Thursday, January 31, 2019
Wednesday, January 30, 2019
Unique "Promo" Ice Chest
http://aphotoeditor.com/
I’ve always felt like I’m a pretty diverse photographer when it comes to genre, however, most people associate me as a portrait photographer. Having shot editorial and advertising work for many different clients over the years I was realizing I was missing more lifestyle opportunities recently and wanted to be sure clients knew I could shoot and enjoyed shooting lifestyle type work. We planned a personal Fall camping shoot at a friends farm just outside of Nashville and with the help of talent, wardrobe styling, prop styling and HMUA from AMAX a local agency, we shot a full day in November 2018 for fun to have something for my book and to show potential clients that I was capable of more than what they had seen previously. I enjoy shooting and collaborating period. I wanted my past clients, current clients, and future clients to know I could create the lifestyle imagery they often asked for but hadn’t seen much of in my portfolios.
Monday, January 28, 2019
What We Learned from Writing 7,000 Artist Bios
What We Learned from Writing 7,000 Artist Bios
Communication is increasingly being reduced to 140 characters, emojis, and voice memos. Despite this, clear prose remains a powerful sales and branding tool within the art world, and beyond.
Artsy has created over 7,000 artist bios, and over the years we’ve learned a few things about what our audience of collectors and art lovers finds valuable when discovering new art. Since Artsy’s partners can now add their own artist bios, we decided to take this opportunity to invite Jessica Backus, the Director of Artsy Learning and The Art Genome Project, to share some insights into what makes for a compelling bio and how to eloquently summarize an artist’s practice in 120 words.
If you have—or are planning to include—artist biographies on your website, this article was written for you. Read on for our best practices, mistakes to avoid, and a few SEO tips for your gallery’s artist bios.
Sunday, January 27, 2019
Call for Entry Smith Gallery
https://asmithgallery.com/salon-call-for-entry/
"Has photography ever really been disconnected from Science? From the invention of the pinhole camera about one thousand and twenty years ago by the Arab mathematician, physicist, and Astronomer, Ibn al-Haytham, up to today’s use of radiology to produce works of art, science and art have been inseparable. Photography is the perfect intersection of Art and Science."
SUBMISSION | Guidelines: Digital images should 1000 pixels on the longest side saved in JPEG format at 72 ppi. Each image should be labeled with consecutive numbers followed by your name, i.e. 1FirstName_LastName.jpg. The number should correspond with the number on the application form. Please do not watermark your images. If you need help sizing your images, please follow this link https://convert.town/image-dpi
SUBMISSION | Online: Fill out our online application to apply, send images, and make payment with Paypal. You will receive an email confirmation upon receiving the entry and payment. You can also fill and submit the online application, print out your confirmation email, and mail it with a check for your fees to the address below.
SUBMISSION | Mail: Please prepare a submission form with your name, address, email address and phone number along with a list of the titles and printing process of each entry. The number of each title should correspond to the image number on the cd. CD’s and submission form should be mailed to:
A Smith GalleryP O Box 175
Johnson City, TX 78636
Johnson City, TX 78636
The gallery will send an email confirmation upon receiving the entry and payment.
SUBMISSION | Entry Fee: $38 for the first 5 images, $7 per each additional image. Submission fees are not refundable.
ELIGIBILITY | Submissions are open to all photographers both professional and amateur. International entries are welcomed. Work previously exhibited in the gallery or featured on the blog are not eligible.
PRINTING/MATTING/FRAMING | Information: If sending framed work, please use mats and frames that compliment your work and are appropriate in a gallery setting. Colored mats are discouraged. All images should be ready to hang with wires. Gallery wraps are not acceptable. If you have any questions regarding appropriate presentation please contact amanda@asmithgallery.com.
AWARDS | The awards are as follows:
Juror’s Selection – $325.00
Director’s Selection – $250.00
Visitors’ Award – $100.00
Discretionary Honorable Mentions – each receiving an exhibition catalogue
Up to 33 of the final selections will be featured in a LenScratch Art+Science post.
Director’s Selection – $250.00
Visitors’ Award – $100.00
Discretionary Honorable Mentions – each receiving an exhibition catalogue
Up to 33 of the final selections will be featured in a LenScratch Art+Science post.
SALES | The gallery will retain 40% of the sales price.
USE RIGHTS | Photographers retain full rights to their own images. The gallery will use the photographer’s images for publicity purposes.
FOR MORE INFORMATION | amanda@asmithgallery.com
Summer Residency in Boston
Emmanuel College Residency
8-Week Summer residency supporting Photography, Printmaking, Ceramic, Social Practice.
The Emmanuel College Art Department offers an eight-week artists residency to four artists each summer. The residency supports a diverse group of artists, providing time and space for established and emerging artists to develop their work.
Submit to The Fence
THE FENCE is one of the largest traveling photography exhibitions, reaching 8 million visitors annually through open air experiences in 8 cities across North America: Atlanta, Brooklyn, Boston, Calgary, Denver, Houston, Seattle, and Sarasota.Photographers submitting to the 8th edition of The FENCE may also be considered for one of 3 Regional Showcase exhibitions that will highlight work by photographers living in the Gulf Coast of Florida, New England, and Western Canada.
Saturday, January 26, 2019
Artist Residency in FRANCE
Brief description of residency program
La Porte Peinte is first and foremost a residency centre, a haven and sanctuary for creative work. A residency here is designed to enable creative exploration, concentrated work and exchange in an inspiring and supportive environment.
La Porte Peinte USA, as a non-profit branch of the larger LPP project, aims to widen the field of opportunity to increase diversity, with a focus on individuals or groups who might otherwise lack access to such resources, e.g., artists affected by war, natural disasters, economic hardship or any form of discrimination. LPP USA aims to actively seek out such artists wherever in the world they may be, and to extend support to them through residencies, masterclasses, collaborations, or exhibitions. Areas of specific focus include film, photographic and written reportage that promotes global awareness and understanding; applied art that brings traditional techniques together with contemporary concerns, materials and methods; sustainable design; creative work by women; emerging artists of all ages; and African, Haitian, and Latin American practitioners, among others.
If an artist in residence wishes to learn about traditional materials and methods of art or craft, or to collaborate with an artist or maker from the local community, we will make introductions a
In addition to the opportunity to work with total focus on individual creative practice, an important feature of our programme is the chance to connect with the local community via our gallery, workshops, events, and tea room. Where appropriate for an individual’s practice and project, we can sponsor in situ shows and events.
For emerging artists, the opportunity to engage in the complete artistic life cycle of concept > production > presentation > sale via a show in the gallery is one that can be both motivating and inspiring. Beyond this, an essential aim at LPP is to generate creative community, one intrinsically planted within the dynamic community of the modern-medieval village of Noyers sur Serein, which itself sits harmoniously in the pastoral landscape of northern Burgundy.
We welcome artists, performers, writers, musicians, filmmakers, photographers, and creative thinkers. Collaborative groups and partnerships are welcome to apply. Our physical resources include private studios appropriate for painting or sculpture, outdoor covered spaces, and several small indoor spaces that lend themselves to writing. We have a simple analog photography darkroom. For those who wish to explore locally available materials and technologies, these resources include limestone and lime plaster, iron, pigments, clays from the Puisaye area, and oak.
At La Porte Peinte, in addition to our core self-directed residency programme, we offer individually tailored mentored residencies for artists of any age.
La Porte Peinte is now accepting applications for residencies for 2015 – 2016. We accept applications on a rolling basis, but for those artists who intend to apply for grants to cover residency costs, we recommend allowing adequate lead time.
nd facilitate arrangements. If an artist requires only solitude and optimal working conditions, we provide both.La Porte Peinte USA, as a non-profit branch of the larger LPP project, aims to widen the field of opportunity to increase diversity, with a focus on individuals or groups who might otherwise lack access to such resources, e.g., artists affected by war, natural disasters, economic hardship or any form of discrimination. LPP USA aims to actively seek out such artists wherever in the world they may be, and to extend support to them through residencies, masterclasses, collaborations, or exhibitions. Areas of specific focus include film, photographic and written reportage that promotes global awareness and understanding; applied art that brings traditional techniques together with contemporary concerns, materials and methods; sustainable design; creative work by women; emerging artists of all ages; and African, Haitian, and Latin American practitioners, among others.
If an artist in residence wishes to learn about traditional materials and methods of art or craft, or to collaborate with an artist or maker from the local community, we will make introductions a
In addition to the opportunity to work with total focus on individual creative practice, an important feature of our programme is the chance to connect with the local community via our gallery, workshops, events, and tea room. Where appropriate for an individual’s practice and project, we can sponsor in situ shows and events.
For emerging artists, the opportunity to engage in the complete artistic life cycle of concept > production > presentation > sale via a show in the gallery is one that can be both motivating and inspiring. Beyond this, an essential aim at LPP is to generate creative community, one intrinsically planted within the dynamic community of the modern-medieval village of Noyers sur Serein, which itself sits harmoniously in the pastoral landscape of northern Burgundy.
We welcome artists, performers, writers, musicians, filmmakers, photographers, and creative thinkers. Collaborative groups and partnerships are welcome to apply. Our physical resources include private studios appropriate for painting or sculpture, outdoor covered spaces, and several small indoor spaces that lend themselves to writing. We have a simple analog photography darkroom. For those who wish to explore locally available materials and technologies, these resources include limestone and lime plaster, iron, pigments, clays from the Puisaye area, and oak.
At La Porte Peinte, in addition to our core self-directed residency programme, we offer individually tailored mentored residencies for artists of any age.
La Porte Peinte is now accepting applications for residencies for 2015 – 2016. We accept applications on a rolling basis, but for those artists who intend to apply for grants to cover residency costs, we recommend allowing adequate lead time.
Residency program since
2011
Disciplines and media
- Visual Art
- Sculpture
- Theatre
- Performing Arts
- Textile Art
- Music
- Literature
- Educational Programmes
- Curatorial
- Administrative
- Film Making
Type of organisation
- Artist-Run
- Independent Association/Foundation
Residency conditions
Duration of residencies
- 2 weeks
Number of artists resident at one time
5
Companions allowed
- Partners
- Other
It is possible to arrange to bring children during designated periods.
Expenses paid by artist
- Travel
- Housing
- Supplies
- Food
Expectations of the artist
- Other
In some individual cases, we may arrange for the donation by an artist of an existing artwork in lieu of fee payment.
Application who/how
Digital Application
Selection procedure
By Curator
Presentation of artists' work
Arranged on a case-by-case basis
Description of residency
Setting
Rural
Resources
- Internet Connection
- Library
- Office
- Kitchen
- Welding Tools
- Woodworking Tools
- Simple darkroom. Sound mixing and recording equipment.
Number of studios
5
Type and size of studios
Private Studio
Accomodation
- Private Room
Working language(s)
- English
- French
Other activities happening at the space
- Workshops
- Presentation
- Exhibitions
- Cafe/Restaurant
How to reach
By train
FROM PARIS
Montbard, 30 km away and a 30-minute drive from Noyers, is served by the TGV from the Gare de Lyon in Paris. Paris – Montbard takes a little over an hour. TGV services from Paris CDG airport also serve Montbard, so if you plan your trip carefully you can take the train directly to and from the airport.
Tonnerre, 20 km away and a 20-minute drive from Noyers, is served by TER trains from Paris Gare de Bercy. Paris – Montbard take an hour and 40 minutes, longer if a change of trains is required.
FROM LONDON
One may travel by Eurostar from London to Lille, France, then transfer at Lille to a TGV for Montbard. The alternative is to take the Eurostar from London to Paris, then go by taxi or Metro to catch a train to Montbard from the Gare de Lyon or to Tonnerre from the Gare de Bercy. In either case, it is necessary to book the Eurostar and the French train separately.
For further information on the Eurostar, and to book: www.eurostar.com
Montbard, 30 km away and a 30-minute drive from Noyers, is served by the TGV from the Gare de Lyon in Paris. Paris – Montbard takes a little over an hour. TGV services from Paris CDG airport also serve Montbard, so if you plan your trip carefully you can take the train directly to and from the airport.
Tonnerre, 20 km away and a 20-minute drive from Noyers, is served by TER trains from Paris Gare de Bercy. Paris – Montbard take an hour and 40 minutes, longer if a change of trains is required.
FROM LONDON
One may travel by Eurostar from London to Lille, France, then transfer at Lille to a TGV for Montbard. The alternative is to take the Eurostar from London to Paris, then go by taxi or Metro to catch a train to Montbard from the Gare de Lyon or to Tonnerre from the Gare de Bercy. In either case, it is necessary to book the Eurostar and the French train separately.
For further information on the Eurostar, and to book: www.eurostar.com
By plane
Fly into any Paris airport, then take the train or drive, as described above.
By car
Driving from Paris, the trip takes an hour and 40 minutes under optimal traffic conditions. From the A6, exit at Nitry, 10 km from Noyers, then take the D49.
Nearest airport
Paris CDG, Orly
Friday, January 25, 2019
Marketing Tips
Marketing Tips: Naming Website Portfolios and Entering Competitions
aPhotoEditor has some interesting advice and the INSTA-PROMO is exciting to follow.
Thursday, January 24, 2019
Call for Entries: Motion
March 14 – April 6, 2019
Photography is a medium of still images; it cannot create the illusion of motion the way in which moving images such as film, video or cartoons can. The static nature of the image itself, however, has never prevented photographers from putting motion in the centre of their endeavours. Instead of freezing the moment they often strive for capturing movement and the passing of time in a variety of ways. The fragile moment might be broken by showing the sweeping power of motion. Capturing motion is never a mere given in photography because it is not a default option of the medium. Depicting or expressing motion is a welcome challenge for photographers; it is also the source of some of the most creative images in diverse photographic genres.
PH21 Gallery invites photographers to submit their work for a group exhibition themed Motion. We are looking for submissions from all photographers who are interested in this most intriguing topic and would like to share their work with a wider international audience through the exposure of PH21 Gallery. The theme is broadly construed and it is independent of generic or stylistic constraints. We are interested in all possible creative photographic interpretations of the theme.
One juror’s choice and up to three honourable mentions will be selected and announced. The juror’s choice receives three free entries for any upcoming themed group exhibition calls at PH21 Gallery. (Each free entry includes up to 15 images.)
Curator: Zsolt Bátori
Zsolt is a philosopher of art and photographer. He currently serves as dean of the Faculty of Art and Creative Industries of the Budapest Metropolitan University, and visits the University of Murcia, Spain for regular research collaboration. He has conducted research and taught philosophy of art and photography courses at various universities in Hungary, the United States, Spain and Argentina, and has exhibited his photographic work internationally. Zsolt is also the founder and director of PH21 Gallery.
Visit Zsolt's website.
Submission deadline: February 11, 2019
Notification: All entrants will be notified 7–10 days after the deadline.
Exhibition dates: March 14 – April 6, 2019
There are two submission options:
- A) Standard submission: You may submit 3, 5, 7, 10, or 15 images; these may be all individual works, or they may also include a series of maximum 5 photographs. The entry fee is €20.00 for the first 3 images, €25.00 for 5 images, €30.00 for 7 images, €35.00 for 10 images, and €40.00 for 15 images.
- B) Special fee: There is a special rate for maximum 5 images for students and unwaged persons as well as for applicants from low-income economies. The special fee is €13.00. Please do not ask us about your eligibility or send us any proof because we trust your judgement. The special rate is simply for people who – for the reasons indicated above – would not be able to afford the standard fee.
Wednesday, January 23, 2019
Of Heaven and Earth by photographer David Shannon-Lie
Capturing Terrestrial Tracings of the Cosmic Machine
Two centuries ago, Simcha Bunim, a neighborhood pharmacist turned celebrity rabbi, proposed a simple treatment for the human condition. All of us, he said, should carry a pair of mantras wherever we go, one in each pocket. When life makes us feel small, insignificant, terminally puny, we should pull out the inscription on the right: “The world was created for me.” When we’re puffed up with self-regard, high on our own supply, we should refer to the one on the left: “I am dust and ashes.” These mantras, Bunim believed, would serve as existential ballast, keeping us from tilting too far in either direction.
The photographer David Shannon-Lier has done the rabbi one better, capturing both mantras in a single frame. For his series Of Heaven and Earth, Shannon-Lier records the movements of the moon and stars in landscapes across the country, then adds his own earthly markings. To complete the arc of a moonset over Gila National Forest in New Mexico, he extended its path with a line of rocks on a field. To mirror a stripe of moonrise over his old backyard in Mesa, Arizona, he dug a trench and filled it with water. The series is his attempt, he says, to understand the paradox of human identity, the sense that we are both inconsequentially tiny and cosmically important. “To me it almost feels like an optical illusion,” he says. “You can’t quite see both at the same time.”
Reflection of the Rising Moon Over Our Home, Mesa, Arizona
David Shannon-Lier
It
took Shannon-Lier about a year to refine his process, which combines an
artist’s messy intuition with an astronomer’s knack for numbers. He
begins with data from the US Naval Observatory, which tells him
precisely where in the sky a celestial object will be, and when. Then,
using a surveyor’s transit, he painstakingly plots out his markings. The
device allows Shannon-Lier to fill in the object’s path as it crosses
the sky or dips below the horizon. He walks out into the scene, places a
marker, and returns to the transit to check his work. This tedious
back-and-forth eats up most of the day. “I really could use an
assistant,” he says.
Once the scene is set—the
sticks or stones arranged just so, the trench perfectly
aligned—Shannon-Lier waits for dark. He usually leaves the shutter open
all night, sleeping on a cot beside his camera. That first year, he
struggled with getting the light right. “After about a second of
exposure, the sensitivity of film tails off dramatically—exponentially,
actually,” he says. The pale glow of the moon isn’t always enough to
illuminate a landscape. Sometimes, as in Gila, he lets a few moments of
dawn sneak in; other times, as in Mesa, he’ll flip on a porch light for
20 minutes.
One of Shannon-Lier’s most arresting
images shows the Big Dipper hanging over a hill in Saratoga, Wyoming.
That one required two exposures of the same film—one before the
constellation came out, when there was just enough twilight to reveal
the setting, and another after. The Big Dipper consists of seven stars,
but two of them, Phad and Merak, were obscured by the hill.
Shannon-Lier replaced the missing stars with flashlights. It is a
fitting visual mantra: two puny bulbs playing their part in an endless
galactic spectacle, trillions of miles of interstellar space reduced to a couple hundred yards of dust and ashes.
The Big Dipper (Phad and Merak Replaced by Flashlights), Saratoga, Wyoming
David Shannon-Lier
Total Eclipse of the Moon, Farmington, New Mexico, 2015
David Shannon-Lier
Mesquite Moonset, Mazatzal Wilderness, Arizona, 2012
David Shannon-Lier
Sweetgrass Moonset, McLeod, Montana, 2015
David Shannon-Lier
Reflection #7, Transit of the Sun, Mendon Brook, Vermont, 2015
David Shannon-Lier
Reflection of the Rising Moon Over the Dalton Highway, Alaska, 2014
David Shannon-Lier
This article appears in the February issue. Subscribe now.
Let us know what you think about this article. Submit a letter to the editor at mail@wired.com.
https://www.wired.com/story/heaven-earth-david-shannon-lier-photo-essay/
Light Work Workshops and Membership
Spring 2019 One Day Workshops
Large Format Printing
Saturday/ April 6, 10am-1pm
Instructor: John Mannion
FREE to members!
Become a member today!
Saturday/ April 6, 10am-1pm
Instructor: John Mannion
FREE to members!
Become a member today!
Workshop Description
Learn how to use our Epson large format printers. In this 3-hour single session workshop, learn how to properly color manage your files and printing environment. This workshop will cover proper resolution, sharpening, exposure, and fidelity to teach you how to make beautiful large scale inkjet prints.
Meet your instructor
John Wesley Mannion is an artist and teacher who has been helping artists from around the world make the most of their work for over 15 years. He is currently the Master Printer at Light Work, an artist-run, non-profit organization that provides direct support through residencies, publications, exhibitions, a community-access maker-space, and other related projects to emerging and under-represented artists working in the media of photography and digital imaging. John also teaches in the Transmedia Department at Syracuse University and has exhibited his own work nationally, including the Everson Museum, Griffin Museum, and Munson Williams Proctor Museum.
Do-It-Yourself Bookbinding
Saturday/ April 13, 12-4pm
Instructor: Kim Hoffman
FREE to members!
Material fee: $25
Workshop Description
In this free to members, 1-day workshop learn the craft and basic techniques of bookbinding. Learn about the tools and supplies you’ll need to get started, then make your own blank books with provided materials. Participants will receive the tools they need to continue their practice at home. Binding your own books is a great skill to have as an artist, this workshop will give you everything you need to get started binding your own work!
Meet your instructor
Meet your instructor
Kim Hoffman is completing an M.S. in Library and Information Science and M.A. in Museum Studies from Syracuse University, where she specializes in library preservation. Since 2016, she has worked in the Preservation lab at Bird Library, where she repairs books and paper in the circulating collection.
Find Many More Interesting Workshops Here
About Light work: Light Work was founded as an artist-run, non-profit organization in 1973. Its mission is to provide direct support through residencies, publications, exhibitions, a community-access digital lab facility, and other related projects to emerging and under-represented artists working in the media of photography and digital imaging.
Light Work’s founding directors were Phil Block and Tom Bryan. The organization has been led by Jeffrey Hoone since 1982. Light Work is housed in the Robert B. Menschel Media Center at Syracuse University.
Light Work receives support for its programs from the New York State Council on the Arts; the National Endowment for the Arts; The Andy Warhol Foundation for the Visual Arts; JGS (Joy of Giving Something, Inc.); Robert and Joyce Menschel; Vital Projects Fund, Inc.; Syracuse University (SU); the Central New York Community Foundation, and our subscribers.
Collaborative partners have included Syracuse University’s Division of Student Affairs, Autograph ABP, the Community Folk Art Center, En Foco, the Everson Museum of Art, the Red House Art Center, the Urban Video Project (UVP), and more.
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