Amsterdam photos II

Amsterdam photos I

Among the many charms of Amsterdam, besides the enviro-friendly bicycles, the beautiful canals and, uh, the "coffeeshops", is the strong design you can find everywhere. I saw it in the architecture, the graffiti, the window displays, the clothing, the furniture; it seemed wherever I looked was either clean and minimal or had a bold and colourful esthetic.

Interview with Hellen Van Meene

I've been thinking about Hellen Van Meene's work lately. With my upcoming trip to Amsterdam, I harboured the slim hope I might be able to meet with her. I find her portraits haunting and intimate and her use of natural light so effective. Joerg Colberg, at Conscientious, has an interview with her here.

Managing your metadata

Judy Hermann, past president of the ASMP, has an article about managing your metadata with part one and part two.

"Whether you’re managing a complex archive of images from a wide variety of sources, or simply trying to stay on top of your best family photos, applying and using metadata—often described as “data about data”—will make a huge difference in your ability to find specific images quickly and easily. It will also enable people who come across your files to find vital information such as who created the image and when and where it was created.

Metadata is a powerful tool, and software developers are rapidly designing improved methods for entering, viewing and searching metadata. This two-part series will help you understand what metadata is, why it’s important, and how you can best approach it depending on your goals. It will also provide you with some resources for getting more detailed explanations for your specific needs."

Business of art seminar by NYFA

On Saturday I attended a seminar about the business of art entitled "Focusing on Funding and Finances for the Visual Artist" by NYFA.

There were morning workshops which focused on the specifics of funding, such as the types of funding an artist can receive, and how to create a project budget. Since I have never applied for a grant with such a detailed budget, it was very helpful to examine a couple of sample budgets, including the types of expenses one would incur and how to classify them. There was also an overview of the art funding world and understanding the different kinds of programmes available to artists. There was the usual advice, which bears repeating, such as 1) understand why foundations are formed (for tax benefits), 2) what their mission statements are, 3) look at who has been funded before and what the work looks like and ask yourself if your work fits the criteria and rubric. One fact the presenter pointed out is that some foundations have the same panel every year while others have a different one (so it's worth applying every year to the latter). It's always helpful to contact the grant officer, introduce yourself and your work and ask whether you should apply. This isn't something I've done before but I'll certainly do so now.

There was also a presentation on pricing your work. The speaker spoke about an artist's work that is produced from an inner, intrinsic process which becomes a product once it enters the marketplace. When pricing your work, you need to research your target market on a geographic, demographic and cultural level. What will the market bear? Pricing is more of an art than a science, you need to understand where your work fits in. Keep in mind there will always be a purchasor for your work but you need to find the correct market. For example, if you sell work in New York City, don't discount the work if you sell it in a different market such as the midwest; and sell your work at the same price as in a gallery (even if you don't pay a commission). Lastly, you need to hire professionals for certain aspects of your business, such as a lawyer, an accountant, insurance brokers (for both health and business).

The afternoon consisted of an artist panel. Each artist spoke about their work and they balanced work/life. In no particular order, they advised: you are the best representative of yourself, you are the product so take ownership and responsibility of your PR; instead of looking outside, engage in your own community, create your own context and audience. Any gallery show these artists got were through other artists. As I wrote in my previous post, they emphasized that persistence is one of the most important qualities as an artist, so keep applying for grants, keep entering call for entries and if you need help or information, don't be afraid to ask.

Sometimes you just need to ask

Yesterday I attended a seminar (which I'll post about tomorrow) for visual artists. There was a panel of artists who spoke about how they supported themselves while funding their art. One of the more encouraging messages I took away from the presentation was that to succeed as an artist persistence is key, particularly in such a field rife with rejection. Instead of bemoaning why you haven't been included in such and such a group, create your own context and audience and engage in your community. Artists are often more generous than they are given credit for and if you need help or funding or information, sometimes, you just need to ask.

To wit, I'm preparing for a short trip to Amsterdam, and fired up by such advice, I contacted several photographers who live there, asking if they would be interested in an interview. I expected my message to be ignored or get a big, fat no. To my surprise, they replied yes and one had even seen my work. I'm so excited to meet them and become more familiar with their work and process.

Mini-lighting workshop

One of the benefits of photo assisting is that you learn a lot about lighting and how different photographers use it. I'm becoming more and more familiar with the equipment and therefore a lot more comfortable handling it. Now if I can just develop some amazing biceps I'd be able to carry really heavy gear (and look good in a tank top). Last year at school I had various conversations with fellow students about how important it was to learn about studio/strobe lighting. Some protested, saying, "But I'm a photojournalist so I don't need to learn studio lighting" or "I'm an artist and I like to use natural light". Frankly I think they're now at a disadvantage, now that many of us are looking for work as assistants. I was concerned about working when school ended so took a lighting course every semester and assisted whenever possible.

Last night I met some friends at school and taught a mini-lighting workshop. I reviewed the basics and showed lighting set-ups that I liked to use. Hopefully they learned something new. They told me I'd be a good teacher since I was clear and patient. Hmm, never thought about teaching before...

A recent performance I attended