Born Free Range, the second batch cometh!

Loved this display of books by Nottingham Trent University Students

Hello all. I must begin by apologising for the rant that is to follow, but it's for your own good graduates & if I didn't care I would't say it.  These are the things that everyone bemoans & no-one puts out there, so I have taken it upon myself to have a minor rant, followed by a selection of works that caught my eye on Thursday for various reasons. Many upon closer inspection need some pointers on self promotion, presentation & even grammar checks on their website - but these are the things that can be tweaked quickly. For now I just want to applaud all the graduates for getting this far. Now the real work begins....

Part 1. The RANT:

This is a shout-out for COMMON SENSE!!!! 

Photography, art, life, is all about communication. 

In order to communicate with your chosen medium remember the image needs to speak its concept visually - if no one can decipher this from looking at it why make a picture at all?

Having trawled through the Free Range website I was astounded at the lack of consistency with regard to gaining info & images. (Photography graduates without an image on their page SERIOUSLY!) This has made the writing of this blog to be akin to the speed of a sloth on valium trying to climb a tree - VERY VERY SLOW! As a result I don't have time to write lots about each photographer. Had more info been available I would have written much more...

What I've come up with is a list of comments, interspersed with ideas & advice that arose from my Free Range experience. Take it or leave it - but remember I say it with love.... 

Rules of engagement:

1. Put ALL of your info out there wherever you show up, lead your audience to you, do not expect them to find you, they will loose interest & look at something/someone else/s work/s. (I am having to look up some of the websites as the info is not consistently on the Free Range site - bad practice people, start as you mean to go on - be professional)

ie: Website/ Twitter / Linkedin / email / Tumblr....you get the idea! Tumblr is not deemed professional though, so if you don't have a website get one!

2. Display - standards must be set high. If you've ever heard the phrase 'less is more' or 'Quality over quantity' take it on board. I won't name & shame but this made me both sad & angry:

Longest caption ever on my blog so far...

A horribly crinkled print that needed dry mounting, behind a window mount (which was the wrong size) that looked like it had been cut with a butter knife, with no glass in the frame & pencil lines all over the wall. It was shocking, distracting & disappointing. 

3. Artists statements / writing on your website : You are not a writer, so if you have to get someone who is to write the text for you or a t least get several people to read what you have written. I often see a car crash of grammatical errors, coupled with 'artspeak' which means nothing & doesn't make you look clever, just pretentious. (For those of you who know me 'juxtaposition' is my least favourite word in the whole world. It is overused & often in the wrong context. Leave it alone. Find another!)

4. If you don't have a website get one! This is your 'shop window' a look into your work, the first glance, use it or loose your audience! Once the work comes off the wall how else can you be found? (I could do a whole blog on websites but this is for another time...) It's so much easier now, you can do it yourself or (if you are a bit flush) pay someone else to do it for you. 

Now for something completely different...

Part 2. Some work that caught my eye

The work I found interesting, only some of it as time is pressing. I didn't see absolutely everything & its not advisable to try to in one go as there is a lot to digest, but here goes...

©Theodore Deproost

Film Still #04

What He Thought She Didn’t See - An Unmade Film.

I like the concept of An Unmade Film as a visual narrative waiting for the insertion of a story by the viewer. It could be argued that this happens a lot with many staged photographs, but Theordore Deproost's lighting techniques & dramatic scenes begged for a script & made for engaging viewing. I was ready to cast the film. That reminds me I must get Gary Oldman & Tim Roth on the blower...

©Benjamin Skerratt

Untitled 2

Another series which abandons traditional narrative was Benjamin Skerratt's portraits with faces turned away from the camera. This image feels as if something monumental is about to happen. Then I realised what it reminded me of:

Caspar David Friedrich

The Wanderer above the mists

c.1818

Whether this was intentional or not doesn't matter to me. For a graduate work to conjure up this painting is enough for me. The determination of the mans face is present even though you cannot see it through the stance & posturing of the figure. We enter Skerratt's  subconscious through his lens & his subjects actions, refreshing. 

©Chrissy Boddy

Mother

I was drawn to this work firstly by its display in a white square tray frame (without glass) exposing the prints to the elements, which suited the imagery discussing the cyclical fragile notions of nature & nurture on a global scale. Chrissy Boddy's images are circles within circles, twisted to take them out of sync with each other & positioned to show the interconnectedness of the themes both physically & psychologically. Made me think of the film The Tree of Life.

©Emily Moya Addis

Be Still

5x4" C-type print

Emily Moya Addis' work emulates Victorian values, depicting haunting images inspired by a story title The Yellow Wallpaper (1892) by Charlotte Perkins Gilman - a cautionary tale about a woman descending into madness. (Well worth the read) Victorian notions of power, control & female hysteria whilst 'remaining still' are displayed with visual dexterity, small & perfectly formed. 

©Jenna Rouse

Anatomiae - Leporidae

I couldn't resist this, as again I am reminded of a great painting (the first that I was fascinated with after being given a book on Rembrandt aged 6) The Anatomy Lesson whereby the layers of skin stripped back reveal the muscles of a mans arm. 

Rembrandt

The Anatomy Lesson of Dr. Nicolaes Tulp

1632

It works. I look forward to seeing what comes next from Rouse... 

©Jenny Wickens

From one sculptural theme to another, I was pleasantly surprised she I saw Jenny Wickens  photograms. The lovely tension created by the physical reality of the potted plants with the realisation that the 'shadows' were in fact photogrsams & did not match the plant placed upon them works beautifully. 

©Gemma Pepper

Gaol / Untitled 3

Using objects & spaces inside the Galleries of Justice Museum in Nottingham - a once woking prison - Gemma Pepper's work with chalky tones upon first glance barely read as photographs. These are are constructed environments made from fictional spaces which are now used as interactive teaching tools. The real is made unreal again with harmonious results.

So now its time to take a deep breath & go out into the big bad world. The tools you need are out there, just use common sense & you can't go far wrong.

Discussing your work with others is important & ultimately useful for the future as you meet other artists, curators, press & galleries. If you attend/exhibit at exhibition events & festivals having confidence to speak eloquently about your work & practice is an invaluable tool.

With L A Noble Gallery's forthcoming Summer Salon exhibition at Maybe a Vole in Dalston we will be conducting salon evenings (with a limit to 8 people per evening session from 6.30pm - 8.30pm - £12). The gallery invites each attendee to bring one of their photographs to talk about for 5 - 10 minutes each. The group headed up by yours truly will discuss the photographs & compare ideas in the traditions of the great salons of the 1930's. To book a place for the first salon on Tuesday July 23rd email hello@lauraannnoble.com 

Why not join us, practice your networking & public speaking skills, pick up tips & take your practice to the next level.

Places will be reserved on a first come first served basis. 

Throughout the exhibition personal Portfolio reviews can also be booked. These can be to focus on your work at all stages of completion, with advice on editioning, pricing & career development. Each review is bespoke to your needs at every level. For more details see this link. To book please email hello@lauraannnoble.com - be sure to include a contact telephone number.

Address during exhibition, please do not send post to this address:
L A Noble Gallery 
c/o Maybe a Vole 
51 King Henrys Walk, N1 4NH
Map

Remember I don't bite, so please feel free to post comments! 

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Preparing for a portfolio review

So you are thinking about doing a portfolio review & you want to know where to start. No brainer: the portfolio!

Now if you are doing a review in person you may have an iPad or a laptop to present on, this is fine. However, I always recommend people to bring a couple of prints as well, especially if you are seeing someone from a gallery as they are used to handling prints & understand that the quality of the object itself is just as important as what image resides on it. 

You may or may not do your own printing, but there is a vast difference between an inkjet & a C-type. And please, people don't call them Gicleé we all know what they are...& what it translates to? (Far too naughty to publish here)

If you do decide to go with a box think about what type. Here there is a handy cutaway section so you can lift each print out, but I would say mount your prints with these or they will get dinged very quickly with repeated handling. This also limits how many prints go in there, depending on the thickness of the mounts. 

I prefer the ones that you can slide the prints from left to right. (See top picture).

I would also recommend a white border around your images (thin is fine) so that there is a visible barrier between the edge of the image & the edge of the box or table it is being viewed on. This not only helps the picture to 'pop' but also stops the eye from going beyond the image, staying focused on the picture & not wandering to the surface below. Again, keep their eyes on you work!

Be organised, there is nothing worse than wasting half of your time fiddling about, it looks unprofessional too.

Handling: Sooo important. If you treat your prints with respect so will the reviewer, bring gloves for them to use. This way your prints stay clean & they spend longer looking at each one too! 

Or you could go with one like this that has inserts, make sure they are good quality though as it can alter the appearance of the print if they are cheap. Without is always preferred with fine art prints. 

How many?

For a 20 minute session: 20-30, that's a print every minute or so.

No more than 40 for a 1-hour session, or the reviewer will forget the first one by the time they get to the end & you want them to remember your work.

Have a clear idea of questions you want to ask, have a list if you need a prompt.

Go for the selection that will appeal to them. If you bring commercial work, make sure they know in advance or if it is stated at the beginning of the review. This helps the reviewer to think on your wavelength & offer the appropriate advice. 

I have spoken to many photographer's who think they have produced art, but in fact have a very commercial eye, so be clear.

Listen!

I cannot emphasise enough the need to listen to your reviewer. You are there to gain insights & help, not the other way around. By being polite & courteous you are more likely to be offered help or even contacts. Being defensive can be misinterpreted as being obnoxious. A good reviewer wants to help you, nit hinder your progress in the industry - they may be working with you one day. It's in the reviewers best interests to offer good advice & keep their reputation intact. 

Be honest

Pretending to have more experience than you have doesn't help in the long run, you will be found out! 

What else do I bring?

Something to write notes on. You will only forget tips, advice, names & suggestions later. Some photographer's record them as well, to listen back to later in a less pressured environment. 

Have a business card to give to them afterwards. 

Follow up...

Even if you don't get a response right away, send an email afterwards to keep contact. If it has an image on it that helps too, as they may be seeing a lot of people that day & they will remember an image easier than a name.

Skype reviews:

As before the number of images should be the same & sending it in advance & on the day is a good idea. this means that the reviewer has time for a quick peek beforehand when they have a spare minute, then when the time comes it is in their inbox again on the day, so no need to search!

I prefer a pdf format as downloading huge files onto a computer is time-consuming & uses up a lot of space on their computer. Also, this ensures the whereabouts of your images & lessens the risk of copying if it is sent elsewhere, perhaps to an editor as a result of the review!

So I hope this helps folks. I look forward to hearing your comments.

If you would like to book a session please email hello@lauraannnoble.com 

It's an easy process & you can do it in person or online via Skype if you are not in the UK, I have over a thousand happy clients who have done sessions with me, with many coming back for more sessions as their projects & careers develop. On a few occasions, I have even met artists whom I now represent! 

To see the full list of services including 1-hour portfolio review sessions: HERE For mentoring sessions: HERE

For collecting, career advice & bespoke consultation sessions: HERE

Keep up to date with all of LANG & FIX Photo Festival News by following all our social media. 

ME: Twitter    Instagram   

LANG: Twitter @LANobleGallery   Facebook @lauraannnoble

Instagram @lanoblegallery 

FIX PHOTO FESTIVAL: Twitter @FIXPhotoFest   Facebook @FIXPhotoFestival

Instagram @fixphotofestival  

•Don't worry all the links pop out on a new tab so you don't lose your place here! 

Portfolio reviewing....a good idea? Part 1:Why should I do them?

Outside the V&A Museum of Childhood ©Laura Noble

As a seasoned reviewer I am always wondering why more photographer's, experienced, graduates & the like don't do more of them? 

Often the following reasons/excuses are given:

1. I don't need one, been a photographer for years, I'm brilliant already!
2. I don't need anyone else to criticise my work I'm a good enough critic.
3. Everyone tells me I'm brilliant, well my friends & family do.
4. I learnt all I need to know at university/college
5. I know what I'm doing
6. You will only tell me to look at some other photographer's & I don't do that
7. My work is set at a good price & I know my editions are the right sizes
8. My current project/s is/are unfinished
9. My personal work is completely original, no need to show anyone else
10. It is too expensive

A happy review, thanks for the email afterwards Raf!

©Laura Noble

Sound familiar?

Well they are all points which have varied validity depending on the individual. So I would like to address the above points & invite you my dear readers to comment on the post if you feel inclined. If you have been reviewed by yours truly, please don't be shy & comment too!

1. I'm sure brilliance is a subjective term & fear of criticism should be faced. Only someone with a huge ego would say this & give away their insecurities. It is up to others to profess brilliance...
2. You should always be your own worst critic, but if you have dedicated your life to create it is always healthy to open yourself up to criticism. This does 2 things, helps you grow & also to push yourself to create better work. You might learn something that had never occurred to you about yourself & your work in the process.
3. See point 1. Others should stretch beyond those who are biased in your favour. A fresh pair of eyes, with expertise could offer you very good advice & critique in a way that could make you aware of your strengths & weaknesses comparatively. It is hard to keep track of what others are doing in the industry & if I had a £ for every photographer who was doing a project that had already been done I would have at least £100!
4. University offers a lot of theoretical & academic comment, but very little in terms of the photography market & commercial advice. Money matters are often met with distaste in discussions. Reviewers live in the real world with real experience to share. Editioning is the main topic of many a review. I think this is so important & so little information is given on this topic in academic institutions. 
5. Not always, there is always room for improvement for everyone, myself included.
6. Looking at other photographers/artists work is your duty as a creative person. There is nothing more embarrrasing than meeting a curator or gallerist & not understanding who or what they are referencing when discussing your work or anyone else's. This shows your lack of education &/or arrogance. No one is above learning from others, knowledge is power.
7. How many sizes? How large is the edition? This can be a vital consideration for collectors. If you want to sell your work you could be missing the boat due to editions that are too large & not considered 'limited' by serious collectors. Prices are relative, are you famous, exhibited, published? 
8. Perfect time for a review, as I have mentioned in the past it is a reviewers job to keep abreast of the market/art scene etc... You may learn more than you'd bargained for & often given inspiration. Fresh objective eyes often see things that you do not as you are so close to your work. A good reviewer is constructive not destructive! It is important to encourage, not discourage, you are the future after all. Bad advice procures bad results & no one benefits from that.
9. Nothing is completely original, but understanding where ideas come from helps you to avoid embarassing situations (see 6.) & you may have your eyes opened to a new idea or approach as a result.
10. Good advice is never too expensive. You can save an enormous amount of time & money by taking advice from someone with the expertise to help you. It is in their own interests after all as you may be working with/for them one day.   

Giving advice, this review led to another session with this talented chap 

©Laura Noble

So what do a portfolio reviews (PR) consist of?

Well that depends. There are two types, the first is like speed dating a 20 minute one-on-one session with lots of different people. Many big photo events/fairs/festivals organise PR. They usually happen throughout the event or over a set amount of days in a suitable location, near the exhibitions/festival/fair...

Many you pay for a number of sessions, with a minimum number of reviews specified by the organisers. Short biographies on each reviewer is sometimes published with the promotion of the PR on a website or via email. This helps you to decide who are the most suitable/helpful people to book a review with. Often slots fill up very quickly as reviewers are often very busy individuals who do not normally have time to look at every photographer's email/portfolio that lands in their inbox. You may have already approached them & not received a response.

This is a good way to see a wide range of people in one go. Costs vary dramatically. You show you portfolio, they make suggestions, comments, give advice & sometimes arrange to take the discussion further or even offer you work, then you swop business cards & go to the next person. Think 20 minutes, no more than 30 pictures you won't have time to discuss more. If you bring lots of projects you have to rush through them. Take the one you think is going to appeal to the people you are seeing, or can give you the best advice on how to proceed. 

The other is a one-on-one consult, which is a service I have offered for years. There is a set fee for a full hour so that your work can be discussed more fully. This also gives time for talking about career progression, editioning, best practice, marketing, presentation, pricing, possible projects, other people to contact etc. as well as talking about your work.

For those who are not based in London or where the reviews are taking place I also do Skype reviews whereby a portfolio pdf  is sent via email, so that I can have it on hand for the review. (Details are arranged in advance such as times, preferred topics of discussion) All reviews are payable in advance & non-refundable, as cancellations can prevent another photographer from booking the slot. You may wish to discuss one thing in particular or ask for more info on what information it is advised to bring or have at hand. 

Having more time to speak also means that you get to know each other better & can give a fuller sense of yourself & your work. It is a less pressured time frame so you can elaborate more on your ethos, projects & what you want to achieve.  

For more info or to book a review with me please contact: hello@lauraannnoble.com
Please include a contact telephone number & a link to your website if you have one. I will be in Paris next week & have a few sessions free. If you are too, do contact me asap! 

Next time I will talk about how to give a good review & what to expect. 

Dear readers I'm looking forward to hearing your comment & experiences.

Till next time... 

To see the full list of services including 1-hour portfolio review sessions: HERE For mentoring sessions: HERE

For collecting, career advice & bespoke consultation sessions: HERE

Keep up to date with all of LANG & FIX Photo Festival News by following all our social media. 

ME: Twitter    Instagram   

LANG: Twitter @LANobleGallery   Facebook @lauraannnoble

Instagram @lanoblegallery 

FIX PHOTO FESTIVAL: Twitter @FIXPhotoFest   Facebook @FIXPhotoFestival

Instagram @fixphotofestival  

•Don't worry all the links pop out on a new tab so you don't lose your place here!