2431 by Todd Hido

A few weeks ago, we at JBP had the distinct pleasure of releasing a luscious new edition on 20x200 by photographer Todd Hido: #4124 from the series House Hunting. If you're any kind of photography aficionado, there's a very good chance you knew of Todd's work far before this edition release, which is part of the permanent collections of the Whitney Museum, Guggenheim, SF MoMA and LACMA. Todd has also published four stunning and hard-to-come-by books: House Hunting, Outskirts, Roaming and Between the Two, with a fifth book, A Road Divided, forthcoming this year from Nazraeli Press. All of this—and of course working with Todd and his images themselves—made us ineffably excited to share this photograph with all of our collectors.

As Jen wrote about Todd and his photographs:

He was one of the first people who showed me the path of "art for everyone." In part, because my first experience with his work was meeting him at a book signing. The signed copy of Roaming that I got that day was my first experience of an "art book" that had deep resonance for me. It is personal and universal and democratic all at once. But it was the interaction with him at the gallery that opened the door for me--the universality of the experience and emotion that the work depicted, combined with the democracy of having access to such an evolved body of art work because it was presented in the form of a book.

Like a lot of great artists, like, say, Raymond Carver, Todd's making something beautiful, deep and moving out of the mundane--taking our every day and creating moments that feel so nostalgic and familiar, but are uniquely his own.

#4124 from the series House Hunting by Todd Hido

So, it is with great pleasure that I announce the addition of Todd to our already-outstanding panel, lending his astute eye as both artist and educator to reviewing the work submitted by all of you contenders. Join us in welcoming him, and take some time this long weekend to send us your best work!

South Powerhouse, Point Pleasant, West Virginia, 2010 by Joshua Dudley Greer

A few weeks ago we posted "A Word About the Judging Process" by HHS! Panelist Darius Himes. Having reviewed many entries to the competition over several years, he gave this piece of advice about what he looks for in a successful entry, "Give me 5 strong paragraphs all from the same story and I will start to get a sense of your craft and coherent artistic vision." Granted, this is the opinion of just one of our diverse group of panelists, but Darius' words have been jumbling around in my head since I read them.

Sometimes when I see a series of photos, I'm left grasping for more information; some writing to elucidate or underpin the work. But before I had even read the attached historical background, I feel like I knew the story behind Point Pleasant, a series by contender Joshua Dudley Greer.

I've never been to Point Pleasant, West Virginia, but looking at these photos, how could you not grasp the dried-up and deep rooted contamination? The images wordlessly tell me the story of this place.

Dead Deer, Point Pleasant, West Virginia, 2010, by Joshua Dudley Greer

About the history of Point Pleasant, Joshua writes:

The West Virginia Ordnance Works (WVOW) was an explosives manufacturing facility constructed during World War II just outside Point Pleasant, West Virginia. Occupying 8,000 acres along the Ohio River, the WVOW was built specifically for the production and storage of trinitrotoluene (TNT). The site was officially declared surplus and closed in 1945, when much of the land was deeded to the state of West Virginia for the creation of the McClintic State Wildlife Management Area. In the early 1980's, EPA and state investigations revealed that the groundwater, soil and surface water of this area were heavily contaminated with TNT, trinitrobenzene, dinitrotoluene, arsenic, lead, beryllium and asbestos. The site was placed on the EPA's National Priority List in 1983 and extensive cleanup efforts began in 1991. While a large portion of the original facility has been remediated, many of the toxic and explosive contaminants were simply buried on site. The landscape that remains is a haunting place of beauty, mystery and violence.

Beyond the history, there are stories that I can draw from this landscape. One is a kind of ominous prediction: nothing can live here and maybe nothing ever will again. Gnarled tree branches reclaim a storage bunker. The ruins of a building are juxtaposed with the carcass of a deer. The elements of nature that have managed to survive are like zombies.

TNT Storage Igloo N7-E, Point Pleasant, West Virginia, 2010 by Joshua Dudley Greer

My favorite progression in the series is a Becher-esque documentation of the "igloos" which were once used to store TNT and are now being subsumed by the landscape. On Joshua's website, you can click through bunkers photographed at the same angle and scale to witness different states of regress. Eventually the bunkers will become indistinguishable from the surrounding trees, but the regrown landscape is not lush, it's foreboding.

It's the photographs, not the text that give me me this feeling. But that was just one reason that I was reminded of what Darius wrote. Another is that, though Joshua's entry consisted of just images from Point Pleasant, I found many interesting yet unrelated (or only semi-related) bodies of work on Joshua's website. To create such a tight edit of a large series and to pick just one body of work out of many is no small feat. You can visit Joshua's website to view the Point Pleasant series in full and explore Joshua's other work.

Caroline J. Hancox allows herself a wide variety of tools in order to hit exactly the right note of dream-like, chroma-intense ephemerality that characterizes this body of work. Sometimes shooting with a Holga (which renders a soft vignette-effect on the frame's edges and an overall lack of crispness), sometimes with a Polaroid (which yields those incomparably rich palettes) and still sometimes with a high-end medium-format camera (which gives you big, fat and detailed negatives to work with), I have an image in my mind of Hancox choosing her tools for each photoshoot with the same intuition that a seasoned cook would employ in choosing the right knife or a particular cooking vessel in the kitchen.

Untitled, by Caroline Hancox

Her methodology as well as her tools inherently invite chance elements into her composition and frame (after all, a Holga acts an awful lot like a a pinhole camera), and Hancock enjoys a high degree of success with her frequent interchanges of film type or camera body, tilt and angle-of-view. In her artist's statement she speaks about her choice of cameras and points-of-view as a means to evoke a "painterly, dreamy effect that renders the people like little toys" in an effort to get at the magical qualities that she deeply feels inhabits the French Alps.

Untitled, by Caroline Hancox

When an artist is able to bend her tools in such a way that she is able to invoke other mediums (here I concur with Hancox that her images are definitely painterly), or when she is able to subvert the given medium's strengths by paying attention to their opposites (as she does with her use of selective blurring and tilt-shift), that artist has assembled the right mix of ingredients to create something that can have me lingering for a long moment transfixed in its presence.

You can view Caroline's entire body of this work at her website, as well as read about other projects she's working on at her blog.

Steps by Thomas Prior

Welcome back to the HHS! Week in Review, a handy roundup all the best photo links from the past week.

+ This paset week we released 20x200 editions of two photographs by Thomas Prior, whose work we first discovered when he entered last year's HHS! competition. These editions are a new favorite around our office.

+ Oh noooo...the C-prints are fading!! Collectors of photographs printed in the 1990's—such as those by Andreas Gursky—are advised to keep their unstable prints out of strong light or risk erasure. Considering that a Gursky print sold for $3.3 million at Sotheby's in 2007, collectors will definitely want to heed this advice.

+ We just posted an exhaustive review of upcoming photo deadlines including: Daylight/CDS competition, Present Tense at PCNW, Aperture Portfolio Prize, Blurb's Photo Book Now, and 1000 Words' workshop in Morocco. There is literally something for everyone, so go read up and don't miss out.

+ A fond farewell to Nymphoto, one of our favorite photo blogs, who announced what may be a permanent hiatus on Friday. We've spent many hours perusing the sidebar of conversations. You will be missed!

+ Last week, we got a mention from @ElizaGregory who tweeted "@heyhotshot Your ratio of time spent on application to potential benefit to applicant is awesome." We're flattered! But it's true, we're really honored by each entry to HHS! and we love spending time reviewing the work. Have you seen the write-ups of our latest contenders? Stacia Prosser, Jo Ann Walters, Sheri Manson, Janet Taylor, Kevin C. Moore

+ It's Nina Berman's turn at the Whitney on May 28th! You're invited to My Turn, "a unique night of dialogue and interaction" that promises to bring the war home.

+ After a brief blip, Joe's NYC photoblog (by Joseph Holmes, for the unacquainted) is back.

+ Gregory Krum's solo show ...Practice... recently opened at Jen Bekman Gallery and we've got install shots up on the blog. Don't miss this great review on the NYT's T Magazine Blog. The show remains on view till Saturday, June 27th.

+ Rachel Sussman speaks about The Oldest Living Things in the World at GEL 2010.

+ Raul Gutierrez linked to this great edit of photos of Saturn on The Big Picture.

+ Kevin Cherry's Mull it Over interviews contender Greg E. Jones

+ Eirik Johnson's show Sawdust Mountain at the Aperture Gallery in NY is an ArtForum critic's pick. Aperture has also made a podcast of Eirik discussing the series available online, which you can listen to right here.

See anything we missed? Let us know on Facebook or on Twitter @heyhotshot.

40.800913,-76.343147, 2009 by Stacia Prosser

Today's contender, Stacia Prosser, wrote poignantly about the history of a Pennsylvania town where she photographed her most recent body of work:

In 1962, a no-longer used underground mine shaft caught fire in Centralia, Pennsylvania, a city of about 1,100 residents that was once booming with coal industry. In May of that year, a group of sanitation workers were burning trash at a garbage heap a short distance from the town and enkindled an open coal seam beneath the debris. For twenty years, firefighters exhausted their efforts in controlling the fire, but the United States government decided that the most cost-effective plan was to evacuate the residents. Now, solely four houses remain where a city once was; pieces of concrete housing foundations and front steps that lead to nowhere are the only reminders that anything else was ever there. These quiet, peaceful landscapes are portraits of a remarkable town stripped of its livelihood and left to burn. They are portraits of human disappearance: empty streets are freckled with driveways that lead only to trees where houses once stood. They are photographs of the lonely landscape's journey to recovery after its inhabitants unintentionally destroyed it and left it behind. They are photographs are taken by one who is mourning with the landscape.

What is initially striking to me about Stacia's work is the physical presentation of the actual images. Her series, portraying a broken landscape burnt away, presents itself through photographs that have also been partially destroyed with rough, unfinished edges. It's as if the same fire that torched the landscape also found its way to the negatives to eat away all traces of the once vibrant community. Stacia's work also reveals a powerful narrative within each image, slowly unfolding a single moment of tragedy in history by capturing elements of the story left behind in the environment.

40.801311,-76.342374, 2009 by Stacia Prosser

Poignant stories can be written into the landscape, and several recent industrial accidents that have had a profound impact on the environment have been well-documented by photographers. Since the explosion of the Transocean Deepwater Horizon oil rig on April 20th, photojournalists have been capturing the ominously spreading slick, that has now reached the Louisiana shore. Though the explosion itself is a great tragedy, perhaps the greater tragedy is in the prolonged unknown consequences of the spewing oil; it's impact on jobs, the fishing industry, marine life and water quality. In the images, one sees elements of a distressing beauty—multicolor streaks of oil swirl through ocean waters, birds flocking over slicks, the sun glistening over shiny water. One can only gape, out of both awe and fear, of the transformation taking place before our eyes and wonder what this landscape's road to recovery will be.

So it's like this: You've got this great body of images that you've already submitted to this year's competition of Hey, Hot Shot! The summer is stretching wide and open before you, and you're looking forward to creating more work, organizing and refining existing work, and seeing how and in what ways you can stretch your skills, powers of observation, craft and comfort zones. Maybe you are interested in creating or finishing up a book, or you are open to the possibility of committing to a workshop this summer in a far-off place and at the feet of a roundly recognized photographic master. Or you simply want as many people of influence and reach to see the images and concepts that you've been so conscientiously and laboriously putting together.

We're here to help you out! Below is a list of a full range of possibilities for getting your work out there, seen, consolidated or newly made. Jeffrey Teuton, Associate Director of Jen Bekman Gallery also offered up some tips last week on Portfolio Review Dos and Don'ts, many of which are also helpful when thinking about how to present a competition submission.

We recently wrote about this inaugural international competition that is a joint venture between Daylight Magazine and the Center for Documentary Studies at Duke, but since then the competition deadline has been extended through June 1st (8pm, EST), so we're mentioning it again on the off-chance that you haven't submitted your work to this truly stellar roster of jurors:

Vince Aletti, writer/critic, the New Yorker magazine;
Darius Himes, editor/curator, Radius Books (who also happens to be on the HHS! panel)
Julie Saul, gallery owner/director, Julie Saul Gallery;
Alec Soth, photographer;
Hank Willis Thomas, photographer;
Jamie Wellford, international photo editor, Newsweek;
Taj Forer (20x200 artist) and Michael Itkoff, editors, Daylight Magazine
Alexa Dilworth, publishing director, CDS
Courtney Reid-Eaton, exhibitions director, CDS

This is the first year of the competition, and there are two award categories: a Project Prize and a Work-In-Process Prize. Prizes include exhibition exposure, print and online exposure, and every entrant will receive the time and consideration of the above esteemed panel of jurors (which is no small thing in and of itself). Entries are received online, and you can read the full guidelines or begin the submission process here.

Present Tense: 15th Annual Photography Competition Exhibition, presented by the Gallery Photographic Center Northwest.

A prestigious annual juried show in the Pacific Northwest (our own Ms. Jen Bekman was last year's juror), this competition revolves around a single theme and a single juror. This year's topic concerns the changing state of the medium of photography today.

The exhibition title, Present Tense, refers to state of the medium today. In recent times, we have heard intense debate about the direction of photography: questions about the future of the medium, fears surrounding the decrease in magazine production and funding for content, the threat of potential extinction of the physical book, cynical commentaries that originality is a thing of the past...now is the time for photographers to take stock of their work and their vision, to take risks, rather than play it safe. We are calling out to you to inspire the medium! Show us your perspective and vision of these changing times.

This year's juror and curator is Denise Wolff, a book editor for Aperture. Entries are to be received on CD only, the fee is $75 and the deadline is June 12, 2010. Winners will receive cash prizes, Blurb gift certificates and participation in an August show at PCNW curated by Denise Wolff. Full details and submission guidelines here.

Speaking of our friends at Aperture, the annual Aperture Portfolio Prize is underway. This competition sees work of stellar quality from all over the world, and the prizes and efforts on behalf of Aperture are generous and far-reaching. Immediate awards are cash and exposure on Aperture's website for an entire year. Beyond the portfolio prize, judges will consider submissions for any and all Aperture publications and exhibitions. They are specifically looking for fresh work that has not been widely seen in major exhibition or publication venues and their ultimate mission is to identify trendsetting work that deserves to be seen by a wider audience. Submitted work must have been completed in the past five years. Entrants must be current subscribers to Aperture magazine (there is an option to subscribe along with the entry process) and the entry fee is $25. Submission are received online only and the deadline is July 14, 2010. Full guidelines and submission details can be reviewed here.

(One of last year's runners-ups for the Aperture Portfolio Prize was also a 2009 Hot Shot, Alejandro Cartagena.)

Passionate about books? We've got something for you, too. Blurb, a print-on-demand publication service, is holding its annual Photography Book Now competition. There are three entry categories: Fine Art, Portfolio and Editorial. You can submit work electronically or via a hard copy book for a submission fee of $35; entrants are allowed to submit to more than one category (each submission requires a separate fee).

Awards include a Grand Prize of $25,000, camera and equipment packages, expenses paid participation in portfolio reviews, expenses paid for photographic workshops, as well as exposure on the Blurb website. The deadline for receipt of submissions is July 15, 2010. This year's juror is none other than co-founder and editor of Radius Books and friend to JBP, Darius Himes. Read more and submit your entries at the Blurb Photography Book Now competition website.

Last year, Hot Shot Kurt Tong took the Editorial Prize of the competition for his series People's Park. A second series by Kurt, Farewell in Labrador, also received an Honorable Mention in the same category. Both books are available to purchase on Blurb.

If you're not quite ready to submit a book-length collection of work, participating in a workshop with a gifted photographer and teacher can be a life-altering experience for many artists that can grow and mature a project. Small class-sizes, hyper-focus on creating and critiquing work, and the energy of being in a foreign surrounding while being mentored by a master of their craft makes for the kind of experience that really defies most systems of measurement. The online magazine 1000 Words is holding a workshop in Fez, Morocco this fall with Magnum photographer Antoine D'Agata. The workshop will be held from October 25th-October 31st, 2010.

1000 Words, writes:

We are looking for a diverse range of participants who understand the work of Antoine d'Agata and feel that their own work will benefit from his guidance. Each participant will be asked to examine the ultimate goal of his approach, to play an active part in his own images and to work on the texture of reality. Since images, like words, only take on meaning when brought together, the workshop will focus on finding the most relevant form for each individual stance. Working with Antoine d'Agata, participants must be ready to photograph intensively throughout the workshop and to extend the limits of their approach. They will have to confront their obsessions and contradictions as they shape a series of images conveying in real or fictional terms their private relationship with the world.

Submissions are accepted electronically only; there is no entry fee for submitting. The deadline for submissions is June 14, 2010. Twelve workshop participants will be selected from all the submissions, and the successful candidates will be notified by the end of June. Find more information on the workshop and costs at 1000 Words.

One other venue for those looking to choose photographic workshops and mentoring experiences are the TPW workshops. Centered mostly in Tuscany, but also working in several other international locations (remaining workshops for this year include India and the Mississippi Delta), these workshops gather together some great names and teachers for a week-long intensive study. 2010 workshop instructors include Ed Kashi, David Alan Harvey and J.H. Engström. For a full list of workshops, dates and prices, check out the TPW 2010 calendar.

Lastly, you have finished your submission to this year's round of HHS!, have you not? We are accepting submissions through August 22nd, 2010 to win some fabulous prizes including a $5,000 honorarium and a solo show at Jen Bekman Gallery. All contenders are also automatically considered for editions on 20x200—in fact, just last week we featured two editions by Thomas Prior, who we first discovered through his HHS! entry. We're also featuring contenders here on the blog throughout the entry period, and offering some fantastic Curator's Choice prizes each month during the competition. Sound good? Well, what are you waiting for?! Apply here!

Jo Ann Walters exemplifies the kind of hard-working artist whose work is a pleasure in which to become absorbed. For most of the past decade, Walters has been creating lyrically haunting portraits of a place and a population that, through the filter of her own personal history and connection to it, reflects back something that is echoed in countless other American cities today. Once a prosperous industrial town, Alton, Illinois has been gradually diminishing because of the changing world and the machinations of what passes for "new industry" today. In front of Walter's lens, every face and facade has a history, a story, has had a life and, as sometimes captured in her still-frame, is sometimes shown in the midst of a death.

Refinery, Granite City, Illinois from the series Dog Town by Jo Ann Walters

Mullen's Savage Yard, Alton, Illinois from the series Dog Town by Jo Ann Walters

Judging from the photographs submitted here and from her previous entries to HHS!, Walters conducts most of her photographic inquiries in the dead of winter, when the light offers up a kind of diffuse emptiness, creating a kind of primer on the canvas for which she will paint stark and poignant images of hard-fought subsistence.

Jo Ann Walter's writing also has the capacity to be as fluid and evocative as the photographs she asks us to consider. From her artist's statement:

Growing up in the second half of the twentieth century, my conceptualizations of industrial labor, like many of the girls and women I knew, were vague and ill defined. The factories were merely places along the horizon of the river, dull facades with vermiculite patterns and clusters of indistinct stars, or clouds and haze, gray with a nebular glow. Nearly everyone I knew had fathers, brothers, husbands, sons, friends and lovers who labored in these local factories, working night shifts, calculating the material and emotional expense of holiday pay and overtime, and who often drank hard and steady. These pictures taken in the dead of winter are part of a larger work. Together they comprise a quiet and stark meditation on the mineral wastes and dregs of an often unsparing, indifferent economy, as well as, an oblique meditation on men at work in a different time and place.

At other times and other places, Walters has also referred to this project as an elegy and a mourning + meditation as a testament to her father and the teems of ghostly others that lived and worked in such surroundings.

Jo Ann Walter's work is included in many collections, including the Museum of Modern Art, SFMOMA, and the Biblioteque Nationale. A former Guggenheim fellow, she has been on the faculty at Yale, the Rhode Island School of Design and is currently the Head of the Photography Board of Study at Purchase College, The State University of New York.

Pool, 2008 by Sheri Manson

For the bulk of my childhood, I spent most summers at a beautiful summer camp in New Hampshire. (The lovely town of Wolfeboro, where the camp is located, was even once privy to a visit by Bill Murray as he filmed the classic summertime hit, What About Bob.) Over the course of the 14 years I've visited this tiny part of the world, it has, for the most part, stayed the same: the same shops line the town, the same buildings occupy the camp, and even the same exact benches outfit the dining hall. It is a second home to me, unchanging from visit to visit.

Seeing contender Sheri Manson's work reminds me of this home-away-from-home but in the way that makes my heart ache. I see laughter, joy and wild nights of Dirty Dancing in the interiors of the abandoned resort camps she photographs. The rooms are filled with the energy experienced by people with no real responsibility or care. Yet, at the same time I experience the loneliness and emptiness of memories that have long been left behind from a place once so vibrant. Sheri writes about her series:

In the years preceding WW2, many families found their summer time escape just North of New York City. With summers ablaze, and no AC in sight, refuge was found in summer camps and their accompanying lakes. Come winter, these places turned into ski resorts and catered to these same families. However, with the invention of AC and plane travel less expensive, these places soon received few visitors. As a result, these homes away from home have been left vacant and abandoned for years if not decades. The imagery resulting from this project is not only a document of these places, but also a testament to the beauty that once was and an exploration of the beauty that still remains.

Given our current economy, and the phenomena of foreclosing houses, a number of photographers have taken to documenting the places where memories have been left behind. Youngna highlighted several of these photographers making work about abandoned and emptied spaces during the last season of competition, a subject that's both depressing, yet a harsh reality for many people in the world right now. Perhaps these photographers are nostalgic for the "good ol' days" when America was deceptively strong and carefree, and see their memories in the spaces left behind.

Orange Bedroom, 2008 by Sheri Manson

While Sheri's work aligns with the theme of capturing a place, beautiful in the imagination, the lighting and setting of the images seem more hopeful than the bleak atmosphere found in much of the other recession-themed photography I've viewed. The furniture and objects appear to be purposefully placed, not forgotten or lost but rather saved for another time or occasion, just waiting to be picked up. It is this tension between the deserted and invisible past energy that interests me the most about Sheri's work.

You can see more of Sheri's images at her website.

...Practice..., an exhibition of thirty-seven photographs by Gregory Krum, opened last Friday at Jen Bekman Gallery to much ooh-ing and ahh-ing. Hop on over to Flickr to take a look at the gorgeous install photos taken by Elizabeth Leitzell, and you'll see exactly why we're so excited to be exhibiting Greg's work.

Sarah Fones of The New York Times T-Magazine Style blog, The Moment, wrote about ...Practice... yesterday, observing:

Belief is twofold in this instance, with Krum both exploring the confines of his own (in the guise of photographer) and that of others (embodied in inanimate objects left behind). The tombstone portraits, for example, are literal markers of a failed endeavor. Five interior shots evocative of Dutch still-lifes, including a tiny bedside porcelain skull (a nod to the tradition of vanitas) and a copy of Alcoholics Anonymous, examine the extent to which all manmade objects more literally communicate meaning. An orange rind might imply a sense of inevitable decay, while Ettore Sottsass's Memphis-style lamp -- not to mention Krum's own corkboard of inspirations -- impart the boundless capacity for human innovation and endurance. Finally, a series of 24 small photographs of devotional, sculpturelike offerings convey the idea of repetition and quotidian ritual, or as Krum puts it, "the daily practice." Just as the spiritually inclined are compelled to participate in these rituals, so the artist is consumed by the desire to create.

The full article and slideshow are available here.

The exhibition remains on view through Saturday, June 27th, and we invite you to swing down to 6 Spring Street to have a look, and talk to us about Greg's work.

Any urbanite who walks down most city's major thoroughfares are familiar with seeing glowing billboards with ads for Gucci bags at their bus stops, or parking lots aglow with signage for new cosmetics, fast food, storage space and movies. But, to how many of these signs do we really pay heed, to how many of these companies do we become customers, and how much of this omnipresent advertising is really worth the cost of putting up these media-driven images in the first place?

Rainsford Road, 2010 by Janet C Taylor

In an article several years ago in the New York Times, Glenn Collins reported that Times Square would be getting its first solar-powered billboard. Coming in at 35,000 lbs, the sign would be fitted with 16 wind turbines and 64 solar panels, and was projected to save $12,000 - $15,000 a month in electricity bills. Imagine the savings if all the LEDs that comprise the hundreds of thousands of billboards around the world were to follow suit.

Contender Janet Taylor, who spent two decades working in computer graphics, interactive media, human computer interfaces, typography and game design, thinks a lot about words, images and signs. She lives and works in Toronto, and has embarked on the series Significant Presence to address "the ubiquity of media images in the urban environment." She photographs at night, and in black and white, which serves as one means of preventing the saturated colors of ads from reaching us. She also makes long exposures, which effectively strips the lighted signs of any identifiable words or images, making them, as Janet writes, "meaningless and yet more apparent."

Shelter, 2010 by Janet C Taylor

She photographs both city-center and on quieter, residential roads—places where we so often see advertorial images that we fail to process their existence until we're made aware of their absence. Taylor highlights what this kind of void might look like, and in doing-so, points out how much visual and physical real estate we forfeit to commodities.

To see more work from Significant Presence, head over to Janet's website.

Howard and Kevin, March, 2009 by Kevin C. Moore

In recent years, artificial insemination—once something out of the realm of science fiction—has become an increasingly common practice. By now, a generation of so called "test tube babies" have matured into self-aware adults, and among this generation are artists exploring their identity. Contender Kevin C. Moore weaves together many different kinds of photography: scanned documents, studio portraits, images from Google and Facebook, old family photos, and Photoshop manipulation, to tell the story of the search for his own.

Kevin writes,

Since the age of seven, I have known that I only share genes with my mother, not with my father. The other half of my lineage has since been represented by a sperm donor code and a certain amount of secrecy...Following a photographic study of my immediate family, I discovered a half sister. We corresponded and together discovered the identity of our donor.

Kevin's entry represents five different approaches to the subject of his identity, but the projects are best seen in full series, or in the case of Blue Eyes Run in the Family, in book form. This is because every image in his entry has a story behind it. The diptych above, for example, shows a pixelated portrait of Kevin's biological father (left) and Kevin (right). Kevin obtained access to anonymous records about his biological father and then used a high school yearbook and signature to find his name. A search on Google Images revealed a tiny portrait of the man who he discovered is his biological father. Kevin then photographed himself in the same exact style and paired the two images. The image, Howard and Kevin, speaks about Kevin's longing to know his father, the disconnect between the two, and the technologies that have allowed them to exist apart and later find each other.

Donation, November 26, 2009 by Kevin C. Moore

Kevin has also documented his process of becoming a sperm donor himself. In some ways, his identity—and the work he built around it—has come full circle.

The decision to become a sperm donor led Kevin to create other series, such as She Has Her Father's Eyes. In these images, Kevin takes photographs of "unknown" girls and Photoshops his own eyes onto them. "In as little as 18 years from now I could be contacted by a child created from my donated sperm. Perhaps it will be a girl, my first daughter," he writes. These images in particular evoked a strong reaction for me and brought to mind the the legal and ethical gray-area of relationships between donors, parents, and children. While Kevin's work is highly personal, the emotions that it stirs and issues it brings up are increasingly universal.

You can view more work, including the full series mentioned above, at Kevin's website.

Untitled #2, March, 2009 by Kevin C. Moore

New Work #43, 2010 by contender Jordan Tate

Apply by Thursday, May 20th, To Win 2nd Curator's Choice Award from Chronicle Books
We're now two months into Hey, Hot Shot! and have been thrilled to see fantastic submissions coming in from far and wide. The deadline for our second Curator's Choice Award is this Thursday, May 20th, 2010; all photographers who enter by this date are automatically considered to win a selection of five photography titles hand-picked for HHS! by Nion McEvoy. Nion, our second guest curator, is the chairman and CEO of Chronicle (and also a HHS! panelist), and will review all entries to date and select one contender to receive the award. The selected photographer will also be featured on the blog and in our next newsletter. After this deadline, the entry fee for the competition will increase to $70, so make sure to apply by Thursday!

Last month, Darius Himes selected Phil Underdown for the first Curator's Choice Award. Check out the announcement to see all five images from Phil's entry, Darius' statement about the work, and some great advice for photographers considering entering the competition. Dalton Rooney also posted a thoughtful entry about Phil's work on his blog that is not to be missed.

Left to Right: Michael Ten Pas, Carlo Gianferro, Jordan Tate, Miti Ruangkritya, David Axelbank

Read about all our contenders from the 2010 competition on the blog.

+ Gregory Krum's solo show, ...Practice..., opened on Friday at Jen Bekman Gallery. If we can say so ourselves: it's pretty stunning, so if you're in the neighborhood, do stop by!
+ We were so pleased to release an edition by Todd Hido on 20x200 last week. There are still a few editions in the larger sizes left if you hurry over to the site. If you're bummed you missed out on the smaller prints, make sure you're signed up for the 20x200 newsletter so you get first dibs next time.
+ A few JBP'ers were out on the LES on Thursday to check out new work by Penelope Umbrico, whose show As Is is now on view at LMAKprojects.
+ Birthe Piontek, Scott Eiden and Cara Phillips are featured in The Portrait as Allegory and Graphic Intersections, a joint show at Umbrage Gallery in Brooklyn on view through June 26th.
+ The annual Review Santa Fe at CENTER starts in just a few weeks on June 3rd! The Portfolio Viewing on Friday, June 4th is free and open to the public, so if you happen to be in town, stop by to see some great work.
+ The deadline to apply to the Daylight/CDS Photo Award has been extended to June 1st.
+ Jason Lazarus wants to archive your photos that are too hard to keep.
+ Landon Nordeman and Andrew Zuckerman have been selected for publication in American Photography 26. The slideshow is sorted alphabetically by last name, so make sure to scroll all the way down to the bottom. There's lots of great work and it's definitely worth a few minutes of your day!
+ Clicking around on Dalton Rooney's site we stumbled upon Photo Reads, a Tumblr he uses to bookmark long form articles about photography. Consider it Instapapered.

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The ability to combine high concept with "low" materials in art is something that when done well, always turns my head. In the same sense that one's parents or grandparents knew not to waste food or clothing, I hate wasting good ideas on over-determined art materials or wasting good materials on poorly articulated ideas. The ideal combination for me is always some measure of succinct economy: an concept, notion or world-view expressed perfectly through humble or simple means.

Untitled by Jefferey Kenney

Jeffrey Kenney likes to mix the high-and-low, and delights in confusing his and your eye with what you're seeing with what seeing it evokes. Sort of like Wittgenstein's duck-rabbit:

Do you see a duck or a rabbit or some gestalt of both? Using "unconsidered" materials of "everyday consumption" Kenney cobbles together a world through his images that visually refer to something much larger and grander than the tools from which they were derived. From Kenney's artist statement:

I look for links between the materials of everyday consumption and that of architectural, natural, supernatural, and psychological phenomena. Often the photographs that I make are depictions of places or phenomena I have not experienced directly but understand and believe to exist through their mediated representation. Using the ephemera of my everyday experience I investigate my own "worldview", the limits of my experiential knowledge, and the fantasies produced by daily absorption in material culture.

It's possible that the first images mankind encountered on a daily basis was the sky above his head. The sky's changing array of sun, moon, and stars governed the patterns of daily life. This view informed the aesthetic of his created objects, daydreams, and customs and inversely these materials of human existence were projected back onto the understanding of the heavens. My work in a way works backward through the process, cultural, functional, and disregarded objects in our periphery to question the images we hold as central to the physical and metaphysical nature of the world.

Edge of the World by Jeffrey Kenney

Guessing at what cheaply and readily available ingredients make up the representations in Kenney's images shouldn't be a point of focus, but it's certainly fun. Part of the pleasure in this kind of art-making is very much like sitting in a grassy field and cloud-gazing: figuring out how this-becomes-that. Garbage bags beget solar systems, and stretched cotton and wet baking soda become an Antarctic landscape. I'd be interested in seeing how much mileage Kenney can get out of this kind of re-imagining, and how many different worlds and types of worlds he can make me think of when I look at his images.

Check out his in-progress series on his website.

Lozenge no. 56, 2010 by David Axelbank

Landscapes, or the reinterpretation of the genre of Landscape, has been something that my aesthetic palate has begun to shift on in recent years, gathering up increasingly in an appealing force for my attention and consideration. Initially coming from a documentary background, I used to hold fast to the belief that a photograph was interesting if it had interesting people in it. Now, something has turned and I find myself more drawn to images where there is no one present, or at the most perhaps, what is present is evidence of someone once having been there.

London-born photographer David Axelbank has been quietly wrestling with something similar. Spending the beginning of his career interning at Magnum and then moving on to editorial photography, the body of work he has chosen to submit to us here is a marked departure from the faces and personalities that began his professional life. The subject matter here is landscape, but ironically Axelbank was struck by the idea to make these images after seeing a retrospective of portrait painting at the Tate in 2006. The portraitist? Hans Holbein the Younger:

Allegory of Desire, oil on oak, ca. 1533-36 by Hans Holbein the Younger

What struck Axelbank about the lozenge format that Holbein made ample use of was its proclivity to involuntarily focus your attention on its interior by manipulating your sense of framing. Axelbank was interested in what effect applying this frame would have on the traditionally horizontally-oriented genre of landscape photography. From Axelbank's statement:

There is an undeniably physical effect created when a scene is viewed through a diamond or rhombus shaped frame, which causes a heightened awareness of the act of seeing. Traditional landscape imagery, whether painting or drawing, is anchored by a horizontal baseline to frame the composition. This does not truly reflect how we see - rather it is an art historical convention. Our vertical line of sight, foveal vision, intersects with the extremities of our peripheral vision, horizontal perception, to create the lozenge shape.

It is no coincidence that the most effective compositions include strong vertical and horizontal lines - trees for example, are a hugely important component of this series. Piet Mondrian explored a very similar concept with his distillation of the lines of nature in his theory of "neo-plasticism". He aimed to create a balance between the horizontal and the vertical in a series of abstract lozenge shaped canvases - which evolved from abstraction of natural forms, most notably trees.

There is something almost primordial about this new geometry. The lozenge contradicts dominant art historical practises, yet resonates as an essential compositional form.

What I find fascinating in looking at these images serially, is how my eye, which is traditionally guided up and around the photographic narrative in a still shot, is now somehow transformed to looking into and through the picture plane, as if instead of a flat two-dimensional space, I am looking instead through a window, or maybe more precisely a refined peep-hole:

Lozenge no. 57, 2010 by David Axelbank

It's as if narrative ceases to become about scanning a scene with eyes and mind, and rather more about tunneling or boring into it for detail and meaning. It's startling to me that simply changing the shape of the frame can re-orient my sense of sight so completely, but as you move through the series, you'll doubtless find yourself faced with the same heady and disorientating sensation.

David Axelbank's entire series of Lozenge landscapes can be viewed at his website and his professional site with other bodies and genres of work can be seen here.

Over the last several years, as globalization has continued to spread to the far reaches of the world, we've received some truly scary, fascinating, and beautiful international entries documenting these changes. Thailand-based contender Miti Ruangkritya has turned his lens on Siem Reap, one of Cambodia's fastest growing cities, to share views of impending homogeneity and commodification. Instead of documenting the rapid change at the center of the city, his series On the Edge looks at the outskirts of Siem Reap, revealing a place caught between two worlds.

Untitled, from On the Edge, 2009 by Miti Ruangkritya

Miti's work is quiet, focusing on the relation of individuals to the landscape. In the places he photographs, there is something surreal in the air. Though the scenes aren't necessarily happy, there is a kind of rundown magic on the edge of extinction. These moments between inhabitants and landscape are a last hurrah.

Untitled, from On the Edge, 2009 by Miti Ruangkritya

Miti's other work also deals with this kind of globalizing change in Thailand. Amulet World is a sweeping forty-two photography survey of the amulet industry—a fad at the intersection of Buddhism and consumerism. Much like the crucifixes that adorn necklaces and walls in the Western world, amulets have integrated themselves as essential aspects of piousness. The amulet trade is growing so fast that, at the time of Miti's writing, it was a $500 million business—just within Thailand. The images trace amulets from production to retail to usage both as spiritual tokens and manufactured commodities.

Spread from Amulet World by Miti Ruangkritya

Currently, Miti is working out of Thailand as a freelance photographer to support his personal projects. You can view more of his work at his website and his flickr.

Why do we look at what we look at, and what does the act of looking entail? Can we look without truly digesting what we're seeing? And if we are making an image of what we see, is it mediated by the object-making tool? These are questions contender Jordan Tate asks in the series New Work, a collection of images where "the photograph functions not as an object, but as a conceptually transparent representation of a reproduced reality rather than an object loaded with historical and functional contexts."

New Work #43, 2010 by Jordan Tate

The works, including images of other images, captures of computer and television screens, and visual puns of faces within other objects of faces, suggests that seeing (the act) and what we're looking are not simply the sum of 1 + 1 (the looker and what's being looked at), but poses a new question unto itself: what is the relationship between the two parties? In the act of looking at a medium in which other objects are projected—we are not seeing the object, but the screen or device which contains it, whether this is an iPhone, iPad or television. Our relationship to said objects is then a relationship to the representation—and in our age of ever-increasing technological dependency (and growth), Jordan might suggest that our "experience" with what we see is also an increasingly mediated one.

New Work #2, 2009 by Jordan Tate

Tate also manipulates the images, adding glare, flare, filters and pixelation, thus distressing the existing image into one that is conscientiously "digital" or man-made. In doing so, the work critiques and examines the idea of an image-itself and their intangible boundaries.

See more from the series New Work on Jordan's website.

So you've entered, or are preparing to enter, HHS! 2010. You've already gone through the laborious and yet self-edifying process of culling your work down to a discrete set of strong, stand-alone images, and you've penned a thoughtful and engaging artist's statement. Now that you've crossed that off your to-do list, why stop there? Get as much artistic mileage from this as possible! Who's to say that whatever you're thinking and making might not resonate on a wide-scale with a variety of different audiences?

This Saturday, May 15th, is the deadline for the inaugural Daylight Magazine/Center for Documentary Studies Photo Award. All of the entries are submitted electronically, so you've still got plenty of time to enter.

Daylight Magazine is the result of the work of the Daylight Community Arts Foundation, which works with established and early-career artists, scholars and journalists to showcase contemporary photography and to share stories from underrepresented communities.

The Center for Documentary Studies at Duke has long been a staple in the photography community, promoting collaborative and in-depth documentary work for decades. From the CDS website:

CDS promotes documentary work that cultivates progressive change by amplifying voices, advancing human dignity, engendering respect among individuals, breaking down barriers to understanding, and illuminating social injustices. CDS conducts its work for local, regional, national, and international audiences.

This is the first year of the international competition, and there are two award categories: A Project Prize and a Work-In-Process Prize. The roster of jurors are exactly the sort of people that you'd want to take a good look at your work:

Vince Aletti, writer/critic, the New Yorker magazine;
Darius Himes, editor/curator, Radius Books (who also happens to be on the HHS! panel)
Julie Saul, gallery owner/director, Julie Saul Gallery;
Alec Soth, photographer;
Hank Willis Thomas, photographer;
Jamie Wellford, international photo editor, Newsweek;
Taj Forer and Michael Itkoff, editors, Daylight Magazine
Alexa Dilworth, publishing director, CDS
Courtney Reid-Eaton, exhibitions director, CDS

PROJECT PRIZE
For an extended documentary project or fine art series. Edit photographs with care as the project photographs will be judged on the coherence of the work as a whole. The full panel of jurors will choose one First Prize Winner. Each Guest Juror will also select one photographer to receive a Juror's Pick Prize and write a short statement about why he or she choose the work.

The First Prize Winner will receive a solo exhibition at the Center for Documentary Studies, a multimedia Daylight podcast, a feature in CDS's newsmagazine Document, presentation in Daylight and CDS online galleries, and $1,000 for exhibition-related expenses.

Juror's Pick Winners will be part of a group exhibition at the Center for Documentary Studies and featured in Daylight and CDS online galleries. Ten Honorable Mentions will be named on Daylight and CDS websites.

To enter, submit: 20 images, a one-page artist's statement, and CV. $60
Deadline to enter: May 15, 2010, 8 P.M. (EST)

WORK-IN-PROCESS PRIZE
For a documentary or fine art essay/work-in-progress from a single body of images, the full panel of jurors will choose one First Prize Winner. Each Guest Juror will also select one photographer to receive a Juror's Pick Prize and write a short statement about why he or she choose the work.

The First Prize Winner will be featured in print in Daylight Magazine and CDS's news magazine Document, as well as in Daylight and CDS' online galleries and be part of a group exhibition at the Center for Documentary Studies.

Juror's Pick Winners will be part of a group exhibition at the Center for Documentary Studies and also be in Daylight and CDS' online galleries.

To enter, submit: 5 images, a one-page artist's statement, and CV. $30.
Deadline to enter: May 15, 2010, 8 P.M. (EST)

Download the full submission guidelines here and start applying right here!

It's true: there are a jaw-dropping number of photography-related events going on in New York City during the next week. But, we must remind you of one on the forefront of our minds: Gregory Krum's debut solo exhibition, ...Practice..., opens up at Jen Bekman Gallery this Friday, May 14th, with a reception for the artist from 6 to 8 p.m. This show is especially near and dear to us since Greg first came our way through Hey, Hot Shot! and exhibited his work in the Summer 2007 showcase. At the time, he wrote this of his collection of images: "Photographs that explore territories or concepts of control, organization, and security, states of sensitive, deep affection, inference, isolation, complexity, importance, insecurity, vulnerability, bliss, abyss, jouissance--in direct relationship to comfort and rational things, dualism, and our tendency to understand."

With his new exhibition of thirty-seven photographs, Greg has expanded upon these emotions, states and relationships, tugging at the elements that make up our surroundings and how we come to believe in art and the world around us.

Sand No. 98, 2006/2010 by Gregory Krum

From the press release:

Titled after Gerhard Richter's book The Daily Practice of Painting, ...Practice... embraces Richter's convictions about art and art making. In a series of carefully grouped photographs, Krum explores the ways in which truth is derived simply by virtue of belief.

Photographs of tombstones, images of dust and sand, and a pair of enigmatic photos of flowers taken with the artist's Blackberry hang alongside one another. Together they depict the ruminations of investigations, both elemental and expansive, and the search for the tangible entities that define the beliefs through which we find meaning in life and art.

Five still-lifes, evocative of Dutch interiors, illustrate more literally how objects often become vessels of life's meaning. Finally, twenty-four small photographs - pinned in a grid to the wall by the artist - depict devotional offerings in varying states of decay. The repetition of these sculptural objects mimics the daily rituals that become symbols of belief. The artist's daily compulsion to create is rooted in the same faith that inspires the spiritual to practice these rituals.

Krum embraces a variety of photographic tools to document objects, environments and offerings that all bear meaning depending on who the beholder and the observer are. The display of the exhibition also pays heed to these varying media; the works engage a range of formality, including a number of works hung salon-style.

Untitled (Mantle), 2010 by Gregory Krum

In addition to the opening reception on Friday, Jeffrey Teuton will also be speaking about Krum's work on Sunday, at the tail end of a Lower East Side Gallery Walk from 2 to 5 p.m. JBP's Philae Knight will be guiding a group to seven stops, starting at Invisible-Exports and ending up at JBG. There are still a few spots available, so to join the walk and hear Jeffrey's talk, RSVP to info@jenbekman.com by Saturday, May 15th.

...Practice...
Thirty-seven photographs by Gregory Krum
Jen Bekman Gallery
6 Spring Street, New York, NY
Opening Reception: May 14th, 6 - 8 p.m.
On view through June 27, 2010

See you Friday, and hopefully Sunday too!

One of the most memorable and chilling critiques I ever witnessed was with a fellow graduate student showing a new body of work he was embarking on, photographing people living on society's margins in a local transient motel. He was dropping by the motel a couple times a week, focusing his new newly acquired Hassleblad in portrait attempts of the people who were inhabitants of the motel. Influenced by recent exposure to the work of Jim Goldberg, my colleague was trying to make work that was relevant and edgy, but his initial forays felt more like stark reportage and were severely lacking in the quality of empathy. After taking a few moments to review the images on the wall before him, our professor (who had spent the greater part of his career photographing disenfranchised populations) took a breath and said something I'll never forget. "I want you to go back to that motel and make the crudest, most exploitative image of this place and the people in it that you can imagine. Then I want you to take a good hard look at it and never make an image like it again."

I'm reminded of this incident because happily the photographs of Italian contender Carlo Gianferro could very easily descend into the lowest-common denominator of sensationalistic clap-trap photography, but rises above it instead revealing some of the most surprising and dignified images of Roma people that I have ever seen.

Gypsy Girl, from the series Roma/Gypsy Interiors by Carlo Gianferro

Gianferro began his work on photographing Roma communities in 2004, and the images in this body of work are compiled in a book on vernacular architecture entitled Gypsy Architecture. The images were made in Romania and Moldava and depict the inhabitants and homes of successful and wealthy members of Roma (more popularly known as Gypsy) society. Long popularized as either thieving con-men, or romanticized as wild, passionate artists and artisans, these images instead show a slice of Roma culture that describes instead a proud, settled and perhaps landed gentry of Gypsies.

David Nemeth, reviewing Gianferro's images in a review for The Professional Geographer, reports on the subversion of cultural expectations and stereotypes:

Gypsy Architecture provides a vicarious whirlwind tour offering ample evidence that yes, some of the wealthiest Gypsies in Eastern Europe, at a specific time and place of their own choosing, appear to have settled into their own comfort zones, surrounded by their own architectural constructions.

The unusual story presented here, highlighting the splendiferous material rewards of Roma accomplishment in Eastern Europe, will come as a surprise to many non-Gypsies, including some scholars and authors who have built their careers, reputations and political platforms by telling sadder stories.

The Dollar Room, from the series Roma/Gypsy Interiors by Carlo Gianferro

The portraits shown in Gypsy Architecture are colorful, humorous, dignified, and eye-popping. While it may be true that it's easier to make a non-exploitative image of people who are clearly not suffering, I am struck that Gianferro's images of these Roma and their homes manage to be so well-constructed and well seen, and I am delighted by the subversion of even my own expectation of what an image of a Gypsy should look like.

More images from this project and others that Carlo Gianferro has made can be seen on his website.

Now in its third year, the New York Photo Festival is making good on its claim to become North America's premiere annual photo festival. The (nearly) week-long event includes exhibitions, artist and industry talks, portfolio reviews (including with JBG's Jeffrey Teuton) and lots of opportunity for networking and schmoozing with like-minded photo peeps.

While there are photo festivals a-plenty across the pond (Rencontres d'Arles, Europäischer Monat der Fotografie Berlin, Brighton Photo Biennial, Mois de la Photo, to name but a few [.pdf]), the U.S. has not quite had anything that draws the kind of international presence or buzz of the existing heavy-weight gatherings across the globe. NYPH is well on its way to changing all of that. From their press release:

With its unique scope and focus, the festival appeals to all people involved in image-making and collecting: professional photographers and artists, arts editors, scholars, curators, collectors, as well as everyone with an appreciation for what is undoubtedly the most popular fine arts medium.

In addition to the curated pavilions, the festival offers visitors an extensive range of activities that generate dialogue and buzz among all communities of photo professionals, amateurs, students, and aficionados of art and culture, including: seminars, slide shows, book signings, photographic workshops, live performances and events, and a gallery row. The festival will also be documented online in a regularly updated and engaging online social media environment.

Once you're in New York (if you're not already), access to the festival is cost-friendly: day passes are $15 ($10/student) and a 4-day festival pass is $45.00 ($30/student). This year the event begins this Wednesday, May 12th and runs through Sunday, May 16th. If you're able to make it, there are a couple note-worthy happenings we'd like to make mention of:

And Still We Gather With Infinite Momentum 2, 2009 by Justin James King

Justin James King will be featured in the exhibition New Visionaries 2009, shown the entire duration of the festival in the Tobacco Warehouse. In addition to being a Second Edition 2009 Hot Shot, Justin also won last year's NYPH award for best personal work in a photographic series. The entire New Visionaries 2009 exhibition will showcase the works of all of the New York Photo Awards 2009 Winners and Honorable Mentions. Photographers on display alongside Justin James King will include:

Felix Hug, Thomas Lekfeldt, Jason Carrier, Espen Rasmussen, Matthieu Paley, Bruno Levy, Gianni Cipriano, Jackie Dewe Mathews, Mike Whelan, Anna Moller, Arslan Sukan, Elliot Ross, J Bennett Fitts, Kai-Uwe Gundlach, Lauren Greenfield, Adam Hinton, John Clang, Nadav Kander, Ernesto Bazan, Doug DuBois, Michal Chelbin, Andy Spyra, Andrea Star Reese, Ed Ou, Mark Fernandes, Tyler Brown, Natan Dvir, Elliott Wilcox, Tammy Mercure, Ivonne Thein, Patrik Budenz, Kristoffer Axen and Adam Lau.

To see all of the satellite exhibitions for NYPH 2010, please visit the site's satellite exhibition page.

One other event we'd like to highlight will be the Aperture Foundation's workshop/artist discussions Emerging Artist Support Systems (in two parts: Part I on Thursday, May 13th and Part II on Friday, May 14th). Thursday's talk will focus on artist's support systems as they relate to three practicing artists' careers: Justin Reyes, Hank Willis Thomas and Brian Ulrich. Part II will focus on the importance of securing funds, fellowships and reviews, and will be mediated by Amy Elkins, Ariel Shanberg and Amy Yenkin. Aperture will also feature artists' talks during the weekend of NYPH as well. All of the Aperture events will be held at the St. Anne's Warehouse.

Infinitely cheaper than airfare and hotel costs at one of the European festivals (even with the recent drop in the euro), get in on the beginning of one of the fastest growing and exciting photo events in North America. As with the big portfolio reviews and juried shows, these kinds of events are among the best places to get out, be seen, and talk to others doing what you want to be doing.

New York Photo Festival 2010
May 12-16, 2010
DUMBO, Brooklyn

Complete map to all events and exhibitions.