Katrin Korfmann @Kopeikin Gallery

Katrin Korfmann, Mei Ji Qi, 2014

Katrin Korfmann, Mei Ji Qi, 2014



Korfmann’s work is characterised by the bird’s-eye view perspective from which people are photographed moving in the scene below, capturing them in static images that present an abstract of human interaction: strongly aesthetic, its dynamic bound by the grid of everyday life.

Kopeikin Gallery 2766 S La Cienega Blvd, Los Angeles, California 90034

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Richard Tuschman @ Kopeikin Gallery

Richard Tuschman, Hotel by the Railroad, 2012

Richard Tuschman, Hotel by the Railroad, 2012



Richard Tuschman found inspiration in the realist, mid-century paintings of Edward Hopper. Combining his interests in art history, photography, painting and assemblage, Tuschman recreated and re-imagined many of Hopper’s paintings in this body of work. Tuschman’s photographs depict real-life models inhabiting dollhouse-sized dioramas built by the artist. The brooding color palette and textural quality typically found in paintings help to blur the line between painting and photography – at first glance, one is not sure which medium is being employed. The subjects in Tuschman’s narratives are captured in timeless moments of deep thought and reflection.

Kopeikin Gallery 2766 S La Cienega Blvd, Los Angeles, California 90034

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The Play and Staging of the Self @ Sous Les Etoiles

The Play and Staging of the Self: Five Photographers on Identity
September 10 – October 25, 2014

Laia Abril, Jen Davis, Olya Ivanova, Lindsay Morris, and Chris Rijksen
Opening Reception Wednesday, Sept. 10th, 6-8pm

Sous Les Etoiles | 560 Broadway Suite 603 | New York, NY 10012

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Visual Narratives @ The Center for Fine Art Photography

Alexis and Lydia Hugging © Nick Meyer

Alexis and Lydia Hugging © Nick Meyer

Visual Narratives
November 7 – November 29, 2014

All Selected Artists: Geoffrey Agrons, Alison Amick, Cana Atay, Rachel Banks, Bob Barley, Jessica Berkowitz, Casey Brown, Greta Brubaker, Katherine Clayton, Patrice Cochran, Matthew Conboy, Gina DeGideo, Susan DeLeo, Cindy Dominguez, Allison Evans, Heather Evans Smith, Claudia Fainguersch, Marico Fayre, Rick Febre, Erica Ann Flood, Ann George, Matthew Hayner, Robert Hudnall, Karen Janas, Katie Kalkstein, Sandra Klein, Justin Langille, Brittany Markert, Nick Meyers, Stephen Milner, Alyssa Minahan, Jennifer Murray, Kathryn Oliver, Gloria Oyarzabal, Catherine Panebianco, Vicki Reed, Kristin Reeves, Andy Richter, Kurt Simonson, Timothy Smith, Jiehao Su, Stephanie Robbins Thulin, Tom Vani, Naomi White, and Kevin Wilmes.

The Center for Fine Art Photography
400 North College Ave. | Fort Collins | CO | 80524

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Julie Blackmon @ photo-eye Gallery

(C) Julie Blackmon_Picnic_pphoto-eye

(C) Julie Blackmon_Picnic_pphoto-eye

Julie Blackmon — Homegrown
through November 15th, 2014

Opening Friday, September 26th from 5-7

Drawing on the Dutch notion of “a Jan Steen Household,” meaning a boisterous and untidy home filled with rambunctious children, Blackmon crafts images of domestic disarray in a contemporary suburban context. These engaging tableaus are photographed in and around Blackmon’s Missouri home, often depicting her own children and extended family. Avoiding the overtly sentimental, Blackmon’s precisely orchestrated compositions blend wit and whimsy in the face of everyday realities. Blackmon’s large-scale color photographs draw inspiration from everyday life as well as fiction; recent images draw from the works of Edward Gorey, Tim Burton, Lewis Carroll and Federico Fellini — and continue to be influenced by 17th century Dutch and Flemish paintings

photo-eye Gallery, 541 South Guadalupe Street, Santa Fe, NM 87501

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Matt Black @ Anastasia Photo



Anastasia Photo · 166 Orchard Street · New York City, NY 10002 · USA

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GLOBAL WARNING @ 555 Gallery

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GLOBAL WARNING: An exhibition on carbon-based fuel production in the 21st century
September 4 – October 4

Opening reception:
Saturday, September 6, 5-8 pm

Garth Lenz: The True Cost of Oil
Lisa Wiltse: The Charcoal Kids of Ulingan

This exhibition presents two perspectives on the true costs of carbon-based fuel production in the 21st century. The first by Garth Lenz explores the environmental costs related to the pending US State Department approval/disapproval of the $5.3 billion Keystone XL Pipeline, planned to bring oil from the Canadian Tar Sands in Alberta to port on the Gulf of Mexico. The other perspective by Lisa Wiltse explores the human costs by focusing on a small ghetto in Manila, Philippines called Ulingan.

555 Gallery
555 Second Street, Boston

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Victory Tischler-Blue @ SPOT Photo Works

Rice Gas (Speed of Light)

Rice Gas (Speed of Light)

Victory Tischler-Blue: Of Beauty and Ruin
September 20 – November 11, 2014

Opening Reception: Saturday September 20 – 6:00 pm – 9:00 pm

Victory Tischler-Blue’s stunning landscape photographs capture the epic beauty of the Southwestern desert and with it the remains of failed dreams under crystalline skies. The fine line between life and ruin shows on the faces of her raw-boned outlier portraits: some androgynous, some damaged but rich with life and as fragile as an empty tank of gas, a well gone dry or a faded love.

Spot Photo Works
6679 Sunset Blvd.
Los Angeles, CA 90038


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Filter Photo Festival September 24-28 2014 – Chicago

© Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, NY.

© Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, NY.

Filter Photo Festival
September 24th-28th

Primary Venue: Millennium Knickerbocker Hotel
Keynote Speaker: Carrie Mae Weems

Filter Photo is pleased to announce the 6th annual Filter Photo Festival! The five-day Festival celebrates fine art, contemporary, photojournalistic, and documentary photography through diverse programming including gallery talks, lectures, panel discussions, workshops, and portfolio reviews with world-renowned photo professionals; special receptions for two juried exhibitions; and a portfolio walk showcasing the work of over 100 emerging, mid-tier, and professional photographers. The Festival will take place from September 24th-28th at the Millennium Knickerbocker Hotel with evening and other programs taking place at partner galleries, institutions, and organizations.

Evening Public Programming, 9/24-9/27 (FREE)
Daily Workshops, 9/24-9/25 (FREE AND PAID)
Daily Portfolio Reviews, 9/26-9/28 (PAID)

The 2014 Filter Photography Festival is organized by Filter Photo, a 501(c)(3) non-profit organization. Filter Photo’s mission is twofold: first, to connect emerging, mid-level, and professional photographers with gallerists, educators, academics, curators, and other elite photography professionals from across the country, with emphasis on those of the Midwest, and in particular those of Chicago; and second, to secure Chicago as a vibrant center and destination for the national photography community, in part by uniting the city’s different groups and institutions in one event.

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On Making and Publishing a Book, For Photographers – Part 2: Working with a publisher

ytj04 copy

A journal page also use as Maquette of “Along the Yellowstone Trail”

The advantages of working with a publisher are many. The most important benefit you gain by working with a publisher is credibility. Additional advantages of working with a publisher are less or no financial risk, distribution and warehousing services ( you don’t want a garage full of 5000 books and be running to the Post Office for every order ), guidance in editing, quality book design, production expertise and solid marketing. I can’t stress this enough. Publishers want your book to succeed. Remember it’s all about the bottom line for them and sales of your books make a better bottom line. In addition more sales of your book means more credibility for you.

Be prepared for non appropriate deals to come your way from some publishers and have the strength to say no to them. You have no negotiating power if you are not prepared to walk away from a deal. I encourage the first time author to be patient and wait for the right deal, to persevere. It took 7 years to get the right publisher for my first book. It was frustrating at times but I am very pleased I waited for the right publisher to work with. I consider producing a book a partnership with the publisher, a joint effort with mutual benefit.

If you decide to approach publishers here are several key items you need to know to assure your book receives the best possible opportunity to get published.

  • Define your goal with the book.
    What is it you want from the book? Write down your goals think about them and be specific.
  • Select a topic that has a purpose.
    Research is very helpful here. Look at where there are gaps in the medium. Does there need to be more coverage of a certain genre.
  • Select a topic you are passionate about.
    People can feel if you are passionate about your pictures. Passion is conveyed by your demeanor but even more so from your pictures. If you are not passionate about what you are working on stop working and find something you are passionate about to do.
  • Be sure the book engages the audience.
    Tell the story in your voice. Lead don’t follow, but never loose sight of who your audience is or you will loose them.
  • Estimate production costs of photography.
    Be sure you can complete the book before you start. Find funding if needed through grants or corporate sponsorship.
  • Edit.
    Remember you are only as good as your weakest link. A great picture diminishes when in the company of mediocrity.
  • Edit again.
    You never get it perfect the first time.
  • Go ahead and edit a third time.
    And rarely on the second.
  • Create a maquette or book dummy (these are the same thing but “maquette” sounds smarter).
     “Maquette” is French defined as a sculptor’s rough test sculpture done before hitting the marble or casting the bronze. The maquette is very important in bookmaking. It is a rough of the book made prior to publishing. It’s also a very tricky item to get right as you want it to be rough but also enticing. Too finished and the publisher may feel pigeonholed and limited in input. Too loose and they may not be enticed to investigate further. I recommend you share a few pages from the book as a maquette, a “this is what I was thinking” sample and follow up with a color corrected and detailed PDF of just pictures. You may find other avenues better suited to specific publishers. Read the publisher’s submission criteria and adhere to it.
  • Research publishers that are appropriate for your work.
    Like photographers publishers specialize. Fashion, documentary, landscape, reportage, narrative are all genres that some publishers limit themselves to. Be sure the publishers you contact are appropriate for your book. They like knowing you do your research as well.
  • Respectfully approach publishers with the maquette.
    Publishers are dedicated hard working people trying to survive in a dwindling and ever more competitive marketplace. It’s a tough job, be nice to them.
  • Negotiate a favorable contract for all.
    Be sure you are happy with the deal you make. You will live with it. I assure you the publisher will be comfortable with any deal they make. You want a pleasant and honest partnership surrounding your book.
  • Be realistic in negotiations and prepared to walk away.
    What are you getting from the publisher in exchange for all your hard work, original photography financial investment and passion? Be sure they have a finely tuned operation capable of supporting you and your book. Design, production quality, warehousing, distribution, marketing, PR, and payment are the areas you should be concerned with. Ask other authors about the publisher. Bring up these areas when negotiating with the publisher. If you are a first time author it’s a tougher go negotiating.
  • Persevere.
    I doubt the first publisher who sees your book maquette will publish it. Probably not the second, third, fourth, fifth….. You can not let rejection be a reflection upon the merit of your book or more importantly you. There are many publishers and most won’t be right for your book. When your book is rejected politely ask what it that the publisher is looking for. If you see a common denominator from publishers possibly adjust your book to eliminate the problem.

I hope this brief and somewhat opinionated synopsis proves beneficial to those of you wishing to publish a picture book. While extremely difficult, authoring a picture book is a rewarding, satisfying undertaking. Your book can serve as the instrument to inform, elicit response, effect positive social change and open doors for you to continue to do even more with your pictures. Just remember these three words and you’ll be off to a good start: Passion, Purpose and Perseverance.



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