I prepared a PDF document with the intention of showing it to an industry professional and asking them for a short piece of feedback. This included: edited work from BOW, Artist statement, and introduction.
Part 1 : Share with tutor. Part 2 send to industry professional for review
Outcome: Revised Publicity PDF:
Decisions taken to revise drafts to this output shown in red text below
Feedback: My tutor suggested that the footnotes seem rather crowded and to consider omitting these, or perhaps include a question asking specifically asking for feedback on this element when sending out?
Part 2. Sent the same to a professional photographer
They commented:
Understood the concept/intention of my work easily.
Images strong and particularly like them when presented largest.
Many reviewers never read the text so the images must stand out.
Thinks the ‘footnotes’ are confusing in the context of the publicity pdf as the images are so different they jar with the rest, but keep them in the project/final book
Suggested that I shorten the introduction, explaining that reviewers want their attention grabbed quickly or they just move on.
Suggested renaming the ‘introduction’ as ‘project statement’.
Liked my poetry and thinks it sits well with the images.
Shortened the introduction and renamed it as project statement.
Omitted the footnotes from the publicity pdf but included in my final outcome book as I intended
Enlarged slightly the images that sit with the poetry
Have some extra images available for any portfolio review
In addition to the feedback that I relieved from the professional photographer and my Tutor I used parts of the 1st draft PDF as my submission to the Lens culture critic’s choice Global Call 2024, and paid for a written portfolio review, which was a very useful critique of elements of my PDF as well as my work.
2nd paragraph: In response to your request for feedback, I am still a little confused by the overarching idea that you are going for. If what I have said above rings with you, I think it would be helpful to state it somewhat directly and concisely. For example, instead of saying “The photography transforms abstract ideas in my head, into something concrete,” and defining your work as a “conceptual project,” I would simply say “What Lies Within” uses the forest landscape of [name the forest] as a metaphor for human communities and civilization.” Or something like that.
3rd paragraph: That being said, I still want to understand how you see human communities as stark contrasts to this forest communities but are using the forests as a metaphor for the human communities. Perhaps they are not a “metaphor” but a “model?” In other words, are you suggesting that these woodland spaces are a model for what it means to be a part of a community and to live in an ecosystem where all things must coexist and support each other’s life processes? Again, I am very interested in the ideas. I just think it’s a question of being clear and concise: especially when submitting to a contest like this where jurors have so little time to spend with each submission/statement.
I also don’t know if you need to include the words with their definitions beneath the photographs. I think you can say everything in the statement and then rely on the viewer’s intellect to realize that what they are seeing are prime examples of what those words represent. Perhaps you can include those exact words in your statement and then give an example of how that plays out in the woodland environments. But my sense is that this project could exist as two separate entities: image and text.
I learnt from this review in terms of my publicity PDF, for introduction:
Be concise/direct with my overarching idea – E.g. revisit my wording “The photography transforms abstract ideas in my head, into something concrete,” and defining my work as a “conceptual project,”
Refer to the woodland as a model rather than a metaphor, for an effective community.
I combined this with the suggestions from the Lens Culture reviewer and my Tutorfor my 3rd draft of my Publicity PDF (top of post):
I reduced and revised my Introduction/preface, Artist statement and Bio as below:
Original introduction:
Ancient woodlands are complex communities, with trees at their heart; they envelop your senses, encouraging you to slowly absorb what you see and feel, wake your subconscious, and inspire reflection. This body of work is a personal response to a dynamic landscape, both internally and externally.
The photography transforms abstract ideas in the photographer’s subconscious into something concrete, via a visual representation of another subject, positing an ancient woodland as a visual metaphor for community.
Though humans provoked the concept of the work, they are not evident in the images. The Photographer’s local community often disharmonious and driven by difference, contrasts with harmonious characteristics of these woodland societies. Inherent qualities like cooperation, support, diversity, resilience, inclusion, networking, mutual exchange, and adaptation, could be beneficially adopted in many human communities.
As an observer of her neighbourhood, well known and accepted for numerous years, the photographer finds in common with others that incomers here are never adopted as local, no matter how long passes or their contribution to the community. This story is common to settings across the world.(177 words)
Project Statement
‘What Lies Beneath’ expresses my reflections on community using the landscape of an ancient woodland to create a visual model where things coexist and support each other. Here I transform my subconscious thoughts into something concrete.
Though humans provoked the concept of the work, they are not evident in the images. Unlike woodland communities, the local community is often disharmonious and driven by difference. The woodland’s harmonious, inclusive characteristics would benefit human communities where sadly ‘incomers’ like me, are never accepted as local, no matter how long passes, or what they contribute to society – a story common to settings across the world.
In this work combining the world in my head with the one in front of me, has helped to heal some of the wounds that inspired the story’s beginning. (132 words)
Original Artist Statement
I use landscape and documentary photography as mediums for expressing my observations and reflections on communities. ‘What Lies Beneath,’ a conceptual landscape photographic project, builds on my previous documentary work ‘Layers of Truth,’ where in my insider-outsider position, I highlighted the issues and various truths arising from ‘incomers’ relocating and trying to integrate into a small traditional community.
My photographic style is shaped by research on ‘affect’ (expressing what is in a photographer’s mind) versus ‘effect’(realism); I photograph in a metaphorical manner. Artistically I am influenced by photographers who create images as metaphors for something beyond the subject photographed, such as Minor White and Alfred Stieglitz; and by writers like John Szarkowski who explore the differences between photographs as mirrors for expression, beside images as windows that share reality.
I find combining the world within my head, with the one in front of me, cathartic. This internal and external passage through the landscape, has helped me to accept and heal some of the wounds that inspired it’s beginning. (168 words)
New Artist Statement
I use landscape and documentary photography as mediums for expressing my observations and reflections on communities.
My photographic style is shaped by research on ‘affect’ (expressing what is in a photographer’s mind) versus ‘effect’(realism); I photograph in a metaphorical manner.
Artistically I am influenced by photographers who create images as metaphors for something beyond the subject photographed, such as Minor White and Alfred Stieglitz; and by writers like John Szarkowski who explore the differences between photographs as mirrors for expression, beside images as windows that share reality.
I find combining the world within my head, with the one in front of me, cathartic. This internal and external passage through the landscape, has helped me to accept and heal some of the wounds that inspired it’s beginning. (126 words)
Original Artist Bio
Niki South was born and grew up in Surrey in England. From 1995 she began holidaying in Pembrokeshire in Wales with her husband and two children; this culminated in buying a second home there in 2009 and transitioning to a ‘dual centre’ life, between the two places.
She is currently completing her BA (Hons) Photography degree with the Open University. Her previous documentary work ‘Layers of Truth’ was informed by her life as a ‘second homer,’ observing local issues from afar, when unable to travel to her favourite home by the Covid 19 safety enforcements. In 2019 she relocated there permanently. (101 words)
New Bio
Niki South is a visual artist born in England, now living in Pembrokeshire Wales. Visiting Pembrokeshire she found a hiraeth (deep longing for the place) and spent many years living a ‘dual centre’ life, between the two places, until relocating there permanently. She is currently completing her BA (Hons) Photography degree with the Open University.
Her previous documentary work ‘Layers of Truth’ was informed by her ‘insider/outsider’ position where she highlighted issues arising during Covid 19 from ‘incomers’ trying to integrate into a small traditional community. (86 words)
LO2 coherently present a body of work, making creative presentation decisions that complement your subject and/or your artistic strategies.
1. Prepare a PDF document with the intention of showing it to an industry professional and asking them politely for a short piece of feedback. This should contain an edit of the work you produced for Body of Work. You may wish to include an overarching artist’s statement as well as the introduction you wrote in Body of Work. In the first instance, you’ll use this to introduce your work and your ideas to your tutor who will give you suggestions on the submission itself and how to enhance the PDF before sending it out. Please tell your tutor who the PDF is intended for and include some background information on how you’ll contact them. Make sure that you’ve researched the form your submission should take; some organisations still ask for a CD/DVD, for example, which you should prepare in advance.
2. Having taken your tutor’s comments on board, use your PDF document (or, if applicable, a hard copy portfolio) to get some feedback from a professional photographer or another professional from within the industry. This could be done via a portfolio review or by a contact you already have. (Boothroyd, S. and Alexander, J; 30, 2020)
Reflections on formative feedback from assessment BOW
Positives:
It was recognised that I have transformed the abstract concept of social disharmony into a visual narrative using the woodland as a visual metaphor.
My intertextual couplets are important in bridging the ideas.
Peer group participation.
Areas to develop:
Develop/research my ideas psychosocially /anecdotally on the unseen ‘hostile forces’ in the local community. This will help with my audience presentation through my artist statement. See development point 2.
Consider again the final set of main images – possible edit.
Re edit my woodland images for a final selection.
Consider the placement and presentation of the woodland images.
I revisited my BOW intentions:
Editing my BOW images
First I revisited the work on the various ways that I presented it for assessment making notes of any thoughts/observations – it has been some time since I visited this, which is helpful as I may be able to view it more objectively now.
Before I started I brainstormed my editing process:
I gave context for my work by sharing the power point I submitted for BOW. Then shared my editing board for SYP, as above.
We looked first at my main images. After some discussion there was a consensus that if I was looking for images to drop, it should be images 5 (5279), as the lighting is different, and possibly 6 (5607), as I thought. It was mentioned there could be some benefit in adding an image or two that offers different aspects of the woodland as image 3 does currently.
The group found it hard to decide on which to swap in but eventually agreed that images that showed extra aspects to the woodland would be good. Therefore, I have decided to add in possibility images 2 (5640) and 3 (5900) The group felt that these images added some extra woodland context to the other tree images.
I edited the woodland images, by reworking images 1.2.3.4.and 6. I added 3 new images 5.7. and 8. After reviewing I have eliminated original images 4 and 8 and have inserted new images 8 and 5. The peer group confirmed my choices.
Having edited my bow images for SYP, I then wrote a new Artist statement, bio, and introduction to go with the work. I did this with support from the course book and my peers in hangouts, I also studied these on photographer’s websites.
To accompany the PDF I built a website, using adobe portfolio, and an Instagram account; so, I could include links to them on my publicity PDF. These were all big learning curves for me.
Having reviewed my PDF my peers approved of the format and layout, though gave further advice on the artist statement, introduction, and bio. I subsequently altered these to be more explicit about the work, remembering earlier advice that viewers will be coming to my work cold.
I sent the PDF to my tutor on 8th April and had a reply from her on 22nd April advising me to go ahead and send out, taking into accounts her comments below:
Consider whether I should include the ‘footnote’ images as in her opinion they ‘crowd’ the document. I’ll take her suggestion to ask for feedback on this element.
She reminded me to make a bespoke approach to each addressee, explaining why I’m contacting them, encouraging them to respond by a certain date.
I now need to finish the draft above and send it out, then scheduled a tutorial to discuss responses.
Assignment 1 part 2:
I contacted a past OCA photography Graduate Anna Sellen to ask her if she would review my portfolio PDF. Anna is working as a professional photographer both individually and as a part of a collective of 6 photographers, I had not had any contact with her before.
I chose Anna, a UK based artist, living only an hour away from myself, as she graduated in 2023 and yet has successfully put her work out there and has had her work featured in many exhibitions and won several awards, for instance:
Work featured: at New Blood Art Emerging art prize 2023 at Saatchi Gallery, Open Walls Arles Vol.4 2022/23 in France, FORMAT International Photography Festival 2023, Earth Photo International Photography exhibition 2023, the Royal Photographic Society International Photography Exhibition 2022, Photoworks UK Graduate Showcase 2022, and other events.
Won awards, including: Earth Photo Sidney Nolan Trust Prize, RBSA Photography Prize 2023, Single Image Award at OpenWalls Arles and FORMAT Shutter Hub portfolio award 2021.
Also, as her projects often start autobiographically and evolve through extensive research. Transition and migration are a common thread in her work, as is belonging, so I believe that she would be interested in my work and be able to offer me some useful advice on dissemination it.
This was my contact email to her:
Hi Anna
I am in the final part of my Photography degree with the Open College of the Arts, Sustaining Your Practice, which you are familiar with. Incidentally, I am based in Newport Pembrokeshire, not far down the coast from you!
I am currently completing an assignment, which asks me to seek feedback from someone in the photography industry on a PDF preview of my work and the introduction to it. I would really value your feedback as a recent photography graduate and a visual artist, who I know sometimes works autobiographically and with transitions, and has been so successful in having work featured and awarded in events.
Any comments or suggestions you have will be gratefully received. My final product will be a book in which I intend to end with ‘footnote’ images with accompanying definitions, four of which I include in this PDF. I wonder if these samples should be included in a preview of my work, or possibly only two of them, and if you have any comments on this ‘signposting’ element of the work? I know that you will also understand the sensitivity of such work, so any suggestions on the line I am trying to tread between ambiguity and yet honesty would be helpful.
Thank you so much in advance, any insights you can give me will be really appreciated.
Anna indicated that she could respond to me after early June.
In the meantime, I used parts of the PDF as my submission to the Lens culture critic’s choice Global Call 2024—Deadline: April 17, 2024.
I paid for a written portfolio review:
This as it happened was a very useful critique of elements of my PDF as well as my work. Whilst my Publicity PDF has an Introduction, Artist Statement and Bio, Lens Culture asked for a statement about the work and a bio of under 2000 characters.
I used the bio that forms part of my publicity PDF, and to conform to their word count I combined elements of my Publicity Introduction (80%) and Artist statement (20%).
I asked the following specific questions of the reviewer:
Do the footnotes combined with the artist statement adequately signpost the story behind the series?
Can a viewer understand the concept of the woods as a visual metaphor?
The reviewer’s feedback below was very useful, especially reference parts of my Publicity PDF:
Reviewer Portfolio Feedback 26.4.24
Hi Niki-
It isn’t happenstance that you are using a forest as a metaphor for community. Fungi, aspen groves and many tree species are known to have elaborate networks of communication that bind them together. Not to mention all the other small organisms that make up the ecosystem that sustains the life of what we are seeing in your photographs. You pull any single member of the community out, and the whole forest suffers. Despite that the knowledge is out there for humans to make sense of it all, we continue to make the same, irreversible mistakes, over and over. And this project brings these questions, and more, to my mind.
In response to your request for feedback, I am still a little confused by the overarching idea that you are going for. If what I have said above rings with you, I think it would be helpful to state it somewhat directly and concisely. For example, instead of saying “The photography transforms abstract ideas in my head, into something concrete,” and defining your work as a “conceptual project,” I would simply say “What Lies Within” uses the forest landscape of [name the forest] as a metaphor for human communities and civilization.” Or something like that.
That being said, I still want to understand how you see human communities as stark contrasts to this forest communities but are using the forests as a metaphor for the human communities. Perhaps they are not a “metaphor” but a “model?” In other words, are you suggesting that these woodland spaces are a model for what it means to be a part of a community and to live in an ecosystem where all things must coexist and support each other’s life processes? Again, I am very interested in the ideas. I just think it’s a question of being clear and concise: especially when submitting to a contest like this where jurors have so little time to spend with each submission/statement.
I also don’t know if you need to include the words with their definitions beneath the photographs. I think you can say everything in the statement and then rely on the viewer’s intellect to realize that what they are seeing are prime examples of what those words represent. Perhaps you can include those exact words in your statement and then give an example of how that plays out in the woodland environments. But my sense is that this project could exist as two separate entities: image and text.
Otherwise, I haven’t talked about the images themselves. And I personally find myself getting lost in the beautiful, dense, and elaborate spaces you are creating/seeing. The compositions are complex, often surprising, and always seductive. These are hard landscapes to render, and it feels like you have an eye for figuring them out.
It’s a pleasure to discover this series, Niki. Wishing you the best of luck.
I have taken away from this review in terms of my publicity PDF:
Intro:
Be concise/direct with my overarching idea – E.g. revisit my wording “The photography transforms abstract ideas in my head, into something concrete,” and defining my work as a “conceptual project,”
Consider if I mean that the woodland is a model for an effective community rather than a metaphor – calling it a model makes sense to me and I think it is more explicit.
I used this advice to edit some of my statement info when entering my next competition:
“What Lies Beneath’ expresses my thoughts on community, using landscape of an ancient woodland to create a visual model where things coexist and support each other. Footnote images signpost its inherent qualities like diversity and cooperation. My experience of local human communities provokes the project’s concept, where conversely they are often disharmonious and driven by difference. Sadly, incomers are never accepted as local, no matter how long passes or what they contribute to their neighbourhood – a story common to settings across the globe. This work has helped to heal some of the wounds that inspired the story’s beginning.
What lies beneath the emerald wrapping, embracing their collective realm?
What lies elsewhere beneath man’s disguised demeanour, civil but deliberately divisive?
I replied to the reviewer:
Thanks for the review. It comes at the beginning of my journey to ‘put my work out there’, so is very timely.
I understand your message to be more explicit and concise when conveying my ideas to viewers/reviewers and thank you for the practical ideas that you have given that I can consider in a reformatting of the project.
It was a very thoughtful, useful review.
Thank you!
Ann Sellen OCA Post graduate photographer, met with me by video call 17th June to review my portfoilio PDF. These were the main points of her review:
She understood the concept/intention of my work easily.
Said the images strong and particularly like them when presented largest. Many reviewers never read the text so the images must stand out.
Thinks the ‘footnotes’ are confusing in the context of the publicity pdf as the images are so different they jar with the rest.
Suggested that I shorten the introduction, explaining that reviewers want their attention grabbed quickly or they just move on.
Suggested renaming the ‘introduction’ as ‘project statement’
Liked my poetry and thinks it sits well with the images.
My learning and action points for the PDF:
Shorten the introduction and rename it as project statement.
Omit the footnotes from the publicity pdf but include at the end of the book as I intended and at the end of any portfolio review.See if I can enlarge slightly the images that sit with the poetry, and/or add a separate page for the text as I will in my book.
Have some extra images available for any portfolio review
I will combine this with the suggestions from the Lens Culture reviewer and my Tutor:
• Be concise/direct with my overarching idea – E.g. revisit my wording “The photography transforms abstract ideas in my head, into something concrete,” and defining my work as a “conceptual project,”
• Refer to the woodland as a model, rather than a metaphor, for an effective community.
In this I reduced and revised my introduction, Artist statement and Bio as below:
Original introduction
Ancient woodlands are complex communities, with trees at their heart; they envelop your senses, encouraging you to slowly absorb what you see and feel, wake your subconscious, and inspire reflection. This body of work is a personal response to a dynamic landscape, both internally and externally.
The photography transforms abstract ideas in the photographer’s subconscious into something concrete, via a visual representation of another subject, positing an ancient woodland as a visual metaphor for community.
Though humans provoked the concept of the work, they are not evident in the images. The Photographer’s local community often disharmonious and driven by difference, contrasts with harmonious characteristics of these woodland societies. Inherent qualities like cooperation, support, diversity, resilience, inclusion, networking, mutual exchange, and adaptation, could be beneficially adopted in many human communities.
As an observer of her neighbourhood, well known and accepted for numerous years, the photographer finds in common with others that incomers here are never adopted as local, no matter how long passes or their contribution to the community. This story is common to settings across the world.(177 words)
Project Statement
‘What Lies Beneath’ expresses my reflections on community using the landscape of an ancient woodland to create a visual model where things coexist and support each other. Here I transform my subconscious thoughts into something concrete.
Though humans provoked the concept of the work, they are not evident in the images. Unlike woodland communities, the local community is often disharmonious and driven by difference. The woodland’s harmonious, inclusive characteristics would benefit human communities where sadly ‘incomers’ like me, are never accepted as local, no matter how long passes, or what they contribute to society – a story common to settings across the world.
In this work combining the world in my head with the one in front of me, has helped to heal some of the wounds that inspired the story’s beginning. (132 words)
Original Artist Statement
I use landscape and documentary photography as mediums for expressing my observations and reflections on communities. ‘What Lies Beneath,’ a conceptual landscape photographic project, builds on my previous documentary work ‘Layers of Truth,’ where in my insider-outsider position, I highlighted the issues and various truths arising from ‘incomers’ relocating and trying to integrate into a small traditional community.
My photographic style is shaped by research on ‘affect’ (expressing what is in a photographer’s mind) versus ‘effect’(realism); I photograph in a metaphorical manner. Artistically I am influenced by photographers who create images as metaphors for something beyond the subject photographed, such as Minor White and Alfred Stieglitz; and by writers like John Szarkowski who explore the differences between photographs as mirrors for expression, beside images as windows that share reality.
I find combining the world within my head, with the one in front of me, cathartic. This internal and external passage through the landscape, has helped me to accept and heal some of the wounds that inspired it’s beginning. (168 words)
New Artist Statement
I use landscape and documentary photography as mediums for expressing my observations and reflections on communities.
My photographic style is shaped by research on ‘affect’ (expressing what is in a photographer’s mind) versus ‘effect’(realism); I photograph in a metaphorical manner. Artistically I am influenced by photographers who create images as metaphors for something beyond the subject photographed, such as Minor White and Alfred Stieglitz; and by writers like John Szarkowski who explore the differences between photographs as mirrors for expression, beside images as windows that share reality.
I find combining the world within my head, with the one in front of me, cathartic. This internal and external passage through the landscape, has helped me to accept and heal some of the wounds that inspired it’s beginning. (126 words)
Original Artist Bio
Niki South was born and grew up in Surrey in England. From 1995 she began holidaying in Pembrokeshire in Wales with her husband and two children; this culminated in buying a second home there in 2009 and transitioning to a ‘dual centre’ life, between the two places.
She is currently completing her BA (Hons) Photography degree with the Open University. Her previous documentary work ‘Layers of Truth’ was informed by her life as a ‘second homer,’ observing local issues from afar, when unable to travel to her favourite home by the Covid 19 safety enforcements. In 2019 she relocated there permanently. (101 words)
New Bio
Niki South is a visual artist born in England, now living in Pembrokeshire Wales. Visiting Pembrokeshire she found a hiraeth (deep longing for the place) and spent many years living a ‘dual centre’ life, between the two places, until relocating there permanently. She is currently completing her BA (Hons) Photography degree with the Open University.
Her previous documentary work ‘Layers of Truth’ was informed by her ‘insider/outsider’ position where she highlighted issues arising during Covid 19 from ‘incomers’ trying to integrate into a small traditional community. (86 words)
Having taken your tutor’s comments on board, use your PDF document (or, if applicable, a hard copy portfolio) to get some feedback from a professional photographer or another professional from within the industry. This could be done via a portfolio review or by a contact you already have. (Boothroyd, S. and Alexander, J; 30, 2020)
PDF review with Ann Sellen OCA Post graduate photographer
I asked Anna , who I had not had contact with previously if she would review my portfolio PDF. I chose Anna, a UK based artist, living only an hour away from myself, as she graduated in 2023 and yet has successfully put her work out there and has had her work featured in many exhibitions and won several awards, for instance work featured at New Blood Art Emerging art prize 2023 at Saatchi Gallery, Open Walls Arles Vol.4 2022/23 in France, FORMAT International Photography Festival 2023, Earth Photo International Photography exhibition 2023, the Royal Photographic Society International Photography Exhibition 2022, Photoworks UK Graduate Showcase 2022 and other events. Her work won awards, including Earth Photo Sidney Nolan Trust Prize, RBSA Photography Prize 2023, Single Image Award at OpenWalls Arles and FORMAT Shutter Hub portfolio award 2021.
Also, as her projects often start autobiographically and evolve through extensive research. Transition and migration is a common thread in her work, as is belonging, so I believe that she would be interested in my work, and be able to offer me some useful advice on dissemination it.
This was my contact email to her:
Hi Anna
I am in the final part of my Photography degree with the Open College of the Arts, Sustaining Your Practice, which you are familiar with. Incidentally I am based in Newport Pembrokeshire, not far down the coast from you!
I am currently completing an assignment, which asks me to seek feedback from someone in the photography industry on a PDF preview of my work and the introduction to it. I would really value your feedback as a recent photography graduate and a visual artist, who I know sometimes works autobiographically and with transitions, and has been so successful in having work featured and awarded in events.
Any comments or suggestions you have will be gratefully received. My final product will be a book in which I intend to end with ‘footnote’ images with accompanying definitions, four of which I include in this PDF. I wonder if these samples should be included in a preview of my work, or possibly only two of them, and if you have any comments on this ‘signposting’ element of the work? I know that you will also understand the sensitivity of such work, so any suggestions on the line I am trying to tread between ambiguity and yet honesty would be helpful.
Thank you so much in advance, any insights you can give me will be really appreciated.
Bi-Monthly group mentorship session with Natasha Caruana
Monthly workshop covering professional and personal development
Monthly crit give and receive feedback on your work
24/7 support from a members only co-working space
Special Projects real opportunities to network and get your work out there
It is very expensive: monthly: £59 per month, quarterly £162. annually: £612 charged once a year.
I might consider joining if I can get a reduced rate for a couple of months to access past and upcoming workshops (Feb 11th Finding and engaging your audience, March 25th getting published and commissioned, April 29th funding an artist book, Jun 10th Crowd funding, Aug 26th Project planning, Aug 19th Submitting for open calls, Jul 22nd Writing a book.
28.6.24 I wrote:
Hi Natasha,
I was recommended by a fellow photographer who has graduated to investigate what your online art school has to offer. Can you give me any more details than your website on what you offer other than crit groups and artist conversations please.
I see on your schedule about one workshop a month and that these are recorded and available to members – does that include the previous ones if I joined as you have one or 2 previous ones that may be interesting to me, and if so how far back would I be able to look for previous recordings that would be relevant to me?
Joining would be an expensive outlay for me as a student – would you beable to let me have acess to a recording say to see if what you do is right for me?
Prepare a PDF document with the intention of showing it to an industry professional and asking them politely for a short piece of feedback. This should contain an edit of the work you produced for Body of Work. You may wish to include an overarching artist’s statement as well as the introduction you wrote in Body of Work. In the first instance, you’ll use this to introduce your work and your ideas to your tutor who will give you suggestions on the submission itself and how to enhance the PDF before sending it out. Please tell your tutor who the PDF is intended for and include some background information on how you’ll contact them. Make sure that you’ve researched the form your submission should take; some organisations still ask for a CD/DVD, for example, which you should prepare in advance. (Boothroyd, S. and Alexander, J; 30, 2020)
Thank you very much for sharing your draft. It reads well.
However, the footnotes seem rather crowded and I’m not convinced they are needed; perhaps consider omitting these, or perhaps include a question asking specifically asking for feedback on this element when sending out?
Call for Online Exhibition / Paper Exhibition Catalog Release
FREE ENTRY
The call is aimed to artists, photographers, video makers and visual digital designers, open to any style, genre and subject. invited to submit 1 up to 3 works addressing the theme.
SUBMIT 1 TO 3 WORKS 5mb each max
The theme of our online exhibition – and for which it sees the paper release of its catalog – refers to those indefinite places and contexts, fantastic places in which to get lost, places of escape from reality where freedom is experienced by rediscovering that sense of union and harmonious cohesion with the environment. Places that reveal the personal perception of the world and the authentic emotional experience, where the “self” is transported by osmosis into a timeless and “placeless” space.
Statement Max 80 words: No statement will be published if exceeded
The image is from my series ‘What Lies Beneath’, which expresses my thoughts on community. Here the ancient woodland landscape provides a visual model of an environment where diverse beings coexist supportively; the perfect antidote to my own often disharmonious local community. This photograph is a portal to a cohesive peaceful community.
What lies here beneath the willing emerald wrapping, accepting their collective realm?
What lies elsewhere beneath man’s disguised demeanour, civil but deliberately divisive?
TITLE WORK#2 What Lies Beneath: Harmony
Media: Photograph
Year of realization: 2024
This is the second image in my series ‘What Lies Beneath’, expressing my thoughts on community. Here the landscape of an ancient woodland creates a visual model of living harmoniously, a contrast to my local human community. Though the environment may initially appear chaotic, on closer sight it shows that freedom of individual parts can also bring strong unity.
What lies here beneath the luminescent selfless sheaths, accepting mutual benefit?
What lies elsewhere beneath undesired need, acknowledged but resented?
TITLE WORK#3 What Lies Beneath: Reciprocity
Media: Photograph
Year of realization: 2024
This is the last in my series of images ‘What Lies Beneath’, expressing my thoughts on community. Here the landscape of an ancient woodland creates a visual model where things adapt empathetically, in contrast to the local human community. This photograph offers an escape to a welcoming environment delighting in the reciprocity that is possible in a community.
What lies here beneath the softest downy dress, sharing nourishment contentedly?
What lies elsewhere beneath community spirit, concealed but festering? 79
Confirmation email 9.6.24
Dear Artist
This is a communication from LoosenArt to confirm that your submission has been received.
We remind you that the selected works list and the online exhibition will be published during August 2024. The selected artist will be informed via email by LoosenArt about the online exhibition post and paper catalog release.
This was my first successful Magazine submission and success was based not just on the images I submitted but the Bio, artist/project statements submitted. I had learnt to adapt my artist statement and bio for specific audiences and specifications (this entry was my 7th adaptation). It seems I’m getting better at matching pitches to audiences.
It was also the 1st time that I had to approve a proof copy of my work.
I share the news and promoted my work on instagram:
What? Get your work published in our beautifully designed & carefully curated July and August 2024 print issues!
Features are in between 2 and 4 pages long and include in between 1 and 6 of your works, accompanied by your artist bio & statement, website & social media handles
Interviews are in between 4 and 12 pages long and give you the chance to speak about your path towards becoming an artist, your practice & specific projects you’d like to highlight, your creative process, upcoming projects, and more.
Q&As are in between 4 and 6 pages long and are a shorter version of our interviews that allow artists to speak about their work, inspiration, projects, and themselves.
All artists will receive photos of their physical pages that they are free to use on their social media accounts & website
All artists will be featured on our Instagram account
Print issues will be available for purchase internationally through print on demand
How to submit? Fill out the form below and – send a maximum of 6 works to submissions@suboartmagazine.com, subject: JULY 2024. Pictures can be sent through WeTransfer (preferred), Google Drive, Dropbox, attached to email
Pictures requirements
JPG or PNG (no .heic or tiff)
named: First Name_Last Name_Title_Year_Technique_Size
high resolution (preferably 300 dpi & 31 cm on the longer side, but other resolutions/ sizes are okay, too)
Information requirements
Biography (150 words max. Please do not just copy your CV or exhibition list)
Artist or Project Statement (150 max. 1st or 3rd person)
After submitting, please don’t forget to send up to 6 pictures to submissions@suboartmagazine.com, Subject: JULY 2024. All submitted pictures must be high resolution, ideally 300 dpi.
Fees: To be as inclusive as possible, there is no submission fee to apply to this open call. Upon selection, there is a non-refundable participation fee of 30€ (33$ USD) that allows us to keep on doing what we’re doing. The fee includes a free digital copy of the magazine (PDF) and photos of the physical pages that artists are free to use on their media channels and website. The publication fee doesn’t include a free printed copy of the magazine.
What else?
Print issues will be available for purchase internationally* via print on demand through a link on our website (printed by our partner Peecho), and digital copies of the magazine will be for sale on http://www.suboart.com/shop
All artists will get photos of their physical pages and will be featured on our Instagram account
It’s not a problem for us if the works have been published in other publications before.
Deadline: Wednesday May 29, 2024 11:59 p.m. EST
All artists will receive feedback until June 12. In case you don’t hear from us by mid June, please do reach out to us.
The publication fee includes a picture of the physical pages that the artist is featured on. Artists have permission to use these photographs on their websites, newsletter and social media channels, always crediting Suboart Magazine as the copyright owner of the images.
The Print Issues will be available for purchase through our website via print on demand.
Digital issues will be available for purchase on our websites (www.suboartmagazine.com & http://www.suboart.com).
The July 2024 print issue is scheduled to be released in July 2024 and the August 2024 print issue is scheduled to be released in August 2024.
MY SUBMISSION
Artist Bio
Niki South is a visual artist born in England, now living in Pembrokeshire Wales. Visiting Pembrokeshire she found a hiraeth (deep longing for the place) and spent many years living a a ‘dual centre’ life, between the two places, until relocating there permanently. She is currently completing her BA (Hons) Photography degree with the Open University.
Niki uses landscape photography as a medium for expressing her particualar reflections, photographing in a metaphorical manner. Her work is shaped by research on ‘affect’, expressing what is in a photographer’s mind, versus ‘effect’, realism. Her previous work ‘Brexit’ expressed her reflections on an issue of that moment.
Her photography is a personal response to dynamic landscapes both internally and externally. She finds combining the world within her head with the one in front of her cathartic. (133 words)
Artist Statement
These images from my series ‘What Lies Beneath’, express my reflections on community using the landscape of an ancient woodland to create a visual model where things coexist and support each other. Here I transform abstract ideas in my head into something concrete.
My experience of local community provokes the work, where conversely humans are often disharmonious and driven by difference. The harmonious, inclusive characteristics of primeval woodland societies, such as cooperation, support, and adaptation, would benefit human communities where sadly ‘incomers’ like myself, are never accepted as local, no matter how long passes – a story common to settings across the globe.
Combining the world in my head with the one in front of me, has helped to heal some of the wounds that inspired the story’s beginning.
What lies beneath the emerald wrapping, embracing their collective realm?
What lies elsewhere beneath man’s disguised demeanour, civil but deliberately divisive? (150 words)
I had an exciting email 13.6.24
Dear Niki,
Thank you for submitting toSuboart Magazineand congratulations! We’re excited to let you know that your work has been selected to be part of our August 2024 print issue.
What you’ll get from us
A beautifully designed two-page feature that will showcase in between one and 4 of your photos and will include your biography, artist statement, website and social media account
A photograph of the pages that you’ll be free to use on your website, socials & newsletter
A digital PDF copy of the magazine & promotion on our Instagram page through posts or reels or stories
Time to proofread your feature before publication to make sure everything turns out perfectly
As mentioned during our open call, there is a non-refundable participation fee of 30€ ($33 USD) that allows us to keep on doing what we’re doing. The fee doesn’t include a free printed copy, these will be available for purchase via print on demand through a link on our website.
To confirm your participation in Suboart Magazine August 2024, please pay the fee until TuesdayJune 18. We’ll send you a confirmation once we receive the payment.
Please let us know if you have any questions, we look forward to hearing from you!
AOP ACCREDITED COURSE GRADUATING STUDENTS ONLINE PUBLICATION ISSUE PDF
Dan Robinson our BA course leader sent by email an invite to participate in AOP Accredited Course graduating students’ online publication (issuu Pdf) – v short notice opportunity with deadline next week!
AOP confirmed we can include any BAPH student graduating 2023-24.
If you would like to participate please drop me an email / follow this Gfolder link to add your details OCA AoP 23-24 showcase folder (to upload images, permissions form, text and guidance) Our internal OCA deadline is 11am this Monday, 10th June for your materials, to allow OCA time to assemble and layout a PDF
I duly uploaded an image and information to the shared folder and the permissions details requested:
Programme Leader/Tutor Name: Dan Robinson/Jayne Taylor
Title of work (please list each work submitted and include your name and the name of the work in the jpeg file name).
What Lies Beneath: Community
Media: Photograph
Dimensions: 4×5 ratio (Currently 13.85 x 17.31 cm)
Year made: 2024
Permission to use internally within OCA: Yes
Permission to use externally by OCA: Yes on Instagram post as agreed.
If permission is given for use by OCA Instagram please include your Instagram account (if you have one) to link to: nikiks_photography
If permission is limited, please specify below the permissions you are granting in terms of image use: Copyright remains with Niki South, the image and the ratio must remain as original given.
The OCA kindly put together a pdf of our work see below:
Entry information. Start date: 2 April 2024 Deadline: 24 May 2024 now 29th
The AOP Student Awards were established in the early 1980s, to recognise and highlight emerging photographic talent which existed in further education institutions across the UK. Many of the AOP Student Awards winners go on to become discovery winners as assisting photographers and then as professional photographers for our AOP Photography Awards, as we pride ourselves on nurturing talented photographers throughout their career.
Details and Terms
Entry to the AOP Student Awards 2024 is open to all students (including those from overseas) studying photography in the UK at FE level or higher.
Best in Show plus Gold and Silver winners, along with selected finalists, will have the chance to be showcased and appear in the official 39th AOP Photography Awards Book which is published in time for AOP Awards Showcase in late September 2024.
Entries are welcomed as: Stills, A single image, or series of up to 4 images can be entered, created by a person. Moving image
Entry Procedure, Technical Specification and Format – Stills
Stills Images or Series submitted online should be:
RGB and in JPEG format.
3500 pixels along the longest edge.
With a resolution of 300 dpi.
Your final file size must not exceed 10 megabytes.
Please make sure you read the Terms and Conditions in full to ensure your entry is within the competition guidelines and can be accepted. Finalists’ entries will be displayed indefinitely on the AOP Awards website. No copyright is transferred to the AOP in respect of any works entered or accepted.
This submission was the most time consuming that I had done.
There were specific parts of the Parts of T&Cs that I was alert to:
1.3 Any membership subscription fees (if payable, i.e., you are not on a free membership) must be fully up to date. If your membership is terminated or resigned prior to the presentation of the AOP Student Awards 2024 the Entrant will be disqualified and any successful entry/ies removed. I had to update my student membership which had lapsed and this gave me a discounted entry.
7.3 Entrants may caption or title images, however, please note that they will be re- named within the AOP entry system, for unique and anonymous identification purposes.
7.4 Filenames must only contain letters (upper or lower case, and/or numbers (0 to 9), and/or underscore character “_” plus the suffix “.jpg”. Any other characters including further dots, hyphens or spaces could result in your file being rejected during the upload process.
7.5 Images submitted online should be: • RGB and in JPEG format. • Optimised for sRGB colour space (see 7.6, below). • 3500 pixels along the longest edge. • Your final file size must not exceed 10 megabytes.
7.6 You are responsible for preparing your images for viewing on a monitor, so we suggest that images are targeted/optimized for, and tagged with, the sRGB or sRGB IEC61966-2.1 colour profile (and not Adobe RGB or any other working- or output-space profile).
7.7 All images must contain metadata embedded in the image, and include your name, caption and description of the image. Any image without metadata with be returned to you to complete in a timely manner. An image may be disqualified if metadata is not completed.
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MY SUBMISSION
I entered 4 images as places:
Project title: What Lies Beneath
Project description: 2000 words
My preparation: Keep it simple and factual. Clear and thoughtful. most essential information. The statement should support the image in the best way possible.
1. What is the work? ground the viewer in what those images are and their context.
2. How did I make it? who you are and what drew you to that project, what was the thing that first got you excited about that project, point of attraction, point of curiosity, point of excitement, subject matter, and that form of expression.
3. Why did I make it? Tell us a little bit about your process.
4.Why did you choose to represent these images as you did.
I researched the places judge and concluded that I should angle my statements towards diversity and inclusion – perfect for my work.
Judge for Places: Sachini Imbuldeniya, CEO House of Oddities. ‘difference makes a difference’, she has dedicated her career to making the creative industry a more equitable and inclusive space both in front of and behind the camera.
My AOP Student Awards Submission
What Lies Beneath – Image 1: community 2: Harmony 3: cooperation 4: reciprocity
About the work up to 2000 characters:
What Lies Beneath
The images are taken from my body of work ‘What Lies Beneath’, a series of images taken in an ancient woodland. Here I use the landscape as a medium to express my observations and reflections on community. The photography transforms abstract ideas in my head into something concrete, positioning the ancient woodland as a visual metaphor and model for community. It is work is a personal response to a dynamic landscape, both internally and externally.
My experience of my local community provokes the project’s concept, and though humans provoke the concept of the work, they are not evident in the images. The local neighbourhood, often disharmonious and driven by difference, is a stark contrast with the harmonious and accepting characteristics of the woodland society, which I hold up as a model for diversity and inclusion. As an ‘incomer’ living alongside and accepted by most for many years, I find in common with other incomers that we are never adopted as locals, no matter how long passes or our contribution to the community. This story is common to settings across the world.
Inherent qualities like cooperation, support, diversity, resilience, inclusion, networking, mutual exchange, and adaptation, could be beneficially adopted in many human communities, and in my body of work I include closer images of woodland components to represent and signpost these characteristics.
Combining the world in my head with the one in front of me, through an internal and external passage through the landscape, has helped to heal some of the wounds that inspired the story’s beginning.
What lies beneath the emerald wrapping, embracing their collective realm?
What lies elsewhere beneath man’s disguised demeanour, civil but deliberately divisive?
Niki South (279 words 1938 characters with spaces)
Images with Titles and up to 100 characters
1. Community. This is the second in a series of images for my body of Work ‘What Lies Beneath’. The series expresses my thoughts on community, using the landscape of an ancient woodland to create a visual model where things coexist, are inclusive and support each other. My experience of local community provokes the concept of the work, as its characteristics are in stark contrast to the woodland, often disharmonious, discriminating and driven by difference. This image is an entry portal to a diverse community.
What lies here beneath the willing emerald wrapping, accepting their collective realm?
What lies elsewhere beneath man’s disguised demeanour, civil but deliberately divisive?
2. Harmony. This is the first in a series of images for my body of Work ‘What Lies Beneath’. The series expresses my thoughts on community, using the landscape of an ancient woodland to create a visual model where things coexist, are inclusive and support each other. My experience of local community provokes the concept of the work, as its characteristics are in stark contrast to the woodland, often disharmonious, discriminating and driven by difference. This image initially appears chaotic, however on closer sight the community is harmonious and supportive.
What lies here beneath the luminescent selfless sheaths, accepting mutual benefit?
What lies elsewhere beneath community spirit, concealed but festering?
3. Cooperation. This is the fourth in a series of images for my body of Work ‘What Lies Beneath’. The series expresses my thoughts on community, using the landscape of an ancient woodland to create a visual model where things coexist, are inclusive and support each other. My experience of local community provokes the concept of the work, as its characteristics are in stark contrast to the woodland, often disharmonious, discriminating and driven by difference. This image showcases cooperation in a complex and diverse community.
What lies here beneath the verdant creeping coverlet, collectively enjoying comfort?
What lies elsewhere beneath deceitful welcomes, smiling but spreading spite?
4. Reciprocity. This is the last in a series of images for my body of Work ‘What Lies Beneath’. The series expresses my thoughts on community, using the landscape of an ancient woodland to create a visual model where things coexist, are inclusive and support each other. My experience of local community provokes the concept of the image, where its characteristics are in stark contrast to the woodland, often disharmonious, discriminating and driven by difference. This image demonstrates the inclusive reciprocity that is possible in a community.
What lies here beneath the abundant enveloping eiderdown, slumbering peacefully together?
What lies elsewhere beneath acceptable appearances, charming but prejudiced?
The technical requirement led to some learning, particularly about metadata.
The submission requirements for the word elements were revealed only at each part of the online submission. For instance, having written my 2000 character statement I hadn’t known that I would then be required to give a 1000 character statement for each image – this entailed some redrafting of earlier statements.
It was interesting angling the submission towards the ‘places judge’ – a good test.
Though it was time consuming I enjoyed the challenge of this submission.
Selected to participate in the exhibition 3rd-30th October physical and online exhibition
This was my first competition/physical exhibition success. I’d submitted the maximum of 8 images and had one chosen. The call was for emerging and established photographers, UK and international.
Unlike other submissions they asked for little information on the work simply: Niki South, British, living in Wales. The work is from my series ‘What lies Within’ found on my website: https://nikisouth.myportfolio.com .
From this I gather the image chosen was strength of the image.
A screenshot from the physical gallery (my image top right)
A screenshot from the online gallery (my image top left)
I was not able to get to the exhibition and they don’t post all exhibited photographs on their website, but I did receive a certificate of my participation in the exhibition.
SUBMISSION PROCESS
The Glasgow Gallery of Photography’s Green exhibition. Deadline: 24th May 2024
SUBMISSION INFORMATION: The Glasgow Gallery of Photography is running a month long exhibition in October called Green, the first part of their secondary colour series, in which they ask photographers to submit images that focus on one of the secondary colours. For this exhibition the focus will be on the colour Green. They want to see images that really showcase the colour green in your photography, whether that is in nature or an urban setting, in a portrait or still life, any style/genre of photography is welcome as long as it fits the theme of Green.
Green is an open call for photographers to submit up to 8 images for an exhibition with the theme of the colour Green.
Photographers who are selected will have their work displayed in a month long exhibition in the gallery, with their work also appearing online in an online gallery on the website.
All participants that are selected to take part in the exhibition will receive a digital certificate of participation and will also be put forward for a chance to be named Photographer of the Month.
We want to see work from both emerging and established photographers. You do not need to be a professional photographer to participate they believe that photography is for everyone.
Both Scottish and International photographers are welcome.
How to participate: Submission are FREE. If your work is selected there will be a participation fee of £48.00. This fee covers the cost of everything, printing, installation and un-installing the work the gallery space. * the frames used belong to the gallery*. Unless otherwise stated images will either be printed 18″x12, 16″x12″, or 12″x12″ in size depending on the image.
Submission rules:
1. Choose up to 8 images that are 300ppi and 3000 Pixels minimum on the shortest side.
Work will be displayed various sizes depending on the image selected. (You will be asked to resubmit if you do not follow these guidelines)
2. Name your image files with your name e,g Firstname-Surname1, Firstname-Surname2, etc. If you do not name your files correctly, it could result in your files getting lost or misplaced. Please only use your name, do not include image titles or any other information, this can be added elsewhere in you submission.
3. Make sure your images are JPEG files. We can only accept jpegs as this is what the printing company that we use requires.
4. Send your 1 – 8 files using either Wetransfer or Dropbox (which are free to use) to our submission email address submissions@glasgowgalleryofphotography.com. Please do not send image via email as this tends to compress your files. Also please send all your images at the same time, and not one image at a time.
5. Please remember to tell us your name, nationality and/or where you reside (these will be displayed along with your selected images) which exhibition you are submitting to e.g Green.
If you are selected to participate or on the reserve list, you will be notified by email. Those not selected will not be notified. If you have been selected and you wish to participate, this is when you can supply us with addition information such as titles of works, or the series it comes from, website links and social media handles. This information will be added to the online gallery for this exhibition.
Thank you for your submission to the Green Exhibition (3rd – 30th October 2024).
I am pleased to confirm that you have been selected to participate in this exhibition.
We now ask that you pay the participation fee of £48, so that your work will be part of this exhibition. Your work will not be printed for exhibition until the participation fee is paid.
I have attached a screenshot of the work selected to be part of the exhibition, please do not share which image has been selected before the exhibition starts.
Fees need to be paid by 5pm (UK Time) 12th June 2024. If the fee is not paid by this date your work will not be part of this exhibition and the opportunity will be given to someone on the reserve list.
If you no longer wish to participate in the exhibition please let us know at the earliest opportunity so that we can offer the space to someone else.
If you would like us to share your social media link or website please let us know before the start of the exhibition.
For more information about taking part, selling (including a pricing guideline) or collecting your work please read our website’s Information for Participants page here: https://www.glasgowgalleryofphotography.com/q-a
If you wish to do any of the above please let us know at least one week before the start of the exhibition.
Also please make sure that you are signed up to our mailing list on our website as this will be the best way to keep up to date with what is happening at the gallery.
If you have any further questions please do not hesitate to contact us.
I obviously duly paid my participation fee and sent them further details they requested see below and their reply:
On Sat, 8 Jun 2024 at 16:30, Nicola South <niki.south@hotmail.com> wrote:
Hello Elaine
Thank you for letting me know that I have an image in the exhibition. I have made the £48 payment via the link that you sent, my card holder name for the payment is Nicola South, see email conformation of payment attached.
Details you have requested:
• The image is titled: What Lies Beneath: Community. At the time of originally submitting to you I named it ‘What Lies Within’. If the change of name to ‘What lies Beneath’ is a problem, then do stick with the name that I labelled the work with at the time of submission.
• The title of the series that the image that has been chosen comes from is: ‘What Lies Beneath’,
At the end of the exhibition, I would like my print to be available for sale and promotion for 3 months, however I am happy to donate my print to the gallery to sell and use the proceeds towards the running of the gallery. I trust that works as an option, if not please let me know.
Many thanks
Niki South
9.6.24
Hi,
That’s great, thanks for letting me know. I have made a note of all your details and the title change is fine. If you have any other questions please let me know.
All the best,
Elaine Springall
Exhibition Coordinator
I will post the good news on Instagram soon and wait to see the online exhibition in October.
This group formed and ran over the past few years and has continued as some have graduated for the others at the final stages of their careers. It is both highly critical and supportive, and has been invaluable to all involved. We also support each other by email outside of the monthly hangouts
Student led hangout 18.5.24
Michelle (postgrad) is enrolled for MA at Falmouth
Neil about to exhibit
Miriam is preparing her exhibition
Sue is preparing for her post grad exhibition
We had a long discussion about assignments 2 and 3.
Assignment 2: I asked how when for various reasons I had little desire to engage with an audience, and therefore how I could meet that criteria.
Suggestion that it just needs to be seen that I have been through the thought process for organising and costing my end product, and explored how I could maximise my photography if I want to. Ultimately I can explain why I feel my work is sensitive and I don’t want to put it out there.
I had these thoughts during the meeting:
I could explore crowd funding and then discount the idea. See shared files for Helen’s stuff on crowd funding and interview Helen- she found it more difficult than she thought she would.
Explore various book publishing companies to get comparison qualities and prices (dummy quotes). Book companies: ExWhyZed suggested as helpful in answering questions and giving advice. For costings try Mixam, Blurb, Lulu books, Mpix.
Ultimately I could explain why a scenario is too costly and rule it out. Apparently it is about showing the problems I encounter and how I overcome them or change the plan.
Michelle suggested if cost is an issue is to look at getting a zine published instead (A4/A5 booklet).
Assignment 3: Miriam and myself asked for advice on Assignment 3.
Recommendations given:
Very difficult to get industry professionals to answer surveys, Sue had 3 responses from 60 and Lynda 11 responses from 180. Sue researched curating and Lynda book publishing. Lynda has one F:F by zoom.
Lynda did a domestika photo book course and formed her 18 survey questions from there.
My thoughts:
I could look back for exhibitors at the Bristol photo book fair I visited last year – find list of contributors.
Shutterhub may consent to sending a survey out and ?….Harvey might take part. See Dec?23 open exhibition at Cambridge for list of contributors.
NIKI SOUTH 