This is Johnny Tang, you might know me as one of the guys working the cave. I’d be honored if you’d link me to your site.

http://www.johnnytangphoto.com

thanks!

- Johnny

- Lizzie O
in Oxford, Mississippi

That is the definition of cool! I would love to be there to see the installation in person. Post as much image/video info as you can!

tv

http://www.pisconeri.com/email/email0808.html

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Hagedorn Foundation Gallery
425 Peachtree Hills Avenue Suite 25 Atlanta, Georgia 30305 404.492.7718

Big hug

Denise

watch your back.

And yes, David. That is cardboard. Mounds and mounds of wonderful cardboard boxes. Glee!

A book outline is great, but are you saying that you have enough images for an entire book? Or that you just like the idea of *one day* having a book. If you’re pitching a book, I think it would make more sense to be nearly ready for publishing, or at least within a couple of months of that time.

As Steve’s said in the past, you never want to hand someone a problem. So on that note, I would be prepared to leave the review with collodion plates that might be slightly damaged. I say this because I know your presentation usually doesn’t involve putting the plates behind glass, and I’m worried you’ll walk in with a plate that they want to handle, but they’ll then need to put gloves on to hold. I think that would probably be annoying to some people, but then again, it might be acceptable for the kind of objects you’re producing.

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One thing I’d suggest not doing is showing a variety of work. I think most reviewers are interested in a consistency of vision, especially a cohesive body of work. I took two bodies of work, and essentially showed everyone everything I brought. Neither were all that good, and the better of the two made the other series look especially bad. I don’t mean you can’t *take* more than one body of work, but taking everything into the review could do more harm than good, the way I see it. Then again, I was an (essentially) unsuccessful reviewee, so that was very likely not my only problem.

Also, don’t waste the reviewers’ time. The ACP reviews seem to hold a little less potential than the big time reviews like Santa Fe, or even PhotoLucide and Fotofest. I can’t say why, because the names seem big enough. Maybe most of the work last year was just not ready (it certainly wasn’t in my case), but I can’t recall hearing anything major coming out of the reviews other than good critiques. I don’t know that critiques alone are worth it. However, what IS good is getting your work directly in front of those major curators, gallerists and buyers, who then will know you and know your work by the time it is ready for exhibition or publication. Ideally, you’d walk into one of these with a completed (or nearly completed) body of work, and walk out with extreme interest from a gallery owner, who might then consider showing the work down the road.

I’m sure I have more, but I’m already rambling, so…

Thanks for those links! And yeah, please feel free to share a list of DO NOTS. I’m stellar at stumbling into those.

Julie

Also, thanks for the info.

The second is also a PDF, and this is the first time I’ve seen it, but Photo Lucida is supposed to be fantastic, so I’ll assume it’s pretty great information:
http://www.photolucida.org/images/PortfolioReviewGuide.pdf

This final link is to an audio interview with MVS about the reviews. I haven’t listened to it in quite awhile, but I think it was pretty good:
http://maceditionradio.com/index.php?module=Pagesetter&func=viewpub&tid=3&pid=127

If anyone has any particular questions not addressed here, please feel free to e-mail or call me and we can discuss your particular concerns. I have a lot of advice on what NOT to do, since I’ve done a lot of it myself.

Todd