Magnum Photos

If you have a passion for documentary photography you will have heard of Magnum Photo, considered by many to be the world's most prestigious photographic agency.  This agency is a co-operative owned by its members, founded in 1947 by the masters of documentary, Robert Capa, Henri Cartier-Bresson, George Rodger and David Seymour. Their purpose was to create a means for photographers to have ownership of their own negatives and to control their edit. Being a Magnum member has many benefits, not just having reached the pinnacle of your profession, but the practical advantages as well.

Perhaps the biggest of which is the creative freedom. A magnum photographer can choose his own subject matter and decide how it should be represented. They are supported in their decision by a worldwide team of over ninety individuals, there to fund raise and promote their work, through books, exhibitions, print or editorial sales. The funding comes from different sources, normally grants, partnerships, museums, collectors or magazines. There is also "indirect financing" where funds are raised by the sale of reproduction rights or advertising assignments. Finally, there is "speculation" where the photographer themselves will personally fund part, or the whole, of the project. Self funding is of course easier with the commercial jobs that come through the agency.

When you read about Magnum, you feel a sense of community, prominent photographers exchanging views, discussing projects. The name 'Magnum' carries weight, it opens doors which would be otherwise inaccessible. So how do you become one of the elite? As you can imagine, it isn't easy! You can't produce a "masterpiece" and expect the door to swing open. Agency Director Diane Dufour states that "They are looking at an entire process and also the commitment, aesthetic qualities and guts behind a project. They are looking to identify a sense of coherence, a uniqueness in a body of work". Even if you produce a project that meets this criteria, the membership process is set over three stages, over several years, ensuring that a photographer is capable of "renewing their vision and applying it to a new project". Such vigorous screening ensures that the agency retains its prestigious standing, that it isn't full of one hit wonders without the vision to see beyond a particular movement or trend.

For those of you who still feel you could stand amongst these masters, here is an outline of the process:

First Stage

If you are based in the UK, you must send your digital portfolio to the London office ( Magnum Photos Inc./ Portfolio Review, 63 Gee Street, London EC1V 3RS ) towards the end of May. The 82 members meet once a year during the last week in June, during which a day is dedicated to looking at and voting on potential new member's portfolios. If successful, you become a "Nominee". This presents an opportunity for the photographer and agency to familiarise themselves with each other, without a binding commitment.
Bear in mind that it isn't just the images, but those oh so important editing skills, that will come under scrutiny. Remember as well that there are submission requirements that your work must meet to be considered in the first place. These requirements are listed below:

- Up to 80 images can be submitted digitally. Images only please. Do not submit images in a movie or slideshow format.
- The resolution of each image must be 72 dpi and cannot exceed 1200 pixels on the longest side.
- Images should be submitted on a CD-ROM as JPEG files with compression 8-10.
- Your images should be numbered in the order that you wish them to be presented, with the number coming first in the file name (to ensure the correct sequence use two digits, example: 01, 02, 03) and then your last name. (eg. 01Smith, 02Smith, 03Smith etc.)
- Please do not use any spacing in the name.
- Please include a statement about your work, resume, bio and current contact information as .doc or .pdf files on the same CD.
- Please test the CD before you send it to us and be sure to label it with your name and contact details.

Second Stage

Two to three years later, the nominee is expect to submit another piece of work or project. The members then vote again, and if successful the photographer then progresses to the second stage of membership, "Associate".

Third Stage

Another two to three years later, the associate is voted upon one last time, upon whether they can become a full member. Once a member, they have the full voting rights as any other member, irrespective of their short time with the agency.

So there we have it. Even if we never achieve it, we should always aim for the stars! 

Preparing for a Portfolio Review

In my previous blog, I was discussing the importance of portfolio reviews for budding photographers. So now you have your review booked and you want to make sure that you get the most out of your allocated time. As with most things in life, the planning is in the detail! I have trawled the Internet and here are a few tips to help secure a successful review.

Firstly, know the audience that you are presenting to and remember that we are working in a visual medium; the standards you set in your photography must also extend to the presentation of your work. Rudolf Kicken, co owner of Gallery Kicken, Berlin, states that when he sees an artist he expects to be presented with good quality prints, for them to be mounted or over-matted. “ You need to be able to choose the right image and quality of print in order for a gallery to judge your potential”. The importance of presentation is one that Camilla Brown, curator at The Photographers Gallery in London, agrees with. She finds that photographers often lack the presentation skills of other artist, such as sculptors. Part of their training would include the installation of work and how to connect different pieces, similar to the knowledge of editing, scale and presentation that benefits a photographer. To get an appointment for a portfolio review with curator Dr Inka Graeve Ingelmann, you would have to provide biographical information and ten samples of your work. If you do not have the necessary skills to edit your own work, she would refuse to see it. She believes that Art Schools should be teaching their students how to present their work, how to use their images with an introductory speech, explaining the concept that holds the work together. Even if it is never called upon, I will always ensure that I am capable of delivering a practised and concise description for every body of work that I undertake.

What images to include in your portfolio seems to vary, so you need to ensure that you have researched and provide the most suitable images. For example, Rudolf Kicken would want to see some of your early work, to see where you have come from so that he can gauge your potential, whereas curator Dr Inka Graeve Inglemann  prefers images from an ongoing project. Remember that industry people like on line curator Tim Barber will receive dozens of portfolios every day. What he, and many others, will be looking for is work that has its own voice, that stands out as unique, "it's always satisfying to see photographic work that shows real commitment and investment; that took time to develop. People are way too easily self-satisfied these days".  

I appear to be getting ahead of myself here, talking about showing work to curators and gallery owners! There will undoubtedly be numerous portfolio reviews with fellow photographers before a project is refined enough for such lofty aspirations. Let me return to more practical suggestions.

• Although you can tailor your portfolio to your particular audience, generally it should be a complete body of work with a solid vision. Restrict your images to a maximum of twenty.

• The most common print sizes are from 11x14" up to 20x24".

• Reviewers like to see the actual prints. If you showing an example of a book dummy, have the prints bound into a book. Otherwise, have them matted, sleeved in acetates, or presented naked. Some consider matting to lack the contemporary feel, so think of who your reviewer is. Matting is however, often used for delicate platinum prints. The general consensus is that colour work should not be matted, black and white only if suitable for work.

• Consider that your images need to be suitably stored in something which is easy to carry, present and show your work. Portfolio boxes like the clamshell one below are a popular choice.

                                                   

• Do not run over your allocated time. If you feel that further discussion is required, make an appointment to meet afterwards. If the interest is there, the meeting will happen.

• Bring examples, or some other means of representation, to leave behind with the reviewer, ensuring that contact details are included. Make sure it includes an image, otherwise it might be hard for them to remember you from the dozens of others they saw that day. Don't forget that they are likely to be receiving quite a few over the course of the day. Try to create one that is distinctive yet easily portable. You might want to give some to your fellow photographers as well.

• If you feel that the review went particularly well, you might want to leave them with a package containing a statement, resume and CD, or ask if they would like one posted.  Remember to follow up these contacts after the review. Keep them updated with your new work, perhaps a postcard of you latest project.

• Bring a notebook of any questions you have for the reviewer in case you forget during the moment. There is no point in remembering on the way home!

I hope that the above is useful to some degree. Good luck with those reviews and don't forget to relax and enjoy them!

Portfolio Reviews

When in conversation with a recent photography graduate from my University, I was advised to make the most of the luxury of being at college. At the time, I was under tremendous pressure and struggling to see study as a "luxury". Reflecting now with a slightly calmer mindset, she was, of course, making perfect sense.

One of our current modules is "professional development", which this blog is part of. What exactly this blog is to contain has been discussed and debated at length. Some time ago I decided to use this blog as a research tool, imagining that I was a freshly graduated photographer, finding my own way without the guidance of my college lecturers. Thinking back to the words of Rachael Lowndes, it suddenly makes sense. We are working on self devised projects for which we shoot, have tutorials, refine, have another tutorial. Even at the onset, the merits of our project will be discussed with our tutors who will make suggestions and guide our choices. Imagine waking up and that service is no longer available, you are on your own. It is a daunting prospect and one that I want to be prepared for.

Now when I research my blog topic, I try to make sure it is a subject that will arm me with the information I need to progress my career. For this purpose, Image Makers, Image Takers, a must for any student photographer, has been my most valuable read. It wasn't until I reached Part 2 that I began to feel reassured that feedback and refining are not necessarily restricted to a University environment . When I first scanned through the book, I have to admit that I was more concerned with the photographer's interviews than the Curators and Editors that make up Part 2. I soon discovered that I had been extremely shortsighted. These are experts that tell you about the industry from the opposite side of the camera, and their viewpoint can be even more insightful. These are of course, the very people who make decisions about whether you work is seen by the public or not. To understand their approach, what they are looking for, is of utmost importance.

There are many, many important aspects to gleam from this section, but I have decided to concentrate on portfolio reviews for this particular blog. I never knew that such things existed and it was a huge relief. When I imagine starting off a photography career with only myself for guidance, I feel somewhat out of my depth. I am not sure that in two years I will be able to understand what makes a good picture, a good project. Even after studying photography for the last two years, I am always surprised with my tutor's selection from my contact sheets. So knowing that you can actually get portfolio reviews from industry experts, I feel that I am not necessarily on my own. Not that I am completely naive, I know that these people will be inundated by requests, and I would be fortunate to even get a review, let alone a positive response. But it does help to know that if I do develop a project that I believe to be strong, that there are opportunities and avenues for feedback.

I know that there will be countless avenues to explore, but these are a few of the example shown to me in Image Makers, Image Takers that I can see myself attempting. The idea of having a periodic portfolio appeals, just to make sure that I have a worthwhile concept and remain focused. I could quite imagine myself getting opinions from anyone and everyone that would see my work. What Camilla Brown, Senior Curator at The Photographers Gallery, London, recommends is to show your work to someone you trust before it is in its final stages " they should bear in mind that if they see ten people they might get ten different answers". Considering this, I will do my research first, look at the work of the person reviewing, or the work they accept and show, and see if it is the sort of style I aspire to myself. Camilla Brown recommends that you start by showing and discussing your work with other photographers, or attend a portfolio review, before approaching a curator, photo editor or publisher with your work. This now seems obvious, you might only have one shot with these people and first impressions count. They might not think your work is the finished article, but they may be interested enough to keep an eye on your future projects. This sounds more encouraging than approaching before you are ready and being instantly disregarded. Brown see the portfolios of approximately 6 photographers per month, but the reviews are initiated by her, through recommendation or her own research.

When asked if she would ever decide to show an artist upon first viewing their work, Camilla Brown stated that its unlikely. She would usually be aware of the artist's work and be following it for a number of years. I made a mental note to remember that she also attends many end of degree shows, looking for fresh talent whose careers she would follow to see how they developed as artists. Bear in mind that an exhibition is not always the best outcome for your work, sometimes a book is a better way of building a reputation. I imagine it is down to your individual style and way of seeing.

So, if the Photographer's Gallery no longer welcomes portfolios to be sent in, where can you go for a portfolio review? Well as I said earlier, I would be asking fellow photographers whose opinion I trusted, up until the point that I felt my project strong enough to pursue further. From what I can ascertain, there are numerous opportunities for portfolio reviews in London. I have found that The British Journal of Photography is a good point of reference for details of talks, seminars, workshops and portfolio reviews.

For example, if you were an aspiring photojournalist, you could go to the VII Photo Seminar and Portfolio Review at the Royal Institution of Great Britain on the 22nd May. You would be paying £45 for a 30 minute review, so you would want to know if these were photographers whose opinion counted. The following excerpt from www.starvedforattention.com answers that valid question, "VII Photo Agency was created in 2001 by seven of the world’s leading photojournalists. By 2005, VII Photo was listed in third position in American Photo's "100 Most Important People in Photography" with a reputation that continues to grow for committed journalism and innovative practice. VII Photo has earned a reputation as one of the most dynamic and admired names in the world of photojournalism".

If photojournalism isn't your genre, and you were a member of ePHOTOzine, you could join the Manfrotto School of Xcellence for a free portfolio review. The three photographers available are Drew Gardner, Jacob James and Phil Coates. Again, I would research these photographers, looking at their own work, to decide if their style of imagery is something that appeals to me. For example as someone interested in social documentary, I would probably seek the opinion of Jacob James, a humanitarian documentary photographer over Drew Gardner, who works in commercial, editorial and advertising. The reviews are 15 minutes long and you are asked to bring a portfolio with a maximum of seven pictures.

Another excellent opportunity can be found a photography festivals where you can combine keeping up to date with the latest creative talents and movements, with a portfolio review. The largest UK photography festival is the Brighton Photo Biennial, with some 60,000 visitors in the 2010 festival. Your next opportunity to visit this renown festival is 6 October - 4 November 2012. There will be an opportunity for reviews, but a programme schedule is yet to be released. Keep up to date at www.photoworks.org.uk for the latest information.

The most obvious question to me is how do you prepare for these reviews, and this will be the topic for my next blog.