Best Practices for Presenting Work to Local X (X = galleries, shows, clubs, etc.)

[dpn]

All,

What is the current best practice for presenting one's portfolio to local galleries for potential sale, local shows for inclusion, or local clubs for discussion?

I'm not comfortable lugging around a 16x20 box of matted and mounted finished prints, and so I'm wondering what the best way to leave/share my work for consideration might be? (Relatively) inexpensive custom-printed photo books seem like they'd be nice, but I'd like to show and share my hand-printed work, not scans and poor quality digital prints of the same. A portfolio binder with 8x10 prints mounted and matted to 11x14 seems like it's a good compromise between portability, cost, and image quality. A cheap Itoya plastic binder seems like it'd undermine the presentation of the work, but a nice leather screwpost binder or 11x14 museum box suggests care and quality.

There's a lot of discussion on the internet about how to best present one's work, and there seem to be different standards for wedding photographers (a sample album), commercial photographers (a nice book or very expensive custom bound presentation binder), etc.

My work has no commercial value (which, I gather, precludes its inclusion in galleries which need sales to keep the doors open), and I'm mostly interested in, I guess, discovering and sharing my local art community through shows, etc.

I am an avid amateur photographer, but I'm tired of showing my work only digitally on Flickr, Facebook, Instagram, etc. I'd like to share physical prints of my work with a larger audience, perhaps a club, etc. A sale or two would be delightful, but it's not my main driver.

In a nutshell, I feel like I'm working in digital isolation, want to connect with a flesh-and-blood art community, and want to know the best way to present myself. Squinting at little images on a phone screen (or slightly larger images on a tablet) ain't it.

Thanks all for advice on this topic. I'm feeling lost and overwhelmed, and a lot of the info out there is either inapplicable or very dated.

[Tin Can]

Last month I presented my first prints ever to a local museum, that has a regional competition. It was open to Alt, Wet and Inkjet.

They spelled out exactly what they wanted. Of 3 submitted online they choose one. I printed and framed it exactly as specified. Rules everywhere.

Tomorrow is the opening reception.

Very excited.

[Corran]

I suggest you first get to know the people that are responsible for showing work at the local galleries. In my experience, "who you know" is much more important than what your work looks like. This would be for "real" art galleries, not vanity galleries. For those, you pay to play. And finally, for local art shows/festivals, sign up to Zapplication and start applying. You'll probably get in regardless, unless it is a very large and selective show. Get your feet wet first with smaller local shows. Be prepared to spend some serious money getting up and running with a decent setup. Art Festivals are a different animal and there are some good threads here in this subforum I started that should help.

I had a show in one of the larger galleries in GA and I first had to get to know the gallery director and talk about the project I was working on. Once they were interested the final decision was made by some committee made up of local rich people that gave money to the gallery. Their decision was based off of 4x6 prints I made at Wal-Mart. They didn't want anything larger.

You live in CA so very different place. Here in GA the arts are not well funded or encouraged. So perhaps you will have better luck or a different experience. But again, I would suggest that interpersonal relationships with gallery directors or anyone related to the gallery is probably most important. And any work you show should be a completed or in-progress project that is interesting and relevant, not disparate photographs of random things.

[Joe O'Hara]

I would say present your work at its best or most representative. If your personal portfolio comprises
(say) nominal 11x14 prints matted out to 16x20, pick your best dozen or so and go with that. (I happen
to think that that format is a good compromise between size and portability, but that's me.)

Instead of showing up randomly, if you have no experience showing your work publicly, look for local venues
like photo clubs, art organizations, or photo education organizations. They are often looking for members
or contributors. You can always just visit and see what they are up to and bring your pictures another time.

If you are not aiming at the commercial photography market (no disparagement intended) I don't see any
reason to make photo books or binders, unless that is the format that you feel best presents your work.

The most important thing is to meet some other photographers in non-competitive and non-commercial
situations. Workshops can also be helpful. I would encourage you to avoid any that are overly expensive,
especially at first. A tiny bit of feedback from an experienced worker can be very valuable when we are
starting out.

Enjoy the journey.

[Tin Can]

Here is my local museum application. (https://www.cedarhurst.org/call-for-entries)

[Oren Grad]

One size doesn't fit all. If there's a "best practice", it's to get to know the specific venue(s) in which you are interested. Find out what kinds of work they are interested in showing, how they prefer to be approached and what presentation formats they require. Start by reading any guidance that each venue has already posted, and tailor your approach accordingly, so that when you contact them with any further questions they will see that you have done your homework and are doing your best not to waste their time.

[Vaughn]

Always have an up-to-date resume with you when you contact places.

Made that mistake...once...which was more than enough...

[dpn]

Fantastic advice, thanks all. I appreciate it a great deal.

Sent from my Pixel 2 XL using Tapatalk

[Richard Wasserman]

You have received some good advice. In addition, at least in my experience, a website showing your work is very important. It makes it easy for interested parties to view your work and see what you are all about. Also be patient—I submitted a proposal to a museum in 2013 and was contacted a couple weeks ago by the exhibition manager about doing a show next year or so. Galleries and museums schedule quite far in advance.

[scheinfluger_77]

Last month I presented my first prints ever to a local museum, that has a regional competition. It was open to Alt, Wet and Inkjet.

They spelled out exactly what they wanted. Of 3 submitted online they choose one. I printed and framed it exactly as specified. Rules everywhere.

Tomorrow is the opening reception.

Very excited.

Great news Randy, good luck.

[Tin Can]

Great news Randy, good luck.

Thank you

[Jim Jones]

dpn, Sacramento is large enough to have a variety of venues for exhibiting photography. I live in a Missouri town with a 9,000 population which has an annual arts & crafts show that draws close to 10,000 visitors and a new art and culture gallery with a variety of exhibits. A local coffee shop displays some art by area artists. I've even seen nice galleries in smaller towns. Walt Disney's hometown of Marceline MO (population about 2000) has a gallery, art activities, and an annual Toonfest that draws familiar artists from around the country. Larger towns have much more opportunities. The Chamber of Commerce may have information on these. A camera club is another source of information, and the one I belong to 100 miles away in Kansas City has an annual exhibit.

In a large town it may be difficult to for an unknown photographer to attract attention and customers. There is more competition from amateurs, students, professionals, and other wannabees. The expectations from potential buyers is likely much higher. However, there should be more opportunities for contact with your peers. Do keep a few of your best photographs framed and ready for whatever chance comes your way. A few unframed but matted prints may open some doors. I also have notebooks with 8.5x11 prints for quick and easy viewing. Never skimp on matting and framing. For years I cut my own mats and even cut down window glass for frames. No more! By selecting photographs that mat and frame to 16x20 and by buying mats and frames in quantity, the cost is moderate. It also makes a neat exhibit. When most prints in an exhibit are the same size, transportation is simplified. Others advise choosing a mat and frame that best enhances each individual photograph. That has advantages, too, but takes more time and money. A photographer who has the time and basic knowledge can save money by matting and framing. A large photo printer is economical for some of us. My Epson 3800 lasted 6 years and well over 6000 prints. The current Epson P800 is even better, and has produced maybe 2000 prints in almost two years. Complete control over the photographic process from snapping the shutter to presenting a framed print can ensure quality control, a good selling point for some buyers.

[jim10219]

I suggest you first get to know the people that are responsible for showing work at the local galleries. In my experience, "who you know" is much more important than what your work looks like. This would be for "real" art galleries, not vanity galleries. For those, you pay to play. And finally, for local art shows/festivals, sign up to Zapplication and start applying. You'll probably get in regardless, unless it is a very large and selective show. Get your feet wet first with smaller local shows. Be prepared to spend some serious money getting up and running with a decent setup. Art Festivals are a different animal and there are some good threads here in this subforum I started that should help.

I had a show in one of the larger galleries in GA and I first had to get to know the gallery director and talk about the project I was working on. Once they were interested the final decision was made by some committee made up of local rich people that gave money to the gallery. Their decision was based off of 4x6 prints I made at Wal-Mart. They didn't want anything larger.

You live in CA so very different place. Here in GA the arts are not well funded or encouraged. So perhaps you will have better luck or a different experience. But again, I would suggest that interpersonal relationships with gallery directors or anyone related to the gallery is probably most important. And any work you show should be a completed or in-progress project that is interesting and relevant, not disparate photographs of random things.
I don't know if that's good advice everywhere, but in Oklahoma, it's the way things are done. You could be an amazing, multiple award winning artist and not get anyone to even return a phone call. Or you could be a hack with a great personality and lots of contacts and have places begging for your work. Seriously. Some of the best contacts that I've made are alcoholics who are regulars at the bars near the galleries you're interested in. They don't seem to know much or care much about art, but they do know the people you need to know, and they know how to get your name in their ears in a way in which they'll listen. And they're often do it for the price of a few drinks and an excuse to feel a part of something potentially fun.

[dpn]

dpn, Sacramento is large enough to have a variety of venues for exhibiting photography.

Indeed, we have a photography club/gallery that I haven't joined and an active arts district with at least a dozen galleries.

I also honestly didn't know that there were online "Call for artists" clearinghouses of shows and galleries seeking work and spelling out submission requirements.

I've gotten so comfortable living in a purely digital world (this forum, Flickr, Instagram, etc.) that the "real world" of photography (including such wonders as real prints and real people looking at them) feels intimidating and alien. Thank you all for the advice and encouragement.


A few unframed but matted prints may open some doors. I also have notebooks with 8.5x11 prints for quick and easy viewing. Never skimp on matting and framing. For years I cut my own mats and even cut down window glass for frames. No more! By selecting photographs that mat and frame to 16x20 and by buying mats and frames in quantity, the cost is moderate. It also makes a neat exhibit. When most prints in an exhibit are the same size, transportation is simplified. Others advise choosing a mat and frame that best enhances each individual photograph. That has advantages, too, but takes more time and money. A photographer who has the time and basic knowledge can save money by matting and framing. A large photo printer is economical for some of us. My Epson 3800 lasted 6 years and well over 6000 prints. The current Epson P800 is even better, and has produced maybe 2000 prints in almost two years. Complete control over the photographic process from snapping the shutter to presenting a framed print can ensure quality control, a good selling point for some buyers.

I hear you. I have an Epson P600 that I use to make digital negatives for my alt process prints, and to print "copies" of my lumens (they look great on Epson metallic glossy paper -- almost like wet photo paper). I've purchased bulk packs of 11x14 and 16x20 simple white archival mat board, and I cut my mats and window mount my own stuff. To date, this has felt pretty Onanistic -- I've got a nice pile of matted prints, but my walls are full and I want to share my best work with real people. Seeing a nicely-matted, hand-coated print in person is a *very* different experience than seeing that same image in a small jpeg on a phone, but I've only really been sharing the images via the latter method.

I think the approach I'm going to take, in addition to trying to meet some local folks, joining the local photography club, and submitting my stuff to some contests, is to make some "theme" portfolio boxes with 8x10 prints matted to 11x14. In addition to being a fun little project, I'll have some nice ready-made boxes of reasonably-sized, easily-transportable, and well-presented prints I can carry around.

Cheers,

Dan

[Chuck Pere]

If you are looking to get portfolio reviews you may have something locally like this Chicago group: http://filterphoto.org/portfolio-reviews/

They have an annual meeting with talks, workshops that includes these reviews. I'm not a participant but I can see that this would be a way to share your work with a lot of knowledge people in the field. They do charge a fee.

[dpn]

I'm lucky: the local photography club/gallery appears to offer biweekly print nights and irregular portfolio reviews:

https://www.viewpointgallery.org/content/viewpoint-membership-levels-benefits

Now to screw up the gumption to go. ;-)

[Merg Ross]

When I asked the same question in my youth, it was a very different time. In the day, 1950's and 60's, b&w silver gelatin, dry mounted prints were the norm. They did not have to be large; my early work was 4x5 contact prints, and later, 8x10 contact prints. Presentations were in person; slides were desired by some galleries and museums, although a poor representation of a silver print. I never sent slides, but did not hesitate to drive cross country to make a presentation. Today, a good scan is an acceptable alternative. Most competitions, if one wished to go that route, were free.

So, to your question; personal contact is important, presentation should be of your best work, and most importantly, have a cohesive group to show. Above all, you need a strong passion for what you are doing, and an idea of what it is you want to achieve. Everyone, it seems, is a photographer today; you will have stiff competition for wall space.

As mentioned earlier, you are fortunate to have such a fine gallery at your doorstep, Viewpoint Gallery in Sacramento. The members are a talented group, many fine photographers, and a diverse offering of programs. Be sure to check them out, you will find like minded individuals, and likely develop friendships. I exhibited there a dozen years ago, before the gallery moved to the present downtown location. This is an exciting time in your life, and in the field of photography.

Wishing you great success.

[dpn]

Thank you so much for the very kind words and advice Merg. I really appreciate them.

I've decided to prepare two 11x14 portfolio boxes of my best work, printed in 8x10 and window matted, and separated with archival tissue. The two boxes will have coherent themes. (1 is of lumens, and 1 is of cyanotypes on fumed silica.)

I've got a friend who is a Viewpoint member, and I'll be going to the next print night with him.

I really enjoy networking in my professional life, and I'm looking forward to meeting other area "serious" photographers.

All the best,

Dan

Sent from my Pixel 2 XL using Tapatalk

[John Kasaian]

At the very least, wear a clean shirt and have a good joke memorized.
I don't know, but it worked for me when I applied for a bar tending gig.

[faberryman]

I've decided to prepare two 11x14 portfolio boxes of my best work, printed in 8x10 and window matted, and separated with archival tissue. The two boxes will have coherent themes. (1 is of lumens, and 1 is of cyanotypes on fumed silica.)
You might want to skip the interleaved tissue. It will just make viewing the images fussier. The prints are protected by the window mat.

[bob carnie]

When I asked the same question in my youth, it was a very different time. In the day, 1950's and 60's, b&w silver gelatin, dry mounted prints were the norm. They did not have to be large; my early work was 4x5 contact prints, and later, 8x10 contact prints. Presentations were in person; slides were desired by some galleries and museums, although a poor representation of a silver print. I never sent slides, but did not hesitate to drive cross country to make a presentation. Today, a good scan is an acceptable alternative. Most competitions, if one wished to go that route, were free.

So, to your question; personal contact is important, presentation should be of your best work, and most importantly, have a cohesive group to show. Above all, you need a strong passion for what you are doing, and an idea of what it is you want to achieve. Everyone, it seems, is a photographer today; you will have stiff competition for wall space.

As mentioned earlier, you are fortunate to have such a fine gallery at your doorstep, Viewpoint Gallery in Sacramento. The members are a talented group, many fine photographers, and a diverse offering of programs. Be sure to check them out, you will find like minded individuals, and likely develop friendships. I exhibited there a dozen years ago, before the gallery moved to the present downtown location. This is an exciting time in your life, and in the field of photography.

Wishing you great success.

What Merg said

Personal contact is extremely important, a well thought out grouping of photographs that are easily viewed is mandatory IMHO.
Also taking the time to see the gallery , meet the owners and curators at one of their events, to see if you even like the people you are approaching.

I really like Merg's line (but did not hesitate to drive cross country to make a presentation) this is critical to really gage interest from both parties.