On seeking exposure for your work

[QT Luong]

This was in the thread about Domenico return to Italy, but I thought it might be worth a separate discussion




My opinion is that you have to realize that soliciting galleries and shows is next to worthless -- it is a far better return on investment (of time, money, energy) to produce more and more great work until it is impossible to be ignored. And then the audience will come to you. Most people start submitting to galleries or try to sell higher-end prints too early in their careers and wind up getting discouraged.

You have to figure out how to be a productive artist/photographer for years and years without a return. If that means being a plumber or shooting ordinary things to pay the bills then so be it.

To echo that, here is what Alec Soth had to say:

"I find it aggravating that so many young photographers busy themselves with self-promotion when they should just be taking pictures. Let’s use the analogy of the young novelist. When you are writing your first novel, you don’t try to get it published based on a single chapter. First you need to write the book. Too many photographers are shopping for galleries and publishers with unfinished portfolios.

It is a long process getting the first project together. And it often leads to failure. Not only does the novelist need to finish the first book, she might need to write two or three before she hits the target. But here is the thing – when the work is good, you will know it. And when you believe in the work, you can promote it. In the end, good work will find an audience. "

This is from the blog http://2waylens.blogspot.com/ where each photographer was asked among other things the question: "how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?"

[ret wisner]

it may just be a fact that being a photographer has been changed for ever by the new digital imaging.

why buy a picture when its easier to do it your self

you can trigger the shutter and epson will do the rest for you

for sure promote yourself but by god dont expect to make a living from it

[PViapiano]

Actually, good work in any field does not always find an audience.

Yes, you have to keep your head down and keep on keeping on, believe in your work, work every day at it, be obsessed by it and not worry about who is gaining on you or who has gallery rep, or who is in what magazine, etc...

Be true to yourself and don't expect things to happen.

I wrote a piece for musicians here (http://www.paulviapiano.com/blog/archives/keep_your_head_down.html)and the same applies to many artistic endeavors.

[Ken Lee]

Greatness, Fame, and Wealth

They're loosely connected at best.

[Toyon]

The big NYC galleries of full of work by unseasoned art school graduates.Your notions of excellence and mastery of the medium are hopelessly outdated.

[Monty McCutchen]

The big NYC galleries of full of work by unseasoned art school graduates.Your notions of excellence and mastery of the medium are hopelessly outdated.


Yes, true and their 15 minutes will last just that. Mastery affords the opportunity, without any guarantees of course, for longevity that a lack of does not. Without a core excellence of both vision and craft most get found out for what they are, edifice over foundation.

That doesn't negate the fact that what you said is true, the gallery model will just turn to the next unseasoned art school graduate that feeds the next insatiable 15 minutes, but for the individuals who are approaching their 16th minute without the mastery you claim is outdated, they are sure to be left with questions they are ill prepared to deal with--namely where do I go from here.

Monty

[catshaver]

Perhaps the following is an oversimplification, and be sure to heap on a heavy dose of luck.

Work work work. And get a website going. Then, once you get a cohesive body of images that have a signature look that is uniquely yours, submit to group museum shows. The right people (art collectors) go to museum shows and they will create a buzz for you.

That being said, once the CV takes shape, magazines and galleries should begin to take notice.

I'm finding that the market for gelatin silver is growing. It just doesn't look like inkjet, and more and more people are finding this out. Chuck Close once said of the fickle buying public, "we should continue to do what we do and the rest of the world will come around again".

Oh, and about my screen name...cat allergies. Used to have an account under my real name, but forgot the password. No, I don't really shave cats.

scottedwards.us (http://scottedwards.us)

[cdholden]

Oh, and about my screen name...cat allergies. Used to have an account under my real name, but forgot the password. No, I don't shave cats.

scottedwards.us (http://scottedwards.us)

I was guessing it was your desire for other things to be shaved. Shame on me.

[Toyon]

I was guessing it was your desire for other things to be shaved. Shame on me.

Hey. This isn't some hillbilly boys club. Have some respect for the women on this forum.

[Jon Paul]

Thought I'd chime in. This is a tough subject these days. Part of the problem is the digital realm. Many people shoot, with no cost, print cheaply on an ink jet, and whether their work is good or not, sell it relative to the cost of materials. They are diminishing the value of photography as art. I also feel that it is diffucult at best to make a living by selling through galleries. I have my own gallery, shich I started due to the difficulty of dealing with others galleries. I have been relatively "successful" for a decade now. The reality is, unfortunately, business is business. Marketing and public perception are what make a business model work these days. There are some not-so-talented folks with big marketing teams/budgets that are doing very well. There are also some extremely talented individuals whom will never be seen.
My opinion is, the attention of the photography hierarchy is useless. For sales, we need to focus on the art/retail market.
Hope this helps.

[tbirke]

Work work work. And get a website going. Then, once you get a cohesive body of images that have a signature look that is uniquely yours, submit to group museum shows. The right people (art collectors) go to museum shows and they will create a buzz for you.

That being said, once the CV takes shape, magazines and galleries should begin to take notice.

I'm finding that the market for gelatin silver is growing. It just doesn't look like inkjet, and more and more people are finding this out. Chuck Close once said of the fickle buying public, "we should continue to do what we do and the rest of the world will come around again".scottedwards.us (http://scottedwards.us)

This sums it up pretty good.

There is only one problem with large format photography: it is so unbelievably expensive AND time consuming! I have a project that I pursue, and I would love to start advertise and market it when I feel it is finished. This could take some more years.

But - I am simply running out of money, already deep in debt. So I have to work a fulltime job just to get going - this steals a lot of my time obviously and slows down the project. So this would be a vicious circle and right now I am close to a fullstop.

The only way to break this is to market my work instantly, sell it to whomever is willing to pay - advertising, postcards or keychains, I don't care as long as I can move on and stick to my project. This could be perceived as cheapo sellout and exploitation of my work and the market, but it is the only way I see right now.

There are grants and scholarships of course, but they are 1. hard to get in to and 2. most of the time don't cover the costs of travelling AND shooting large format.

[Vaughn]

At the risk of sounding Pollyannaish, give of yourself for the joy of giving and without expecting anything in return, and you will eventually be gifted in return. Photograph for charitable organizations who can not afford to pay a photographer, teach to those who otherwise would have no teacher, encourage those who need encouragement.

Produce work that comes from your heart and people will appreciate it, and perhaps even buy it or will want it too be seen by others. Be passionate about your work, either quietly or flamboyantly based on your nature.

Have a great deal of patience -- if you are doing what you love, then the waiting for exposure becomes part of what you love.

There are a multitude of good photographers out there. Do something most of them are not doing -- keep true to your vision.

Do I believe all this nonsense? Yes. Is it easy to do? No. Is it the path for instant success? No. Is it the only way to achieve exposure? No...there are plenty of self-serving a**holes out there getting exposure.

A practical suggestion -- after spending many years developing a solid portfolio, invest some time and money and go to the Houston Fotofest and get your work in front of some gallery owners. Either you will get some shows, or you will have to take the feedback you get and figure out how you want to spend the next several years creating a stronger portfolio.

[Vaughn]

Another practical suggestion, now that I have gotten some sleep. As this is a large format forum, there is the ViewCamera Magazine that plays an important role is getting exposure for those of us using LF cameras. I have had a few images in the magazine and such exposure is an important part of getting one's work out into the public eye. I suppose one could say it helps to establish one's credibility as a serious practitioner of the art.

Many of the respected voices on this forum have contributed articles and images to the magazine. So this magazine and others like it should be considered when trying to get one's images out there. Definitely a step or two or three beyond having images on Flicker! :D

Vaughn