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.
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