dates on your calendar and know that they (and the host hotels) will sell out within a few days of opening registration. Being aware of cancellation policies is always wise.

UPCOMING REVIEW EVENTS:

PHOTONOLA 3

International House Hotel, New Orleans, Louisiana

Registration opens AUGUST 15;

Event dates: Portfolio Reviews December 6 & 7; overall event including workshops for photographers runs December 4th – 13th

Info: http://neworleansphotoalliance.blogspot.com/

REVIEW LA (concurrent with Photo LA)

Doubletree Guest Suites Santa Monica, California

Registration opens mid-September.

Event dates: January 9-11

Info: Http: http://www.visitcenter.org/programs.cfm?p=ReviewLA

PHOTOLUCIDA

Benson Hotel, Portland, Oregon

Registration opens August 27th

Event dates: April 23-26th, 2009

Info: http://www.photolucida.org/critique.aspx

REVIEW SANTA FE (JURIED)
Santa Fe, New Mexico

Registration: Submit twenty images and artists statement by January 23, 2009; notification of acceptance/registration anticipated by early March.

Info: http://www.visitcenter.org/programs.cfm?p=Review

OUR WORLD from PhotoAlliance

San Francisco Art Institute, San Francisco, CA

Registration dates not yet posted.

Event dates: March 6/7/8, 2009

Info: http://www.photoalliance.org

ATLANTA CELEBRATES PHOTOGRAPHY’s portfolio reviews are closed; event will be October 11th. (Juried)
Info: www.acpinfo.org

http://www.acpinfo.org/?sec=11&sub=8

The Center for Photography at Woodstock offer’s two separate days of reviews in NYC for a limited number of participants on a first-come, first-served basis; information is contained in their annual Workshop brochure. Earlier this year they offered the first Regional Review which I hope will become an annual event.

Both the Griffin Museum and the Photographic Resource Center in the Boston area offer reviews in the spring.

Other regional organizations like The Print Center (Philadelphia), En Foco (Bronx, NY), SF Camerawork and many other regional centers offer portfolio reviews, primarily as a benefit of membership. Support your local organizations!

Additional opportunities to share your work with your peers:

The network of Fall Regional Conferences of the Society for Photographic Education offer portfolio reviews as well at the upcoming National Meeting at the Fairmont Hotel in Dallas, Texas on March 26-29, 2009.

Other events will be posted as details are available.

Harris Fogel of Mac Edition Radio conducted an Interview with me on this subject; click this button to

HEAR. We cover the value of these events, how to prepare and follow up in my marketing workshops.

I will continue to comment on this blog on making the most of your portfolio review investment, and refer you as well to a chapter on this subject in my business book. I look forward to seeing your work at these upcoming events!

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Humble Arts: Now Accepting Proprosals for its Spring 2008 Grant for Emerging Photographers; Deadline March 3

Humble Arts Foundation is currently accepting proposals for its Spring 2008 Grant for Emerging Photographers

Humble Arts Foundation established the Grant for Emerging Photographers (GEP) in 2007 to support fine art photography projects in the U.S. and abroad.

How the GEP Works:
Given twice annually, the GEP is a $1,000 grant award that recognizes the strongest new proposal in fine art photography as submitted to Humble Arts Foundation.

Deadline: 11:59 pm, Monday, March 3, 2008

Notification
Applicants will be notified via e-mail starting the first week of April as to the status of their proposal.

Applicant Eligibility
Applications will be accepted from photographers who are at least 18 years old and do not have gallery representation.

Project Eligibility
We will fund projects that are new or ongoing.

Applicants should submit no more than one (1) proposal requesting support for one (1) project.

Review Process
Humble Arts Foundation’s senior curatorial staff will review projects for visual strength and clarity of proposal.

Submission Guidelines
You may submit up to five images. Each image must be:

Jpeg format, 72dpi, 550 pixels wide only

In addition, rename each photo with your first and last name (ex. john_doe1.jpg, john_doe2.jpg, etc). We will not consider applications with .zips files or links to your work/website.

Application Process
Your application is complete after you have completed the online application and submitted up to five images. We will not consider incomplete applications.

For questions, please send an e-mail to: grant@hafny.org or visit http://humbleartsfoundation.org/gep/index.html.


amani olu
founder / director

humble arts foundation, inc.
po box 1157
old chelsea station
new york, new york 10113

w: http://humbleartsfoundation.org
p: (646) 330 1039

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The New York Times “Arts and Leisure Week” January 7-13

Wednesday’s NYT carried an insert which included the full roster of the event offerings for the coming week’s launch of the NYT’s “Arts and Leisure Week. This annual celebration of the arts offers affordable access to the arts in the Greater NY area and far beyond; participating institutions and organizations offer two-for-one admission, and in some cases discounts in their gift/book stores during this coming week and beyond. In addition to discounted tickets to events in NYC, note the riches outside the boundaries of NYC: from theaters, performing arts centers and museums to attractions such as Frank Lloyd Wright’s Taleisin West, the Northwest Film Forum (NEFF) in Seattle, to the Harvard Museum of Natural History now showing Henry Horenstein’s “Looking At Animals.”

I urge all of you explore the lists of partipating venues and celebrate the cultural richs we can enjoy and appeciate. Lastly be sure to take note of the many an diverse offerings in all four corners of the USA.

To take part in this celebration, visit the website and follow the guidelines toward no only the great work you see but also the participating sponsors who have helpe d to bring this program nation-wide. and flow instructions to a “T” to ensure your ticket arangements are in order!

Be sure to give the gift of culture and live performance this season, and celebrate those companies who make this important events happen.

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MARKETING GUIDEBOOK FOR PHOTOGRAPHERS

There are a limited number of the Fall 2006 edition of my MARKETING GUIDEBOOK for PHOTOGRAPHERS that as of today and until they are gone are discounted to $25.00 plus $4.05 shipping and handling (USPS Priority Mail). I will be releasing the 2007 edition sometime in January, and am happy to discount the price for the few copies we have left in stock at the office in Tucson and NYC. Check out the chapter heading and content summaries on my website through the above link. Happy December!

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FAST COMPANY

November 2006 issue of Fast Company . Interesting cover story on Gordon Bell, a computer scientist at Microsoft who has for the past 7 years embarked on a project to save everything – every email, a digital and audio recording of every conversation, family histories, EVERYTHING – his goal is to never forget anything, and have it at his fingertips, searchable through his “MyLifeBits” software. He states: “We’ve come to a time when machine memory creates ideas we’ve never considered.” A daunting but awesome concept. Another story on viral market is also fascinating. Fact within: Total ad revenue, 2005: PRINT, $47.4 billion (+1.5 % since 2004), ONLINE, $2 billion (+31% since 2004). Also read a report on the annual conference POP!TECH which just wrapped it’s tenth annual event with an enviable roster of presenters from artists to entrepreneurs to self-described “brainiacs.” Lastly, the article laying out the mechanics of Rumblefish, a portal for licensing independent music, makes me think it is very, very similar to the model that the image licensing industry has been utilizing for decades now, except that in the music licensing model, the creator has a 50%/50% split with the agent. Those were the days, eh? That pay structure is now, sadly, ancient history for image licensing fees as market pressure has forced agencies to seek (or require) multiple distributors, each getting a slice of the pie . Here’s hoping the musicians can keep their 50%, as the market for music as an essential element within multimedia programming grows.

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CRITICAL MASS COMPETITION

DECEMBER 4th: CRITICAL MASS, 10 images digitally submitted, which will be circulated to 200 judges who will vote for the work they feel most deserves publication. On their website you will see the work of last year’s winners, all of whom had solid bodies of work and will be duly rewarded with forthcoming publications:
HIROSHI WATANABE
JULIE BLACKMON
LOUIE PALU
I will again be serving as a Judge and look forward to seeing your work. My best advice is to submit 10 images that are from the same project or body of work, rather than trying to show the judges how versatile you are… And, “less is more” when it comes to your accompanying artist statement. Short and to the point. Remember we may have hundreds of statements to read; make yours an effective introduction to seeing your work, as if it were an introductory wall panel at an exhibition venue, or on your website.

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