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Remember when you were young and you'd stare off into the distance, hoping against hope for a future of excellent stock photography?

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Me too.

Well, your dreams have been answered, thanks to Shoot! The Day's amazing winners. Our July event was a great success, and now you can relax and just concentrate on being the best ballerina (or drunken swimmer) that you can be.


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Here's the list of winners, by category (our cowboy above was a winner, the other images are truly excellent runners-up):

Business:

1st: Chris Carroll
2nd: Patrick King  
3rd: Stephanie Keith
Honorable Mention: Karen Evans

Youth Culture:

1st: John Fedele
2nd: Grant Harder
3rd: Shannon Faulk
Honorable Mention: Stephan Malik

Family:

1st: (Grand Prize winner) Kinzie Riehm
2nd:
Gary Gardiner
3rd: Amanda Recker
Honorable Mention: Don Smith

Still Life:

1st: Eskay Lim
2nd: Mr. Beagle
3rd: Jose Luis Stephens
Honorable Mention: Bernard Jaubert

Seniors:

1st: Norman Pogson
2nd: Leah Fasten
3rd: Charles Williamson


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See all the imagery, here. And be sure to check out Mr. Beagle. He shot a mouse.
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As you may recall, there were a proliferation of openings last Thursday, and it was quite a challenge to A. nudge yourself into the galleries and B. actually see the work. I managed to do this somewhat successfully, though, and when I awoke the next day, two artists were still lodged in my head: Jane Hammond from Gallerie Lelong, and Kevin Cooley from Massimo Audiello.

Cooley reminds me of a morph of Todd Hido and Sarah Pickering.... beautiful nightscapes with perfectly placed interventions. I ran into Ofer Wolberger at Cooley's show, and he was delighted with the press release for the show, entitled At Light's Edge. I thought it was rather nice, too. So here are some of Cooley's images, paired with the text.

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Badlands 2, Lyman, Wyoming

Return to Nature has always been a distress signal of mankind, signifying the need to take care of ourselves and to get back to basics. Be it the classical or neoclassical Arcadia, Jean Jacques Rousseau's return to our primitive being, William Wordsworth or Samuel Coleridge's search for solitude, or Caspar David Friedrich's discovery of landscape as the representation of God, Nature has always been our mother and one of our ultimate refuges.

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Wind River Canyon, Thermopolis, Wyoming

Kevin Cooley's new photographs plunge directly into this Romantic tradition of landscape, and he enriches it with contemporary concerns.

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Grand Tetons, Driggs, ID

Nature is the muse, and man is the explorer. Breathtaking night views of American landscapes are illuminated by eerie distress signals, possibly messages coming from above or vice-versa. Light shooting through the sky highlights an endangered beauty and at the same time represents a divine or extraterrestrial phenomenon.

Taking photographs, for Cooley, is a lonely job, infused with silence and meditation. This contemplative mood, along with a sense of wonder and fear, permeates the entire new body of work.

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Horno Fire, Camp Pendleton, California

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Planes Landing LAX runway 24L

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Takeoffs JFK Runway 13R

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Landing Pattern LGA

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Planes Landing MSP


See Cooley's site, here. There are even daytime pictures.
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Zoom!

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Click on the jump, for the oh-so-exciting conclusion.
via design you trust.



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I'm thrilled to finally see some of the work from Hijacked, Volume One, America and Australia available online-- I've been hearing about this amazing book collaboration on individual artists' sites for months, and it's now rolling out big and glossy, daily-- over at Andy Adams' Flak Photo.

Hijacked
is "a photographic book + exhibition that gives voice to some of the most exciting and provocative photographers working in Australia and America today. These images erase traditional boundaries between art, document and snapshot to point towards the future of contemporary photomedia."

Below is a video explaining it better, and here is the link to the publisher.



I was immediately captivated by Greta Anderson's image from the book on Flak Photo (maybe because I was in a Palin kind of mood-- you know: guns, wildlife, hidden truths...)

In any case, here are more. They sort of floor me.

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See more of Anderson's work on her site.

And keep checking Flak Photo for their daily updates. The artists include fan favorites Timothy Archibald, Greta Anderson, Grant Willing, Alana Celii, Bill Sullivan, Caitlin Harrison, David Griggs, Emily Portman, Gareth Willis, Graham Miller, James Mellon, Janelle Ryan, Jason Lazarus, Juha Tolonen, Karron Bridges, Lisa Kereszi, Mark McPherson, Martin Mschkulnig, Michael Gray, Nathalie Latham, Nicholas Chatfield-Taylor, Robin Schwartz, Shen Wei, Suzy Poling and Amy Stein.

What could be better?

You can buy the book here.
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photo by Julia Baum

And he shall loveth all things photography.

Seriously, folks. This week we're starting off the gallery season with a bang. Shows are listed many places, but no one does it more cohesively than Peggy Roalf in the DART newsletter. Here's what she tells us about Thursday (and beyond):

"This month offers the best in contemporary photography, showcasing themes that continue to ripple to the top of a very full glass. Here are 100 or so shows in the not to be missed category, covering themes of identity, race, class, the consequences of war, environmental concerns, and new approaches to setup photography, to name just a few."

To receive this newsletter, fill out the information requested here on AI-AP's website.

Here are some of the picks. And make sure to click on the jump on the bottom-- this thing spans states and countries, so it's a loooong list.


NEW YORK: CHELSEA and DOWNTOWN


Michel Szulc-Krzyzanowski: The Early Sequences: 1977-1982

Robert Mann Gallery
September 4 - October 18, 2008
Opening Reception: September 4, 6 - 8 pm

Alexandra Sanguinetti: The Life that Came

Yossi Milo Gallery
September 4 - October 18, 2008
Opening reception: September 12, 6 - 8 pm

Julia Baum: A Rare Breed -- Portraits of Redheads
NY Studio Gallery
September 4 - 27, 2008
Opening reception: September 12, 7 - 9 pm

Jonathan Calm: New Video and Photography

Caren Golden Fine Art
September 4 - October 11, 2008
Opening reception: September 4, 6 - 8 pm

Polixeni Papapetrou: Games of Consequence
Foley Gallery
September 4 - October 11, 2008
Opening reception: September 4, 6 - 8 pm

Paul Fusco: RFK Funeral Train Rediscovered
Danziger Projects
September 4 - October 4, 2008
Opening reception and book signing: September 4, 6 - 8 pm

Meredyth Sparks: We Were Strangers For Too Long
Elizabeth Dee Gallery
September 4 - October 11, 2008

Jane Hammond: Photographs
Galerie Lelong
September 4 - October 11, 2008
Opening reception: September 4, 6 - 8 pm

Michael Thompson
Hasted Hunt Gallery
September 4 - October 25, 2008
Opening Reception: September 11, 6 - 8 pm

Amada Means: Glass + Light
Ricco Maresca
September 4 - 27, 2008
Opening reception: September 4, 6 - 8 pm

Michal Chelbin: Strangely Familiar

Andrea Meislin Gallery
September 4 - October 18, 2008
Opening Reception and Book Signing: September 4, 6 - 8 pm

Josef Koudelka: Invasion 68 Prague
Aperture Gallery
September 5 - October 30, 2008
Opening reception: September 4, 6 - 8 pm

Shimon Attie: Racing Clocks Run Slow
Ka Hassan: Recent photographs
Jack Shainman Gallery
September 4 - October 20, 2008

The Figure Today featuring multimedia work by Julia Fullerton-Batten, Lynn Goldsmith, Saul Leiter, Chris Raecker, and Jeong Mee Yoon, among others

Jenkins Johnson Gallery
September 4 - September 27, 2008
Opening reception: September 4, 6 - 8 pm

Kevin Cooley: At Light's Edge

Massimo Audiello Gallery
September 4 - October 11, 2008
Opening reception: September 4, 6 8 pm

Joel Sternfeld: Oxbow Archive
Luhring Augustine
September 6 - October 4, 2008
Opening reception: September 5, 6 - 8 pm

Guido Castagnoli: Provincial Japan
Sasha Wolf Gallery
September 11 - November 1, 2008
Opening reception: September 11, 6 - 8 pm

Jeff Whetstone: Post-Pleistocene

Julie Saul Gallery
September 12 - October 25, 2008
Opening reception: September 12, 6 - 8 pm

How I Spent My Summer Vacation, featuring work by Rachael Dunville, Sebastian Lemm, Christopher Rauschenberg, Roger Eberhard, Josh Quigley, Caleb Charland among others
Michael Mazzeo Gallery
September 12 - October 11, 2008
Opening reception: September 12, 6 - 8 pm

Vivan Sundaram: Trash

SEPIA International | The Alkazi Collection
September 17 - November 1, 2008
Opening reception: September 17, 6 - 8 pm

Joshua Lutz: Meadowlands

Dave Anderson: Roadside Ghosts (Project Room)
ClampArt
September 18 - October 18, 2008
Opening reception: September 18, 6 - 8 pm

Doug Aitken
303 Gallery
September 20 - November 1, 2008

Parsons MFA Photography Thesis Exhibition
Sheila C. Johnson Design Center | Parsons the New School for Design
Through September 12, 2008


click on the link below to see MANY MORE!




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I feel compelled to post some versions of Dorothea Lange's famous "Migrant Mother" image. This was one of the pictures that resonated with me during my very first photo class at RISD a gazillion years ago; I chose Lange to profile in my requisite slide presentation, and have been fascinated by the FSA photographers ever since.

A few folks have alerted me to the PBS film on this topic that's airing tonight, and the related article in the Times: "Documenting the Face of America: Roy Stryker and the F.S.A./O.W.I. Photographers" shows how the small Farm Security Administration's New Deal project to document poverty turned into a visual anthology of thousands of images of American life in the 1930s and early '40s."

Sounds unmissable.

One of the thing I like so much about the FSA works is that they're public domain; they show an incredible cross-section of America, and they belong to all Americans. It seems downright patriotic to me.

Something I've been meaning to do forever is to order a "Migrant Mother" print. It's amazing how easy and inexpensive this is to do. I also went searching in the Library of Congress' online vaults, and I found out some interesting things about the print. They provide three versions (you can also download very high-res files and print them yourself). The version up above is  the original nitrate negative for "Migrant Mother". It was retouched in the 1930s to erase the thumb holding a tent pole in lower right hand corner. The file print made before the thumb was retouched can be seen in copy negative (second image below).

There's also some more information about the people in the image:

"Destitute pea pickers in California. Mother of seven children. Age thirty-two. Nipomo, California" 


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digital file from print

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digital file from b&w film copy neg. of unretouched fileprint showing thumb in right corner


It's pretty unbelievable how easy it is to order a print-- printed by a real person no less-- from the Prints and Photographs Online Catalog.

Here's the pricing structure. Looks like I'll be getting an 11"x14" fiber print (since it's from a nitrate neg) for $78.00. Pretty good deal, I'd say.



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Check out more available imagery-- you'll be owning a piece of (beautiful) history for nearly nothing.


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Oooh a real treat on the blog today, Rachel is excited! You know why? Because she's got the Jack! Yeah, that's an AC/DC reference, mmhm.

OK, in all seriousness, pay attention here. This is a multi-layered blog attack and you're going to need all your brain cells. Put the Scrabulous down. Above is a picture of Mr. Andrew Hetherington. Aside from being a rather fantastic photographer, he's also become a mainstay of this cozy little photography blogtown with whatsthejackanory. I was reading this thing back when I was in blog diapers, and I've learned a lot.

SO, today Mr. Hetherington has an image featured in Jen Bekman's genius 20x200. I'm not going to tell you which picture, but it's on this page somewhere, and it rhymes with shoo(t).

In honor of this awesome and auspicious event, I've asked Mr. Hetherington 20 quick questions.

Here's an additional exciting bit:

If you can identify the man who is not Mr. Hetherington in question 17, you will win one of Mr. Hetherington's books. Two are available.


Let's GO!


1.
andrew! what is your current state of mind?

Optimistic.

2. what do you consider your finest photographic achievement?

Escaping death on a Swiss Alp as an assistant. I was inches away from slipping off a 4,000 ft. peak had a saving hand not intervened.

3. vodka or gin?


Beer please.

4. what picture has the best wall space in your house?


Big red apple. Right above the bar. Gift from Mrs TH.

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5. dream shoot?

A fulfilling one.

6. desert island. you can only have one companion: a photo editor. choose one.


Impossible to choose. They are all my favorites.

7. same desert island. film or digital?

Film

Kodak 160NC 220

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8. favorite beatle?

Ringo. He married Barbara Bach from the Bond movie The Spy Who Loved Me.

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9. biggest photographic inspiration?

Life.


10. brand of shoes on your feet right now.

Vans slip ons. White of course.

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11. last camera you shot with?

 Hasselblad 503cw.

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12. name of your childhood pet.

Had a goldfish. Can't remember his name.


13. you can only shoot advertising. client of choice?

 A repeat one.


14. you can only shoot for cute overload. animal of choice?

A  Cow.

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15.
first concert you went to without your parents?

Big Country. RDS Dublin 1983.


16. most visited website?

Shoot the Blog of course. first thing every morning. right after http://news.bbc.co.uk/


17.
What photographer were you most excited to take your picture with?
 
This guy. He's such a badass.

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18. first picture you took that you were proud of?

My father just mailed me this one he stumbled across

maybe from1985

in Dublin

I was mad into the cycling

processed and printed it myself in the bedroom darkroom

wish I had pictures of that set up

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19. motto?

He who dares wins.


20. how much money would you accept to shave your beard?


Enough for round the world tickets for two. Business class. Not to be greedy.


---

SWEET. OK, a reminder. Things you must now do.

1. tell us who the dude is in #17 to win one of these books:
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2. Check out the 20x200 Hetherington edition.
3. Look at Andrew's pictures, words, and available stock.
4. Have a pleasant and fulfilling day.



moo.


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I received this "media alert" in my inbox last week and did a triple take. Behold:

MEDIA ALERT


What:
Introducing Bond Street Gallery, a new gallery for contemporary photography, located in Carroll Gardens, Brooklyn. The first exhibition opens next week and is titled Young Curators, New Ideas. A group exhibition organized by Amani Olu and curated by Alana Celii & Grant Willing (Fjord Photo), Michael Bühler-Rose, Jon Feinstein (Humble Arts Foundation), Laurel Ptak (I Heart Photograph), Amy Stein, and Lumi Tan (Why + Wherefore).

The exhibition examines different trends and perspectives in contemporary art photography through the bias of six new and seasoned curators. Each curator (or curatorial group), using roughly ten feet of space, aims to engage viewers in a discussion on where he or she believes art photography is today.

__

Um, WHOA. That's a crazy A-List group of curatorial folk! I decided to have a little chat with one of these curators, specifically, Humble Art Foundation's Jon Feinstein, who is also a photographer. I asked him about lots of things, but found the conversation about the rise of mysticism and magic in contemporary photography especially interesting. The photographers Feinstein chose-- Hannah Whitaker, Talia Chetrit, Noel Rodo-Vankeulen, and Ann Woo, represent a new canon of rising stars in art photography.


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This is Jon Feinstein.

Jon! This Bond Street show has quite the young curator star list! How did you become part of the show?

Totally. I'm psyched to be a part of it! I've worked closely with Amani on Humble Arts Foundation shows for the past few years so it was pretty natural for him to invite me to participate.

How did you become a curator in the first place-- I am a big fan of your portraiture; how do you balance doing your own work and the curatorial stuff? Do they feed off of each other?

I got into curating while I was still working as a photo editor for Heeb magazine. While I loved working on editorial and fashion shoots, my background was in art photography, having studied under Stephen Shore (and other amazing professors who I won't name drop at the moment) at Bard, and I wanted to do something more in line with those interests. I started working at a stock photo agency and met Amani, who had begun brainstorming ideas about Humble Arts Foundation.

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Jon Feinstein, Bob and Lindsay, 2003

We got to talking about our backgrounds in magazine editing and photography and came up with the idea for Humble's original inception, group-show.com, which at that point was a simple monthly showcase for emerging photographers. It has now grown to include online solo shows, affordable limited edition prints, a grant program and about four physical shows per year. We have a big group show coming up in Chelsea in the fall, as well as our first Humble promoted physical solo show which will be announced soon. It's incredibly daunting to be making my own work simultaneously so I try to keep it as separate from Humble as possible, but am incredibly inspired by all of the work I've been seeing over the past few years.

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Jon Feinstein, Ben, 2003

Where do you think the new interest in photographic mysticism came from? From NASA's astronomy picture of the day, to Hannah Whitaker's rainbow bunny, I'm seeing (and loving) this stuff everywhere. Is it particular to our generation-- to our notions of "futurism" and "fantasy"? Does World of Warcraft play a role, mayhaps?


I think this new "photographic mysticism" is incredibly interesting, and has many more layers than just light, color, prisms,etc. I think the larger umbrella of new mystical explorations in photography can in some ways be interpreted as a step beyond postmodern and narrative photography. While earlier generations of photographers were exploring identity politics and notions of truth and representation, often through staged photographs, this new "movement" seems to be focused more on form and photography's physical properties, not only for their aesthetic value, but but for their metaphorical qualities as well.

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Noel Rodo-Vankeulen, Geode, 2008

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Hannah Whitaker, Apple Tree

I see both as being incredibly influenced by painting, but while Crewdson or diCorcia may have been influenced by both Hopper and some of the surrealists, this group of younger photographers, especially Ann Woo and Talia Chetrit, seem to be playing with much more abstract ideas of expressionist painters like Rothko and Barnett Newman. As for trends in photography, I think the growing attention to this kind of work in some ways may come from a desire to create work that is as controlled as the staged work that was studied in college photo classes, but without relying on excessive budgets and other people's schedules. I was talking to a photographer a few weeks ago about how so much of this work can be made from a photographer's studio or home, and really takes the idea of "making" photographs to an entirely new level.

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Ann Woo, Lisa, Sunset


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Talia Chetrit, Spectrum, 2007, Inkjet, 2007

How do you see your future in the industry? It's so interesting to see so many of these young curators multi-tasking as designers and photographers... do you think there's a new trend in the curatorial world to make it more accessible, now that things like blogs and small arts organizations are gaining more of a foothold in the industry?

I'm not quite sure where I see my future in the industry. Much of my curatorial work will operate through Humble (unless of course a major institution invites me to curate a show, but that hasn't happened yet :) ), but my main aim is to continue to curate bodies of work that are not only pretty to look at, but are informed and challenging and push the medium of photography forward. I definitely think there's been a growing trend in online-based photo organizations, and it has democratized photography at an amazing rate.

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Hannah Whitaker

As long as the editing and curation is tight, informed and well organized, I think it's a wonderful thing. What I think is so great about the development of new/online curation is that it has allowed new ideas to flourish with more focus on work that is challenging, and less on what is potentially saleable. As for my own work, I have a couple new projects that I have been developing over the past year which will be officially "launched" within the next few months. Some of this work is going to be  in a couple shows that will be opening in the fall in NYC and Chicago.


Did you coordinate your image and theme ideas with the other curators, or were you all on your own? What's your favorite photo in the show (will you tell me)?

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Gerald Edwards III, Investigation into the Disruption of Power, 2006


We were pretty much all on our own. Since there are such unique visions from the curators involved there has been little overlap and I think the show will feel incredibly varied. I won't comment on my favorites from my own show, but I've seen some previews of Laurel's animated GIFs presentation and think it's fantastic. I also love Gerald Edwards' image (which was used as the postcard for the show) which is featured in the Fjord show and Ofer Wolberger's "Maggie" series, which is included in Amy Stein's show. I haven't seen any of the other work yet so I can't really comment at this point, but I'm excited!

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Ofer Wolberger, from the Maggie Series
___


Here are the specs for tomorrow's opening; If you're in New York and you like photos and rainbows, it's pretty much a must:


Young Curators, New Ideas

Opening Reception: Wednesday, August 13, 2008
RSVP: rsvp@bondstreetgallery.com
Press Review: 4 -- 6 pm | Public Reception: 6 -- 9 pm
On View: Wednesday, August 13 -- Saturday, September 6, 2008

Exhibition Artists:

Charles Benton, Alison Brady, Brian Bess, Victor Boullet, Mikaylah Bowman, Olga Cafiero, Talia Chetrit, Tyler Coburn, Petra Cortright, C. Coy, Gerald Edwards III, Daniel Everett, Thobias Fäldt & Per Englund, Martin Fengel, Jason Fulford, Nicolas Grider, Pierre Hourquet, Konst & Teknik, Eke Kriek, Emily Larned, Bryan Lear, Miranda Lehman, Seth Lower, Matt MacFarland, Katja Mater, Kelci McIntosh, Mark McKnight, Erin Jane Nelson, Ilia Ovechkin, Robert Overweg, Alex Prager, M. River, Noel Rodo-Vankeulen, Asha Schechter, Trevor Shimizu, Alix Smith, Jo-ey Tang, Jesper Ulvelius, Anne De Vries, Hannah Whitaker, Karly Wildenhaus, Ofer Wolberger, Ann Woo and Damon Zucconi


Bond Street Gallery
297 Bond Street, Brooklyn NY
F/G To Carroll St. / R to Union St.



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In our ongoing quest for hard-hitting journalism that asks the really tough questions, I'm rolling out a one-question interview this morning with none other than Jen Bekman. For those of you who don't know, Bekman has taken the art world by storm with her Hey Hot Shot shows and 20x200 editions; the former finds artists and showcases them, the latter makes good art affordable for everyone.

Tonight is the opening for the latest crop of Hot Shots at the Jen Bekman Gallery. If you're in NYC, be there or be square:

Anyhoo, here was my question for Jen:


Dear Jen Bekman: why is this group of Hot Shots so extraordinary?
!

A bunch of reasons.

I'm super excited about the new format-- twice a year, with only 5 photographers per edition. And now the show's up for two weeks instead of just one, and each photographer gets a $500 honorarium.

Hello! What an amazing group of photographers. Diverse! Plus: loads of international intrigue.

Colleen Plumb is from the heartland, but the other artists are from all over the world.

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photo by Colleen Plumb

Roc's from Portugal

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photo by Roc Herms Pont


Kate Orne was born in Sweden

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photo by Kate Orne


Derek's from New Zealand

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photo by Derek Henderson


and Juliane's from Germany

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photo by Juliane Eirich

To expand on the international theme: Juliane currently resides in South Korea and Kate's photojournalism mainly focuses on Afghanistan and Pakistan.

So there's a lot to be excited about. And the show looks amazing, I just finished arranging the layout and the JB crew is hanging it.

__

Brilliant! Infos:

Hey, Hot Shot! 2008, First Edition
Jen Bekman Gallery
6 Spring street, b/w Elizabeth & Bowery
6pm-8pm


For other openings, check out artcards.



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A new blog was born today, and it's destined for great things. Photographer Vincent Laforet is off to Beijing for two weeks to cover the Olympics for Newsweek, and is taking the opportunity to show us some behind-the-scenes imagery and explain how he makes his work.

Oooh, color me ready to bookmark!

Laforet was in Shanghai and Beijing in 2001; that's where these images are from. His blog is promising not just because he's making great work in interesting places, but because he's very generous with sharing interesting cultural details, too (including drinking stories):

A sip:

"I went to Shanghai and Beijing in early 2001 with one of my best friends Harry How (who will also be covering the games for Getty Images.)  A lot has changed since then-- 9/11 happened a few months after our return and clearly the world has changed quite a bit since then.  But mostly I'm looking to see how China has evolved since my first visit.

I have a lot of great memories from that trip. Harry and I first went to Shanghai and Harry hooked us up with an incredible deal at the Ritz Carlton-- $80/night with complimentary access to the Executive Level. This meant that we could go to the Executive Level every afternoon and get unlimited refreshments-- at no additional charge. Four to Five Gin and Tonics-- each-- is a great way to kick off an evening. We had a blast-- most of our time was spent doing street photography 10-14 hours a day. We both shot film (I shot everything with a Hasselblad X-Pan panoramic 35mm rangefinder camera, a 45mm lens, and 60 rolls of Ilford XP2 B&W film.) Shooting black and white film with only one camera, on lens, and a small Billingham bag... man those were the days... times sure have changed in the past 7 years.  

I can't wait to see how things have evolved-- and I hope to get a least a brief chance to walk the streets again-- before I get sucked into the Olympic bubble. Some of the initial posts will detail the gear I'm bringing, why I'm leaving some stuff behind, and how I packed it."


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Check out Vincent's blog and follow his progress in Beijing.

UPDATE:

Rob Haggart over at APE has a great interview with Newsweek's DOP, Simon Barnett. Barnett, of course, hired Laforet as one of his Olympic guns-- as well as Mike Powell and Donald Miralle. Here's an excerpt from the interview, explaining this choice.

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(and here's Barnett- thanks for the picture, Rob!)

How did you come up with the dream team of Laforet, Miralle and Powell?

All are ex-Allsport staffers (now gone, an early Getty acquisition), as I was I too. I was Allsport USA's managing editor in the 90's and worked closely with Mike Powell, so we go way back. Vince and Donald joined Allsport after I left to be a part of the team that started ESPN the Magazine. Even though I don't get to do that much sports nowadays with Newsweek, I've always kept an interested eye on the sports photography scene, and I know that I have assigned the three best, most original sports photographers available.

Allsport really was an amazing place for photography--at it's peak it was to sport what Magnum is to photojournalism. There was an incredible hunger at the agency, and often a quite intimidating rivalry amongst the shooters. I remember clearly the harsh ribbing that some of the youngsters would get if they couldn't follow focus 6 frames of an athlete running at them on a 600mm. They'd all be challenging themselves to shoot difficult pictures, on massive tele-photos, using 50 ASA Velvia in the shade, skillfully timing the peak action at the only possible moment when it froze sufficiently to yield a sharp image at a 1/60th of a second. That era produced the likes of Simon Bruty and Bob Martin, both now at SI, and guys like David Cannon and Clive Brunskill who are still with Getty today. Allsport photographers were always shooting portfolio-type images, trying first to make art, and, in a classic sports sense, driven to
beat the hell out of the competition.

For this Olympics, I thought I'd to try and approach it that way again, this time for Newsweek.  I have given Mike, Vincent and Donald a dream brief at the biggest event in the world--go make great photographs first, worry less about recording every medal.



See the full Q&A here.

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Find more photos like this on SLIDELUCK POTSHOW

Could we love the folks at Slideluck Potshow more? No, we could not. They are the best and the brightest and they believe in pictures and excitement and foods. Two thumbs WAY UP. If you're anywhere near Brooklyn this Saturday, consider checking out the show.

Here are the official details from the brilliant faces behind the curtain: Alys Kenny and Casey Kelbaugh:

Hot Town!  Summer in the City.

For the first time in New York, Slideluck Potshow will be venturing from isle of Manhattan and into Kings County.  It will also be our first outdoor slideshow potluck in NYC.  We invite you to join us on Saturday, August 2nd, for Slideluck Potshow XII at McCarren Park Pool in Williamsburg, Brooklyn!

For those of you not familiar with this venue, it's a gem of the Moses/LaGuardia era.  It opened in 1936, in the middle of The Great Depression, and was designed to get people's minds off the economy.  Here we are, 72 years later, hoping to do the same.  In the last couple years, the giant pool has lain empty, but has been filled with the sounds of great live music.  This is the last summer before the city converts it back into a swimming pool and they have a fantastic line-up:  Devo, M.I.A, Gogol Bordello, The Black Keys, DJ Shadow, Wilco, and What!?  Slideluck Potshow?  Like any truly historic occasion, it will smell of barbecque.

SLIDELUCK POTSHOW XII
Saturday, August 2nd, 2008
6:30pm Potluck
8:30pm Slideshow
Nearby Afterparty to follow


RSVP

*RSVP Required. You will be asked to log in to our new Network to rsvp.  The event is listed in top left of page.  Check out what we have going in New York and elsewhere, and don't forget to join the NYC group!

This our first venue in New York where capacity is not going to be an issue, so you are welcome to pass this invitation along to others that would enjoy a participation-based event such as this. Membership will not be required at this show, though there will be an area reserved only for Slideluck Potshow Members.

If you have not become a member, we encourage you to do so now and enjoy the benefits!  
Thanks for your time and we hope to catch you poolside.

More info here

McCARREN PARK POOL


Ooh, I'm gonna tie this back to PhotoShelter here. We like to talk about ourselves. Here are some pictures from Marc McAndrews' project, Brothels, which will be shown at Slideluck. So consider this a SNEAK PEEK.


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It seems like everything this week is coming up taxidermied. Strange.


Also: When did clear shoes first arrive on the scene? So iconic.

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Two interviews in one day! Fun!

We just spoke to a photographer who's working on self-promotion; now we'll speak to a photo editor who can help you with your edit.

Stella Kramer is a Pulitzer Prize winning photo editor who has worked for many top industry publications, and one of a few who has gone on to consult and lecture as well. She began her career at Vanity Fair, was a photo editor at Newsweek, and served as Director of Photography at Brill's Content. She has also worked as a freelance photo editor for major publications including The New York Times, People, Entertainment Weekly, Sports Illustrated, and Money. She clearly knows the industry inside and out, and allowed me to ask her a few questions about her experiences.

zip zip:


How did you get started as a photo editor? Was there a particular niche that was most interesting to you, or did you fall into it?

I got started as a photo editor in a sort of roundabout way. I was asked by the temp agency I went to work for whether I wanted to work for companies on Wall St. or for midtown magazines. I chose the latter, having majored in journalism/political science in college. My first gig was in the photo department of Vanity Fair, where I simply kept track of film that came in and sent it back.

From there I went to a promotional department at Time Inc., gathering images for use in TV commercials. After I cut a direct deal with them to get out from under the temp agency, I worked there for about a year. My next gig was PEOPLE magazine, then Sports Illustrated. That's how I started. I really hadn't known that there was such a thing as a photo department, since I didn't come to it from school or from a photo agency. I was lucky, and it proved to be a great fit for me.

I was always most interested in photojournalism, but each job I've had (entertainment, sports, business, etc.) has had its moments. I went wherever I found work. It wasn't until I got to Newsweek that I got a real chance to work with news. We did an incredible cover story called "Murder: A Week In the Death of America" that won several awards.

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photo by Eugene Richards

That was really thrilling for me.

What's the most rewarding project you've worked on?

Without a doubt, the most rewarding thing I've ever done was the work I did at The New York Times related to 9/11, both the "Portraits of Grief" project I worked on for several months, and the initial editing work I did on the day of the attacks.

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photo by Ruth Fremson/ The New York Times

It was the first time I felt like a real journalist, and working for such an important and professional publication like The Times was extraordinary. There was so much film that came into the newspaper that day (after all, the attacks were the most photographed event in history) from staff, freelancers, and just people off the street; I cannot remember how much I saw. I can't even really separate events of the first week-- all I remember was long hours, not leaving the building, looking at film, and stumbling home to cry and watch cable news late into the night.

When I was asked to work on getting the photos for the "Portraits of Grief", I didn't realize I was going to be part of something that would become almost a sacred rite for some people.  It was so difficult getting the photographs from family and friends that were of happy times (weddings, births, graduations, etc.), and cropping them down to obituary photos.

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from "Portraits of Grief"


It became vital to me that I had a photograph to go with every bio, as I wanted people to look into the eyes of those killed, so that the event wouldn't become an incomprehensible statistic. How could you not feel the impact of the event when you saw people who might even have been your own family?  The work took its toll on me emotionally, and I will never forget it.

I also discovered an amazing photographer, Michael Lisnet, who had been shooting the scene at Ground Zero for days and I was able to get The New York Times Week In Review to publish an essay of his work.  I am very proud of that.

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photos by Michael Lisnet


What is an ideal assignment for you-- how much involvement do you like to have in the development of a story; do you consistently work with the same stable of photographers?


My ideal assignment is one that I help bring into being, from discussing the idea to choosing the photographer, to being at the shoot and collaborating with them, to editing and presenting the photographs to the editors. Having some autonomy to do my job without interference. One great example is a shoot I did with Nathaniel Welch, who photographed Chris Brown for me when I was at PEOPLE. It was a great time all around.

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photo by Nathaniel Welch

Sometimes I've gotten to be there from the initial editorial meeting, sometimes I've jumped in when the story has been turned over to me to visualize. But being able to come up with creative ideas and choose the right photographer is the best part of Photo Editing. That, and the excitement of seeing the images for the first time. Depending on where I was I might use a lot of the same photographers. But the best part of having had a varied career is that I've worked with a wide range of wonderful photographers: from still life shooters to conflict photographers and everyone in between. I couldn't have asked for more.

What does your career consist of now-- are you able to cobble together both consulting/teaching with editing work?

Nowadays I spend more time working with photographers than editing for a publication. And with the way things have gone in publishing I have the better end of the deal. I am involved with creative work, and creative people. I am not just the data entry person, inputting images to show to editors who won't listen to my opinion. Photo editing has changed so much that there is less autonomy than ever, and that's too bad for everyone.

Working in magazines for so many years allows me to explain from the inside out how magazines approach photography. I know how important a strong, tight edit is. And with fewer pages in magazines, there is more need than ever to be able to present a strong project, whether it's for print or for the web. Too often I find photographers unable to focus their essays, choosing the wrong photographs or adding text where it isn't needed in order to explain what their stories are about. I'm hoping to show people how you can tell a story without words, in a complete way that gives the viewer everything they need to know.

I love looking at photography and showing people a different way of looking at their own work. I think there is even more need now for photographers of all levels to open themselves up to other eyes.  And anyway, it's so much fun!

--

Take a look at Kramer's site, portfolio, and upcoming events. Or contact her for a consultation.





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PhotoShelter's Shoot! The Day event went down yesterday at Shoot Digital studios, and though I was shamefully late to the festivities, I did successfully convince Emiliano Granado (that dude above) to send me some goodies. I felt that I needed some visual representation of the awesome-hood. If you'll recall, there were expert panels and shooting teams getting down to business all day; here are some of the portraits that came out of the Granado camera.


His file names were so funny that I just decided to leave them as-is. Recognize some of these folks?


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mike_the_infiltrator

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charlie_the_quiet_one


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norman_nikon_stud

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annie_are_we_on_time*

*my personal favorite.

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ryan_profoto_god

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jason_metal_god

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emi_hotness

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glenn_champion_of_the_world

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nancy_flourescent_shoes

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Thoughts:

I continue to be obsessed with those shoes.
I want guitar hero.
I like mike.

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If you're not festivaled out, you're going to want to head down to Charlottesville in June, because Look3 seems almost like a photographer's utopian festival dream. From the 12th to the 14th, all of Charlottesville will be taken over by photography; even the trees (Flip Nicklin's undersea whale images will be suspended high in the trees along Charlottesville's outdoor pedestrian mall).

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The event centers around three masters of the craft, who will each deliver an Inside The Actor's Studio type lecture, albeit with NPR's Alex Chadwick in lieu of James Lipton. This year:


Mary Ellen Mark, James Nachtwey and Joel-Peter Witkin
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These three folks will also have shows up in Charlottesville. In addition, there will be talks, screenings, books, portfolio reviews-- the works. On the evenings of the 13th and 14th there will be projected shows; one is called Shots, and the other, Works.  A partial list of the artists in Shots:

Christoph Bangert
Juliana Beasley
Lucas Foglia   
Ed Kashi & Julie Winokur
Erika Larsen
Joseph Sywenkyj
Jonathan Torgovnik

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And Works:

Andrea Modica
Marcus Bleasdale
Dan Winters
Simen Johan
Antonin Kratochvil
Balazs Gardi

See the full list here. It's impressive.

Not to mention the workshops, which start earlier in the week.:

"The following classes will be offered June 7-12. Each participating student will receive a Festival Pass for events June 12-14. Housing and meals are not included in the price of tuition. Please see the How To page for links to accommodations, including the special housing option for Workshop participants. Click on the course instructor names below for more info regarding each class."

William Albert Allard - Looking For Pictures: The Puzzle Making of Photography
Eugene Richards - Photographing People (portfolio submission required)
David Alan Harvey - The Photographic Essay (portfolio submission required)


One of the nicest things about a festival in a city of this size is that everyone can get in on the action; Dave Lutz, who's doing marketing for the event, told me people routinely start to hang up their own imagery all over town. This event was started by Nick Nichols, who used to have slideshows in his backyard and invite all his buddies over (not unlike Casey Kelbaugh of Slideluck Potshow). He now runs the event with Jessica Nagle.


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Dave spoke to me for half an hour about the festival before he mentioned that he wasn't a photographer, and was doing marketing for the festival on a volunteer basis, just because it's so cool. I think this thing has a great vibe. Check out the website for all the information you could possibly want. It's quite well organized.



Oh yeah- there are portfolio reviews! Don't forget to go to those.





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photo by Martin Parr


Okey Doke. I've been sweating over here all day trying to figure out how to explain what events are happening and when at the New York Photo Festival, and which happenings seem most awesome. I've settled on modifying the NYPF's own graphic, with pink highlights to indicate things I'm most excited for. I know it's too small to read- click on it and it will open bigger in a new window.

The main exhibitions curated by Lesley Martin, Kathy Ryan, Tim Barber and Martin Parr all are open from 10am to 7pm, May 15-18. Go here to read about them. Go here to read about the Satellite Exhibitions.

Here is a map of the whole area.

As you can see, there are events all day long; these are mostly artists talks. I'm psyched for Roger Ballen and Simon Norfolk. Each day, Aperture will be running the programming from 5-6pm; all of these events seem strong, especially the Kessels and Parr pairing, and The Ptak, Barber and Jen Bekman panel.

The Photo Awards fete will be on Friday night; there will be an after party too! See all the nominees here. Strong crowd.

And, perhaps most exciting of all, is Book Soup: this is a panel about book collecting with some legendery folks, but the BEST PART is afterwards:


"Following the panel discussion, there will be a book signing extravaganza at The powerHouse Arena at 9pm with authors including:


Lili Almog, Roger Ballen, Juliana Beasley, Harry Benson, Kevin Bubriski, Julia Calfee, Vivian Cherry, Livia Corona, Valdir Cruz, Lalla Essaydi, Larry Fink, Brian Finke, Ron Galella, Stephen Gill, Arlene Gottfried, Christopher Griffith, John Gruen, Alice Harris, David Alan Harvey, Henry Horenstein, Ellen Jong, Leora Kahn, Seth Kushner & Anthony LaSala, Christopher LaMarca, WassinkLundgren, Jeff Mermelstein, Slava Mogutin, Rachel Papo, Martin Parr, Nigel Parry, Mark Peterson, Thomas Roma, Steve Schapiro, Joachim Schmid, Jamel Shabazz, The Snorri Bros., Michael Spano, Peter Sutherland, Linda Troeller, Victor Vazquez, Veronique Vial, Nathaniel Welch, and David Yellen."


SO AWESOME. Ok, if you're still confused go to the official site. And be sure to read Andrew Hetherington's running commentary over at foto8. He knows what's up.


Enjoy. Drink Rum; there's a Rum-bamba Saturday. Seriously. And remember: click on this calendar and it will open bigger in a new window.



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photo by Kelly Shimoda, from The Pollinators, 2008

In honor of the almighty Pulitzers, I've spent the morning compiling a list of contests, grants, fellowships and publishing opportunities that are particularly geared to you photojournalists out there. I can't claim all the research credit here; I reached out for help to Kelly Shimoda, of Veras Images, a "collective of emerging international photographers based in New York who have assembled to provide coverage of compelling feature stories, under-reported topics, and significant social trends."

Luckily for me, Kelly is a keeper of the contest list for Veras, and passed on her info. Remember dudes, you must spread your application seeds far and wide to gather the fruits of your photographic labor. Go to it!


*and send me any we missed; obviously there are scads.


In no particular order....


World Press Photo

The contest is open to all professional press photographers. There is no entry fee.
Not only photographers, but photo agencies, newspapers and magazines from anywhere in the world are invited to submit their best news-related pictures of the previous year. Both single images and photo stories are eligible. The results are published on this website. Entry forms for the contest come out in October.

National Press Photographers Association
Loads of contests and grants happening here. Best to go to the site.

Alexia Foundation
The professional Alexia Grant recipient will receive $15,000 for the production of the proposed project (there is also a student category). The Alexia Grant was not established with the single purpose of rewarding the best photographers -- this is not a portfolio competition. The grant will be awarded to a photojournalist who can further cultural understanding and world peace by conceiving and writing a concise, focused, and meaningful story proposal, and who can demonstrate the ability to visually execute that story with compelling images. There is no mathematical formula for determining grantees, but the proposal and photography must both be considered of the highest quality.

The F award
Fabrica and Forma, International Center of Photography (Milan), are proud to launch the second edition of the F Award, an international contest for concerned photography open to photographers from all over the world.

Inge Morath Award
Magnum Photos announces the fifth Inge Morath Prize to be awarded to a woman photographer under thirty years of age. The $5000 prize is given to assist in the completion of a long term documentary project. Inge Morath was an Austrian-born photographer who was associated with Magnum for almost fifty years. She died in January, 2002. As Inge devoted much of her enthusiasm to encouraging women photographers, this award is given as a tribute by her colleagues.

Leica Publishers' Award
The Leica European Publishers' Award for Photography is a photography award, handed out once each year by the photo book publishing firms Actes Sud (France), Apeiron Photos (Greece), Dewi Lewis Publishing (UK), Edition Braus im Wachter Verlag (Germany), Lunwerg Editores (Spain), Peliti Associati (Italy), Mets & Schilt (The Netherlands) and Leica.. To be eligible for submission, photographers must submit completed and unpublished photo projects in book form. The project of the winning participant is published by the participating publishing firms in the relevant country and in the relevant language in a total of 5,000 copies.

Aperture Portfolio Prize
The purpose of the Portfolio Prize is to identify trends in contemporary photography and specific artists whom we can help by bringing their work to a wider audience. In choosing the first-prize winner and runners-up, we are looking for work that is fresh and that hasn't been widely seen in major publications or exhibition venues.
First prize is $2,500. The first-prize winner and runners-up are featured on Aperture's website for approximately one year. Winners are also announced in the foundation's e-newsletter, which reaches thousands of subscribers in the photography community.

W. Eugene Smith Memorial Grant
The W. Eugene Smith Grant in Humanistic Photography is presented annually to a photographer whose past work and proposed project, as judged by a panel of experts, follows the tradition of W. Eugene Smith's compassionate dedication exhibited during his 45-year career as a photographic essayist. For 2007, the grant will be $30,000, with an additional $5,000 in fellowship money to be awarded at the discretion of the jury. The grant program is independently administered by the W. Eugene Smith Memorial Fund.

Alicia Patterson Prize
The Alicia Patterson fellowships are open only to U.S. citizens who are fulltime print journalists, or to non-U.S. citizens who work fulltime for U.S. print publications, either in America or abroad. The aim of the trustees who established the foundation was to improve the quality of U.S. print journalism. The fellowship stipend is $35,000 for twelve months and must cover your travel and research costs. Winners are expected to begin their fellowships within the first three months of the calendar year. Fellowships last 12 months.

Soros Foundation: Moving Walls 15 Documentary Photography Exhibition
Moving Walls is an annual documentary photography exhibition produced by OSI, a private operating and grantmaking foundation that works to build vibrant and tolerant democracies whose governments are accountable to their citizens. The exhibition series is an artistic interpretation of the obstacles--such as political oppression, economic instability, and racism--that society often erects, and the struggles to tear those barriers down. Since its inception in 1998, Moving Walls has featured nearly 100 photographers whose work addresses a variety of social justice and human rights issues that coincide with OSI's mission.The Open Society Institute encourages photographers to submit documentary work of national or international subjects that coincide with the issues and geographical areas that are principally of concern to OSI.

Amnesty International Media Awards
The annual Media Awards recognize excellence in human rights reporting and acknowledge journalism's significant contribution to the UK public's awareness and understanding of human rights issues.

Visa Pour L'image
Many Awards Available, including the Canon Female Photojournalist of the Year, the Care International Award for Humanitarian Reporting, and the City of Perpignon Young Reporter Award.

Toscana Photographic Workshops - Boulat Scholarship

To honor the memory of Alexandra Boulat, who taught  at TPW in these last years, TPW has created a special scholarship. This will consist in the possibility to attend a workshop in Tuscany for free (included room and board - not including travel expenses) and work under the guidance of  master photographers. It will be offered to a young photojournalist, male or female, under 35 year old.

Gordon Parks International Photo Competition
An integral part of the Gordon Parks Celebration for Culture and Diversity will be the Gordon Parks International Photo Competition which has been conducted by Fort Scott Community College since 1990. More than 3,100 individuals from around the world have participated in this annual program that, inspired by the photography of Gordon Parks, reflects important themes in life such as social injustice, the suffering of others, and family values.

Center (Santa Fe)
The competitions are open to all photographers, national and international, except Center employees, board members, advisory council members and contest sponsors.
Work derived from all photographic processes, both traditional and digital, are accepted, as well as mixed media work that is photo-based. Both fine art and documentary photography are welcomed. Work that has been published in book-length form by a photographic publishing house or university press is not eligible for the Project Competition. Previous winners of the Project Competition may not enter again with the same body of work.

The Berenice Abbott Prize for an Emerging Photographer
The Julia Dean Photo Workshops is Proud to Announce The Berenice Abbott Prize for an
Emerging Photographer. Prize includes A Canon EOS Digital SLR Camera, plus all expenses paid for a one-person exhibition at the Julia Dean Gallery at Venice Beach, California.

FiftyCrows International Fund for Documentary Photography 
Now in its 14th year, the International Fund for Documentary Photography competition remains one of the premiere photography programs in the world. As the core program of FiftyCrows, the Photo Fund supports emerging documentary photographers whose outstanding ability in visual storytelling leads us to a better understanding of our common humanity.

National Geographic Grant
*do this one next year, the deadline was Feb 15.
Following its long tradition of supporting and fostering new photographic talent, National Geographic magazine will again award an annual grant of $50,000 to a professional still photographer. In addition to the grant, the magazine will assign a photography editor to provide guidance for a project undertaken by the grantee. The grantee will have full access to all of the facilities provided to the magazine's regular contributing photographers.

Puffin Foundation Grants

The Puffin Foundation Ltd. continues to make grants that encourage emerging artists in the fields of art, music, theater, dance, photography, and literature whose works due to their genre and/or social philosophy might have difficulty being aired. The Foundation does not have the means to fund large film/documentary proposals, grants for travel, continuing education, or the writing or publishing of books. Average grants are: $1,000.00 - $2,500.00

 



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photo by Lucas Foglia, a 2007 artist-in-residence


You should. Since 1976 over 300 artists have participated in Light Work's Artist-in-Residence program. Be the next, yo.


"Each year Light Work invites 12-15 artists to participate in its residency program. Artists selected for the residency program are invited to live in Syracuse for one month. They receive a $4,000 stipend, an apartment to stay in, private darkroom, and 24-hour access to our facility. Our newly renovated lab facility can accommodate just about any black and white process from alternative processes to mural printing. Our color facility includes a Hope 32" color processor. Our color managed digital imaging lab features Macintosh workstations equipped with flatbed & film scanners. Output includes three 44" Epson seven-color printers (9600 and 9800) that can render continuous gray-scale and color prints onto a broad variety of materials. Artists use Adobe Photoshop, Illustrator, InDesign, and Macromedia Director Studio, Flash, Dreamweaver, Adobe Premiere, Apple Final Cut Pro, DVD Studio Pro software packages, iLife, and more."



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"While there is no formal deadline, we complete reviews of portfolios every two or three months. The next review process will consider all portfolios we have received by the end of April. We are currently scheduling residencies for 2009, although one or two spots remain for 2008."



Here are some of the people who have taken advantage of this amazing opportunity:

James Casebere
Renee Cox
Carrie Mae Weems
James Welling
Cindy Sherman
Joel Sternfeld
Dawoud Bey
David Graham
Andrea Modica
Lisa M. Robinson


Not too shabby. And there are tons more.


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I went to the International Center of Photography Alumni show at Gensler last night, which was a swish swashy affair, with a Stasi-like entrance crew (we got badges), but the work was good and the Prosecco was delish. Here I am, sandwiched between the great Phil Block, Director of Education at ICP, and Nayland Blake, who runs the ICP-Bard MFA Program, and who is a fabulous artist in his own right.

Very Jackanory of me, eh?


Anyhoo, Nayland curated the show with Bernard Yenelouis. Below, some samples.


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            *Marla Caplan, Vanitas


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Matthew Monteith, from Cars


Also in the show: Charles Atherton, Ray Klimek, Catherine Kunkemueller, Tim Lehmacher, Jeff Luckey, Noemi Nin Pfluger, Stuart O'Sullivan, Mauro Restiffe, Ryan Thatcher, and Cory Treadway.


*Ms. Caplan was also a featured as a "gallery girl" in the Times on Sunday. Hilarious.

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Yawn, or Cheer?

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The latest Tunick, taken at New York's Four Seasons.



OK, the yawns have it, by a large majority. Me too, I say YAWN. Super duper yawn.
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Jack Delano, Backstage at the Girlie Show, Vermont State Fair, Rutland. 1941

It's Art Fair season. Try not to feel overwhelmed. Breathe. Here's a map to help you.

The Armory Show
at Pier 94, 12 avenue at 55 street
26 March: Opening Day, invite only
27-29 March: noon-8pm, $30
30 March: noon-7pm, $30

Art Now Fair
at Hotel 30/30, E 30 street, 30
27 March: 11am-8pm
28 March: 11am-9pm
28 March: reception 7-9pm
29 March: 11am-8pm
30 March: 11am-6pm

Bridge Art Fair
at The Waterfront, Twelth avenue, 222
27 March: noon-4pm (invite preview)
27 March: 5-10pm opening, $10
27 March: 10pm afterparty at Glass Lounge, Tenth avenue, 287
27 March: 12:30am after-afterparty at Mansion Nightclub, W 28 street, 530
28-29 March: noon-9pm, $10
28 March: 11pm happy hour at Mansion Nightclub, W 28 street, 530
29 March: 11pm-3am, 6th Annual Williamsburg After Dark After Party at Supreme Trading, Brooklyn, N 8th street, 213
30 March: noon-7pm, $10

Dark Fair
at The Swiss Institute, Broadway, 495, floor 3
28 March: 2-4pm preview (invite)
28 March: 6pm-mindnight opening
29 March: noon-9pm

Design Miami
at multiple locations
25-27 March: 11am-6pm

*There's more!
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Check out the early winners of the NPPA's Best of Photojournalism Contest 2008.

These three images are winners in the "Sports Enterprise" category.

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Tomasz Gudzowaty/Yours Gallery

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Nicolas Asfouri/Agence France-Presse

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John Gress/Reuters


I'd need a Bud Light, too.
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PHTHRD II, LVHRD's second live photography competition, is going down TOMORROW: Tuesday, March 25th in DUMBO.

LVHRD events are unique social gatherings a few times a month that support the interaction between diverse creative disciplines. Event locations are secret secret, and only released to the membership on the day of the gathering. It's like that 90210 episode with the egg. You know- when Brandon takes ecstasy? Well, this is like that. Except you have to dress like a grandma.

The Master-Disaster Photography Duel is a timed photography competition between teams of photographers and stylists. Here's the concept for this year:

PHTHRD in NYC invites three artists to tell a story using hundreds of Polaroid pictures to craft a mosaic narrative. That means you watch them do it and you get to be in the pictures.This year's gladiators: Jonathan Harris, Joseph O. Holmes, and Elizabeth Weinberg.

Here are two of last year's competitors (Philip Toledano and Kate and Camilla) going for the gold:

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Don't be a wuss, be a grandma! Go get tickets!

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Subtraction #3, by Sebastian Lemm



Thursday

Jem Southam "The Rockfalls of Normandy" at Robert Mann Gallery
11 avenue, 210, floor 10, b/w 24 & 25 street

Lisa Kereszi "Fantasies" book signing at Yancey Richardson Gallery
W 22 street, 535, floor 3

Sebastian Lemm, "Editing Nature" at Peer Gallery
526 W. 26th St.


Friday

Yi-Ting Chung "Beauty Will Be Convulsive or Will Not Be at All" at ICP Studios
24-20 Jackson Avenue, 3rd Floor, Long Island City, 7:00-11:00 pm

Atul Bhalla, Jaye Rhee, Osamu James Nakaguwa "Course" at Sepia International
148 W. 24th St. 11th Fl.

Ian Baguskas "Sweet Water" at Jen Bekman Gallery
6 Spring Street (between Elizabeth + Bowery)

 

Saturday

Lecture: "Women in Art Photography" at 3rd Ward
Brooklyn, Bushwick, 195 Morgan avenue


Dike Blair, Noah Sheldon, and Tony Feher at D'AMELIO TERRAS
525 W 22nd St.



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Matthew Pillsbury is speaking tonight at ICP at 7pm as part of the Spring lecture series. He's presenting work from his series Time Frame. This is work that I think is truly unique; he makes long black and white exposures of rather ordinary scenes and makes them (extra!)ordinary. The result is at once voyeuristic and poetic, which is pretty difficult to do.


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Holy cow, it's time for the Wedding and Portrait Photographers International conference, also known as WPPI.  Wedding photographers from across the globe are converging on Vegas as we speak. WPPI's website promises a raucous caucus:

"It's all about education, networking, the biggest trade show in professional photography and FUN! You can learn and still have a good time--after all, it's Vegas!"

They also have a "champagne shootout" on the main schedule. Um, sign me up? We have some brave PhotoShelter employees checking out the scene, so we'll expect a drunken text update around 4pm. 

UPDATE: (non)drunken soldiers have reported in. Click here for pictures.


photo by M. Scott Brauer



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Oh BOY, more drinking! I love photographers. Go see selected work from the Advertising Photographers of America/NY 2008 Juried Photo Contest, including the announcement of the grand prize winners. Tonight at Calumet's HP Gallery: 22 West 22nd Street, 2nd Floor New York, NY (That's a lot of 2s, especially for a Tuesday).





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