Night 1 Day 2 of PhotoPlus Expo

After our first day at the Expo we went to Aperture for the Sony World Photography Awards/Artisans of Imagery exhibit, and I've never seen a gallery so full of people and so hot and sweaty. It was hard to see the actual photography, but I saw many friends (some long lost ones), and the catering was fabulous.
I got a chance to say hello to Brian Smith who's photographs of Vegas burlesque dancers lined one wall, and asked him about the project he's been doing with Sony, photographing celebrities in support of the arts.

He talked about how enjoyable it has been for him to get to know more about the stars he's been shooting, and has learned some fascinating things, including that actress Taraji P. Henson is the great grandcousin of Matthew Henson, one of the explorers who discovered the Geographic North Pole.

Next we walked over to the PDN bash and entered a strange, noisy, disorienting ballroom, complete with "get your photo taken with a drag queen." I thought maybe I was lost in a tourist spot on TImes Square. The band was so loud you could barely hear anything, but I saw friends, had some great (if loud) conversations, and for the hour or so I was there, had a good time. The guys of Dripbook were particularly proud of adding their logo to the balcony so everyone could see it, and I have to say it definitely stood out.

As I was leaving, I looked up and Monte Isom was projecting images on a building across the way. Instead of meeting him at a downtown bar I elected to go home and sleep.

Having to wake up way too early to get back to the Expo, I worried I'd be late for the first panel: "VII Presents The New Deal: How to Fund & Produce Reportage in the New Economic Environment." But no worries, and except for the fact that the room couldn't have been colder (we were all freezing!), it was the best, most positive words I've heard in a long time. Moderator Stephen Mayes of VII presented his photographers Ron Haviv and John Stanmeyer, and Doctors Without Borders NY director of communications, Jason Cone. All the participants talked with enthusiasm and optimism about the multiple new ways of getting work out there, and the exciting challenges of coming up with new ways to sustain photojournalism (or advocacy journalism).

Stephen spoke of partnerships with NGO's like Doctors Without Borders, about working with corporations (like Canon) and even some governments (the French) to send photographers to cover stories of importance around the world. Ron showed some of his multimedia work on the DRC (Democratic Republic of Congo) and Darfur, and told of how those projects had added new avenues of exposure to the work through traveling exhibits, projection of images on walls around the world, books, and the like.

John showed his work and spoke about photographing the devastation of the 2004 tsunami, and how it was almost, "beyond my ability to visually understand it." And in talking about projecting images on buildings and walls he said, "Everywhere can be a canvas to project upon. Everything doesn't have to be a dead tree."

Jason Cone spoke about how this also brings images back to the places where they were taken, as we saw slides of images projected on homes in Brazil, or pasted at the bottom of an empty swimming pool in Liberia. He sees this as a way to have a greater engagement with the populations being covered.

They all spoke about how they could now create content and not rely solely on mainstream media to disseminate it. And yet they acknowledged the fact that we are in a transition society right now and no one is sure how to make a steady living from this work. Yet the fact that things are falling apart and changing is also an opportunity to rewrite the rules as you see fit. It takes passion, drive, courage and the need to tell stories whether or not someone hires you to do it . The old ways will not return. But new ways are being forged through crowd-sourcing, partnerships, NGO's, grants, foundations--really, the sky's the limit. It puts more power into the hands of the photographer and makes the photographer a creator, not a supplier.

This leads me into the issue of branding, as in the seminar: "Starting Today: You're a Brand. Building Your Brand & Image.". What is the first phrase or word that comes to mind when people hear your name? Can you answer that? What does someone get from working with you? What makes you different?


These are the questions you need to answer to begin to create (or re-create) your brand. I mean your brand as in "the CEO of Me, Inc. " Your brand is your reputation, so you have to strive for authenticity so that what you see is what you get. You need to be a storyteller online. You need passion and be someone people can trust. You need to offer valuable content that distinguishes you from all the other photographers out there. And you must figure out how to do this in many different ways. Panelist Ken Carbone said it best: Be you, Be heard."

How many ways can you spin one thing into ten?

Today was all about how you have to take control of your own destiny with a clear idea of who you are and a distinct vision. While this is a time of extreme confusion and the dismantling of the models we've come to rely on, it is also a time of exciting possibilities. When you have more control over your own life and career you have to do more to sustain and grow it.

Unify, simplify, amplify. Are you up for the challenge?

15-year-old Photographer Isadora Kosofsky

I first saw Isadora Kosofsky’s work when I judged a portfolio contest for the Center for Fine Art Photography. When I found out she was 15 years old I was blown away. The sophistication of her eye, and her ability to visually communicate a situation marks her as a truly up and coming star photographer. I asked her about her photography and what she wants for her future.

How did you get interested in photography?
I spent every summer of my childhood with my grandmother in Paris. She often took me to the Louvre, where she encouraged me to not only observe the paintings but to watch the visitors. After unsuccessful attempts to sketch or paint similar scenes, I knew I needed another medium to record my observations. When I was 12, I received a Leica CM camera and have been joyfully enthralled with photography ever since.

Who are your influences? Whose work do you follow?
I have been influenced by my parents to pursue my passion for photography. I admire the photographs of Diane Arbus, Jane Evelyn Atwood, Caroline Cole and Gerd Ludwig because they delve deeply into their subjects and leave the viewer with poignant images. I follow the work of Ed Kashi, Anthony Suau, Douglas McCullough, and Lauren Greenfield.

What are your goals?
I would like my photographs to inspire awareness and subsequent change in the inequalities in our society. I hope that when people see my images of individuals in need or forgotten communities, they will take responsibility to rectify problems. I also hope to eventually publish a book of my images.


Where do you see images? Websites? Newspapers? Magazines?
I subscribe to the New York Times, LA Times, TIME, National Geographic, and Newsweek Magazine. When I visit bookstores or specialty stores, I peruse both American and foreign independent magazines. Because I am fluent in French, my favorite foreign magazine is Paris MATCH. I enjoy comparing European style and taste in photography to American.

What are your short-term goals?
My immediate goal is to use my grant from the Music Center Spotlight Award in Photography to travel domestically and internationally to continue my current project of photographing teens, adults and the elderly in mental health facilities.

Tell me about the Music Center Spotlight Award
The Music Center Spotlight Awards program is a nationally acclaimed recognition and scholarship program for high school performing and visual artists. Each year the Los Angeles Music Center gives an award to an outstanding artist in the categories of music, vocal, dance, 2D art and photography. The interview and selection process takes one year and includes workshops and commitments in your medium. The competition attracts about 900 entrants for photography. After the two finalists are selected, the Grand Prize is awarded to one finalist on stage at the Dorothy Chandler Pavilion. I was the recipient of the 2008 Music Center Spotlight Award in Photography.

Tell me about shooting in the convalescent home
I contacted a local convalescent home because I am interested in photographing people in all areas of our society. I was particularly interested in documenting something with which I am not familiar. I initially visited the convalescent home in December 2008 and have visited several times since because the project is still ongoing. I am friendly and outgoing and have experience in volunteering at shelters and hospitals. The residents and staff were more than accommodating and readily gave me permission.

Where do you see yourself in 10 years?
In 10 years, I envision myself on the staff of a publication. I hope to photograph world-wide and document interesting people and unique stories internationally.

Have you thought about how you will become a staff photographer in this day and age?
Since I am young, I am leaving all options open for career choices in photojournalism. Technology is changing so rapidly that two years from now there may be different means of publishing. I do not see myself as a newspaper photographer but more of a contributor to news and specialized magazines. I like to delve into socioeconomic concerns, and magazines would be more likely than newspapers to publish photo essays. Currently, I am a student and we will see what the future will bring.

Finding Gems in a Portfolio Competition

I recently judged an online portfolio competition for the Center for Fine Art Photography, an international non-profit based in Fort Collins, Colorado. I honestly did not know what to expect, but accepted for the sheer challenge of taking 250 twelve-image portfolios and narrowing them down to 15 winners. I was also charged with picking one photographer for an exhibit, and one for the cover of the book published with the winners work. My final choices, and the quality of the work were a wonderful surprise.

It is not uncommon in my experience to find that photographers don’t always understand what a “body of work” really is. Just because you took all of the photos doesn’t make it a body of work. There has to be an idea behind the work, an idea that binds all of the images together with a common thread.

First I edited out the portfolios that had 12 random images, then the stock photography portfolios. After that I was left with around half of the original count, and got down to the business of judging. I saw work that reminded me of other photographers—I edited those portfolios out. While it is great to admire another photographer, you need to find a style and an eye that are your own. I saw more black and white landscape work than I would have liked, and some portfolios that seemed very impersonal--style over substance.

Yet it didn’t take long to begin to see that there were some real gems in this competition. I saw more photo essays than I expected, and less of what is considered “art photography.” That was a pleasant surprise simply due to the quality of the essay subject matter. Here are a few of the photographers whose work stood out to me.


Isadora Kosofsky, is a 15-year-old photographer whose portraits at a Los Angeles state-funded convalescent home blew me away. The strength of her eye and her compositional ability mark her as a real up and coming talent. There is a sophistication in her work that belies her age, and I hope the current state of this industry does not hinder he growth. I will be interviewing her soon, so stay tuned.



I loved the Highway 80 landscapes of Peggy Jones, with their focus on the plastic bag trash that waves like a woman’s scarf in the wind as tanker trucks whiz by. The photos give an entirely new meaning to environmental photography. The amazing book sculptures of David Orr are precisely photographed to create a dialog between the photographer and viewer as to what a book really is. And Shelley Calton’s portraits of lingerie are delicate reminders of the past that are touching in their quaintness.

Wrenay Gomez-Charlton photographs show us the intimate and awkward story of her daughter’s budding entry into adolescence. In the unselfconscious way in which we are allowed to see her daughter I am reminded of that moment when I too was suspended between growing up and still being a little girl.


You can see the entire exhibit online starting June 3. Check it out and enjoy.