Foto Care shares Tips on Renting Photography Equipment
Today, we’re interviewing Fred Blake, Business Partner and Manager of Foto care Rentals. Fred, having been in the photo industry for many years, has a particularly broad knowledge base incorporating both the shooting, manufacturing and retail sides of the photo industry. Fred has been with Foto Care for fifteen years.
First off, why would a photographer consider renting equipment?
Many reasons:
For the professional, if they’re in need of a product they may not currently own, or perhaps a piece may be too expensive for them to purchase at that time; this is where we can help out. Other times, we may have a photographer that’s called to do a very particular type of job where they may only need specific equipment once.
For passionate amateurs, renting allows them to take various gear out for test-drives to see what works for them. While at the same time, it gives them access to a broader range of gear when special occasions like vacations, weddings, births or graduations come up.
Most of the time it’s more economical, technology moves faster than the time it takes some equipment to pay for itself (especially digital and hybrid video cameras)
How do I choose a good Rental Facility?
Honestly, price shouldn’t be the primary consideration. Most rental houses are in the same ballpark. For us, we pride ourselves on working with our customers based on their budget restrictions or working within the specific budget for the project at hand.
Proximity and accessibility should be factored in as well. There may be times where on site training on a product may be the best way to learn. Most importantly, a facility’s breadth and depth of its equipment is the leading reason as to where one should rent. Can a facility support what it rents? Can a facility suggest the best tools for the job? At Foto Care, this is what we pride ourselves on.
Talk to us about your staff’s knowledge:
Our staff has been with us an average of eight years, with some having been here for decades. The fact that we’re all passionate techies makes this not seem like work. We go out of our way to test drive every piece of equipment. It’s amazing how eager everyone is to get to know the hardware as soon as it comes in. Plus, part of our job is to be able to troubleshoot with our customers over the phone so we all need to understand the ins and out of each piece of gear we rent.
All of us have our particular areas of expertise but everyone seems to have jumped on the video bandwagon in a big way. We are becoming video hybrid experts. Things have been moving so fast that keeping up is critical. Video is just exploding. We’re adding microphones, special lighting and lenses that we’ve never had before based on demand and interest.
Talk to us more about the depth of equipment you offer?
Having the newest/latest equipment available for our customers is critical. And not just one or two either. Our depth of equipment and inventory (usually having 10 or more of something) is key. For example: We have more then 90 broncolor powerpacks; more than anyone in the country.
Foto Care has built a reputation on Outstanding Customer Service. How does that apply to Rentals?
It’s always been important, I remember one time Avedon Studios called from India with a problem: They were shooting the Dalai Lhama in 8 x 10 format with very limited time restrictions so every piece of film needed to be usable. With exposures all over the map, they needed to process the film by inspection so we ended up finding them night vision equipment to help them process their film.
These days, some of our newer customers will call to discuss various lighting scenarios they are considering and ask for our recommendations. Helping problem solve with them is one of the highlights of our day. In fact, often we’ll set up lights here at our facility to show them a particular setup. Fortunately, our facility is quite large and allows us to show a variety of setups to our customers. The time investment for us is important because this is their job at stake, and we see ourselves as a trusted partner in their business. And this doesn’t just apply to the working professional. We want all of our customers to be comfortable with the gear they rent from us. That’s why they keep coming back.
What can a customer do to ensure they get the best results?
1. Call orders in advance:
Most errors are made when under pressure. If this is unavoidable, check your equipment before you leave. Ten minuets at the counter can save you two hours in set.
2. Ask questions:
We’re not just handing out a box with no support. We expect our customers to ask us questions. In fact, we encourage it. We’d rather help answer all your questions when you’re placing an order or when you pick it up as opposed to when you are out on location or back in your studio. And b all means, keep asking questions until you are comfortable and satisfied. In photography there is more than one way to achieve most goals.
What do you recommend for customers consistently ordering over the phone?
If you start an order over the phone, get the name of the rental technician. This way, if you call to follow up with questions, there is continuity by dealing with the same person. We also except orders via email. Really, its whatever works best for you as a customer.
When picking up an order, what should customers know and do?
Go through your equipment. Look at it. We try to pack orders as accurately as possible but there can be misunderstandings. Sometimes funny ones: Someone the other day asked for a “Gary Coleman” C-Stand. Huh? Hadn’t heard that one before. What they wanted was a short 20” C-stand versus a 40” stand. With all the slang in our industry, it’s easy to misunderstand what folks are sometimes looking for.
What are some of the things to keep an eye out for?
Clean, maintained equipment, especially clean sensors. It’s a matter of pride with us. You can tell a lot about a rental facility by how clean and well maintained their inventory is.
Anything else people need to know?
All rental houses in NYC require deposits, valid identification, and, in some cases, proof of insurance. It’s a very good idea for photographers to have insurance. This not only protects the photographer but the rental department can take a reduced security deposit for the value of the deductible.
Is there anything else you want customers to know?
Foto Care constantly offers seminars and lectures for continuing education of our customers so check our website and sign-up for the Foto Care Newsletter which comes out twice month. And get out and shoot.
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June 7th, 2010 | Tags: battery pack, battery strobe, beauty dish, broncolor, c stand, camera stand, equipment, fashion, fashion power pack, Foba, foto care, fotocare, gear, grafit, grip, hmi, kobold, lighting, Lighting Seminar, nyc, para, parabolic reflector, power pack, pulso, reflector, rental, rental department, rental house, rentals, ringflash, scoro, special lighting, strobe, studio, studio lighting, technician, unilite, verso, video | Category: California Sunbounce, Foba, Interesting Stuff, Lighting Tips, Sinar, Technical Tips, broncolor, kobold | Leave a comment | Colin King
Monday, June 7, 2010
Saturday, June 5, 2010
Photo Assistants Boot Camp.
The original 1ProPhoto.Com Photo Assistant Boot Camp July 10-11 2010
By JamesNYCJune 5. 2010 07:37
Our next 1ProPhoto.Com Photo Assistant Boot Camp will be July 10-11 2010 http://www.photoassistantbootcamp.com And will feature ProFoto studio strobes & K5600 continuous lighting.
This is not some 2-4 hour sit around seminar were your stuck listening to photo company sales reps.try and sell you shit you can't afford.
This is a real world hands on event that will actually prepare you for working on set.
Our Photo Assistant Boot Camp is held in a real NYC studio, not some corporate event space cramped school venue.
Yes I'm well aware that others in the past two years have been offering something they call a Photo Assistant Boot Camp.
But in the end those that have gone to these events have always ended up attending Boot Camp, and wondered why they wasted their time going else where.
Check out this link for full details. http://www.photoassistantbootcamp.com
By JamesNYCJune 5. 2010 07:37
Our next 1ProPhoto.Com Photo Assistant Boot Camp will be July 10-11 2010 http://www.photoassistantbootcamp.com And will feature ProFoto studio strobes & K5600 continuous lighting.
This is not some 2-4 hour sit around seminar were your stuck listening to photo company sales reps.try and sell you shit you can't afford.
This is a real world hands on event that will actually prepare you for working on set.
Our Photo Assistant Boot Camp is held in a real NYC studio, not some corporate event space cramped school venue.
Yes I'm well aware that others in the past two years have been offering something they call a Photo Assistant Boot Camp.
But in the end those that have gone to these events have always ended up attending Boot Camp, and wondered why they wasted their time going else where.
Check out this link for full details. http://www.photoassistantbootcamp.com
What every photography school student needs to know.
What every photography school student needs to know.
By JamesNYCFebruary 21. 2010 14:00
During the last 6 years of teaching workshops promoted through my sites, I have come in contact with hundreds of photo school / college grads that have felt cheated after spending up wards and beyond $160,000 for an education that has left them unprepared and unqualified for working in the real world of commercial photography.
So here is some of what I have come to find, and what they have personally revealed to me, in no specific order.
Unless you absolutely positively can not live a full life with out taking pictures or making images every single day of your life, do not pursue a career in photography.
If you are the type of person that needs emotional, financial, and job stability do not get into photography.
Know your photographic history. you can not move forward without acknowledging the past.
And know whom from the past you can stealthy "barrow" from.
If you believe that by taking photography classes in high school, college, or other will make you a photographer it won't
If after taking photography classes you are under the impression that you will be able to move to a major photo market like New York and become the next Avedon you will not.
Photographers are competing on a world stage and there are thousands of highly skilled over qualified photographers that have worked as assistants, digital techs, lighting techs, and producers for some of the most famous and infamous photographers in the world and you will have to wait your turn behind them as you are competing for the few jobs available.
(Many of those have been doing this for nearly 20 years and have been cultivating business contacts for as long.)
A question to all:
How many of you have the type of personality that allows you to walk into a room and begin introducing yourself to strangers and in 60 minutes have been able to make 20 new contacts?
(After a show of hands)
Those of you that did not raise your hand will probably never make it in commercial photography because networking is as important as being able to push a button and make a great image.
Those of you that did raise your hand probably have a 1 in 250,000 shot at being able to make a living at photography and a 1 in 200 million shot at becoming the next Avedon.
Knowing Photoshop does not make you a photographer, nor does it make you a qualified digital tech.
Big name photographers are looking for highly skilled people to work with. (link is to a job listing for Mark Seliger from last year)
http://www.1prophoto.com/CMSblog/post/2009/10/21/What-a-famous-photographer-is-looking-for-in-a-new-Fill-time-first-assistant.aspx
If all you know is digital you are severly under qualified.
If you do not know lighting you do not know photography.
Study sales, marketing, contract law, business, finance, advertising in school. Learn photography from photo assisting.
Professional photographers do it in the camera not in Photoshop.
Becoming a photo assistant is the best way to learn what to do and what not to do in running a photo shoot and the business of a photographer.
As a photo assistant never ever bring your portfolio to a shoot, never pass out your business cards to clients, do not date models or anyone else in the industry, keep your drink and drugs at home, show up on time always, wear clean clothes, shower, shave, ...
When trying to get work as an assistant work for as many photographers as you can and for as many types of photographers as you can.
The best being still life and editorial or corp. portraiture photographers. They will teach you lighting and production skills that you will never learn working for the fashion guys.
If you only speak 1 language start learning another: Spanish, German, French, Japanese, Italian, Portuguese, Chinese.
All photographers are insecure and most are frustrated musicians too.
When you are not working on a shoot you need to be looking for that next job, when your not doing either you need to be working on your portfolio or next series of images.
If your not doing this or something that will drive success to your business you are not serious about becoming a photographer.
Very few photographers have successful marriages or relationships.
Decide early on what your priorities are so that neither you or your potential partners are disappointed.
How ever there are those very rare occasions when you may meet someone that is willing to tolerate playing second to your photography.
When you find them keep them at all costs.
Photography is about communication(s). you need to develop your verbal communication skills as well as you photographic skills.
Clients do not always,...well actually they almost NEVER know what they want and it is sometime up to you to be able to pull their thoughts out of their heads.
If you do not have good communication skills as well as a good vocabulary you may not be able to express yourself adequately to your potential clients and both they and you lose out.
Beginning today,...Do not burn any bridges EVER.
Odds are that someone here to day or in your graduating class will be in a position to advance you or your career in the future.
Piss someone off now and they will only remember that aspect of your personality later.
With that in mind, "Always pay it forward" it costs you nothing and helps down the road.
Have a backup plan, and no, being a rockstar is not a back up plan.
Realize that hundreds of thousands of students graduate every semester believing that they will be on the road to fame and fortune.
What no one has told them is that most of us have spent a great deal of time living with roommates or a small east village apartment, eating Mac & Cheese and tuna out of a can on those none shoot days when there is no catering to take home as our next meal.
If your not working, shoot every day.
Edit Edit Edit. and then edit the crap that you kept as filler.
You must be proactive, make those cold calls, send out promo pieces regardless of the type of jobs you are looking for.
Maintain good credit, pay your bills, pay your freelancers first, and keep your reputation in tact.
Everyone talks in the photo world and everyone knows most of everyone else's business.
Bad news travels very fast in the photo world, so make sure the only thing people have to say about you is positive.
Keep your private life private and your opinions to yourself.
Even after you think that your becoming friends with a photographer your not, your still a freelancer hoping to keep working with them.
Internships are not positions of indentured servitude.
Do not take an internship unless there are clear guide lines as to your responsibilities and clear statement of on the job learning opportunities.
Too many students have ended up walking the dog, picking up dry cleaning, doing house work, parking cars, cleaning up after the dog, baby sitting, taking the kids to ballet or karate class, or picking up after the homeless guy that dumps in front of the photographers studio every morning.
When you get a phone call and the person on th eother end hems and haws on the type of job, terms of payment or other details about the job they are trying to book you for,
the odds are you will never get paid for that job.
Tell then your not available to work that day.
Never tell a photographer that you do not like his work or do not wish to work with them.
Try 1 of the following.
"I'm sorry but I'm booked for the next week, perhaps another time in the future."
"I'm sorry but another photographer has first option on me for that week, if it opens up I can call back."
I'm sorry but I'm out of town on those days."
This is a business and you need to treat it as such.
It's all well and good that we get paid to make pretty pictures but at the end of the day you need to get paid for your work, be it photographer, assistant, catering, hair & make up, stylist, location van driver, location scout,
NO ONE WORKS FOR FREE!
If you can handle the fact that the photo industry operates like the wild west and has no standards or practices, it's the best job in the world.
By JamesNYCFebruary 21. 2010 14:00
During the last 6 years of teaching workshops promoted through my sites, I have come in contact with hundreds of photo school / college grads that have felt cheated after spending up wards and beyond $160,000 for an education that has left them unprepared and unqualified for working in the real world of commercial photography.
So here is some of what I have come to find, and what they have personally revealed to me, in no specific order.
Unless you absolutely positively can not live a full life with out taking pictures or making images every single day of your life, do not pursue a career in photography.
If you are the type of person that needs emotional, financial, and job stability do not get into photography.
Know your photographic history. you can not move forward without acknowledging the past.
And know whom from the past you can stealthy "barrow" from.
If you believe that by taking photography classes in high school, college, or other will make you a photographer it won't
If after taking photography classes you are under the impression that you will be able to move to a major photo market like New York and become the next Avedon you will not.
Photographers are competing on a world stage and there are thousands of highly skilled over qualified photographers that have worked as assistants, digital techs, lighting techs, and producers for some of the most famous and infamous photographers in the world and you will have to wait your turn behind them as you are competing for the few jobs available.
(Many of those have been doing this for nearly 20 years and have been cultivating business contacts for as long.)
A question to all:
How many of you have the type of personality that allows you to walk into a room and begin introducing yourself to strangers and in 60 minutes have been able to make 20 new contacts?
(After a show of hands)
Those of you that did not raise your hand will probably never make it in commercial photography because networking is as important as being able to push a button and make a great image.
Those of you that did raise your hand probably have a 1 in 250,000 shot at being able to make a living at photography and a 1 in 200 million shot at becoming the next Avedon.
Knowing Photoshop does not make you a photographer, nor does it make you a qualified digital tech.
Big name photographers are looking for highly skilled people to work with. (link is to a job listing for Mark Seliger from last year)
http://www.1prophoto.com/CMSblog/post/2009/10/21/What-a-famous-photographer-is-looking-for-in-a-new-Fill-time-first-assistant.aspx
If all you know is digital you are severly under qualified.
If you do not know lighting you do not know photography.
Study sales, marketing, contract law, business, finance, advertising in school. Learn photography from photo assisting.
Professional photographers do it in the camera not in Photoshop.
Becoming a photo assistant is the best way to learn what to do and what not to do in running a photo shoot and the business of a photographer.
As a photo assistant never ever bring your portfolio to a shoot, never pass out your business cards to clients, do not date models or anyone else in the industry, keep your drink and drugs at home, show up on time always, wear clean clothes, shower, shave, ...
When trying to get work as an assistant work for as many photographers as you can and for as many types of photographers as you can.
The best being still life and editorial or corp. portraiture photographers. They will teach you lighting and production skills that you will never learn working for the fashion guys.
If you only speak 1 language start learning another: Spanish, German, French, Japanese, Italian, Portuguese, Chinese.
All photographers are insecure and most are frustrated musicians too.
When you are not working on a shoot you need to be looking for that next job, when your not doing either you need to be working on your portfolio or next series of images.
If your not doing this or something that will drive success to your business you are not serious about becoming a photographer.
Very few photographers have successful marriages or relationships.
Decide early on what your priorities are so that neither you or your potential partners are disappointed.
How ever there are those very rare occasions when you may meet someone that is willing to tolerate playing second to your photography.
When you find them keep them at all costs.
Photography is about communication(s). you need to develop your verbal communication skills as well as you photographic skills.
Clients do not always,...well actually they almost NEVER know what they want and it is sometime up to you to be able to pull their thoughts out of their heads.
If you do not have good communication skills as well as a good vocabulary you may not be able to express yourself adequately to your potential clients and both they and you lose out.
Beginning today,...Do not burn any bridges EVER.
Odds are that someone here to day or in your graduating class will be in a position to advance you or your career in the future.
Piss someone off now and they will only remember that aspect of your personality later.
With that in mind, "Always pay it forward" it costs you nothing and helps down the road.
Have a backup plan, and no, being a rockstar is not a back up plan.
Realize that hundreds of thousands of students graduate every semester believing that they will be on the road to fame and fortune.
What no one has told them is that most of us have spent a great deal of time living with roommates or a small east village apartment, eating Mac & Cheese and tuna out of a can on those none shoot days when there is no catering to take home as our next meal.
If your not working, shoot every day.
Edit Edit Edit. and then edit the crap that you kept as filler.
You must be proactive, make those cold calls, send out promo pieces regardless of the type of jobs you are looking for.
Maintain good credit, pay your bills, pay your freelancers first, and keep your reputation in tact.
Everyone talks in the photo world and everyone knows most of everyone else's business.
Bad news travels very fast in the photo world, so make sure the only thing people have to say about you is positive.
Keep your private life private and your opinions to yourself.
Even after you think that your becoming friends with a photographer your not, your still a freelancer hoping to keep working with them.
Internships are not positions of indentured servitude.
Do not take an internship unless there are clear guide lines as to your responsibilities and clear statement of on the job learning opportunities.
Too many students have ended up walking the dog, picking up dry cleaning, doing house work, parking cars, cleaning up after the dog, baby sitting, taking the kids to ballet or karate class, or picking up after the homeless guy that dumps in front of the photographers studio every morning.
When you get a phone call and the person on th eother end hems and haws on the type of job, terms of payment or other details about the job they are trying to book you for,
the odds are you will never get paid for that job.
Tell then your not available to work that day.
Never tell a photographer that you do not like his work or do not wish to work with them.
Try 1 of the following.
"I'm sorry but I'm booked for the next week, perhaps another time in the future."
"I'm sorry but another photographer has first option on me for that week, if it opens up I can call back."
I'm sorry but I'm out of town on those days."
This is a business and you need to treat it as such.
It's all well and good that we get paid to make pretty pictures but at the end of the day you need to get paid for your work, be it photographer, assistant, catering, hair & make up, stylist, location van driver, location scout,
NO ONE WORKS FOR FREE!
If you can handle the fact that the photo industry operates like the wild west and has no standards or practices, it's the best job in the world.
What photographers look for in full-time assistants
What a famous photographer is looking for in a new Fill-time first assistant.
By ROKKSTAROctober 21. 2009 15:29
Every once in awhile we get job postings which we post for everyone. But sometimes we hear about positions that are so sweat we go after them ourselves. The following was passed along discreatly to us regarding a very famous photographer that is currently looking for a full-time first assistant. Note the extensive skill set that would get you considerd for the job. Next time you say no one shoots film, think again. And for those of you still in photo school, these are the things your school should be teaching you.
Attention experienced NYC photo assistants:
Currently, there is an opportunity to work fulltime as a photo assistant for (Photographers name here).
Who we are looking for:
We are looking for a seasoned assistant (minimum two years assisting experience) with an upbeat and enthusiastic attitude and a strong work ethic. All candidates must possess the ability to operate effectively and efficiently under high-pressure photo assisting situations.
Time Commitment:
We are looking for a minimum of a two-year commitment following an eight-month training period.
Skill Sets Needed for the position:
-Experience using the following analog and digital camera systems: Canon and Nikon digital 35mm systems, Hasselblad medium format camera system using PhaseOne digital backs, Mamiya RZ, Pentax 67, and the Sinar 4x5 and 8x10 large format systems.
-A strong background in using all types of grip equipment as well as the ability to manage the power needs of large-scale location and studio jobs.
-A high level of technical studio and location lighting experience using Profoto, Dynalite, and Briese lights and light shaping tools.
-Must have a great deal of experience using Photoshop (for retouching and workflow management) as well as Capture One.
-International travel experience (i.e. use of an equipment carnet) as a photo assistant.
-Experience in teching, rating, and developing film.
-Proficiency in traditional black and white printing is a bonus!
Responsibilities of the Full Time Assistants:
The responsibilities outlined below are split between the full time first and second assistants.
-Photoshoot Preproduction: creating equipment budgets, scouting shoot locations, placing equipment orders, building assistant team, and loading and teching film.
-Managing photo equipment rentals as well as overseeing and approving all photo-related billing/purchases.
-Onset management of crew, delegation of tasks, and working with (Photographers name) on-camera.
-Post-production: Low res retouching and compositing images, and overseeing postproduction (working as a liaison between (Photographers name) and client as well as retouching company and client).
-You will be responsible for the organization and maintenance of (Photographers name) extensive (to say the least) array of photographic, digital and camera equipment (including shoot computers), as well as our in-house studio and darkrooms.
Compensation:
Compensation is salary based and highly competitive.
If you meet the criteria outline above please email your cover letter and resume to :
By ROKKSTAROctober 21. 2009 15:29
Every once in awhile we get job postings which we post for everyone. But sometimes we hear about positions that are so sweat we go after them ourselves. The following was passed along discreatly to us regarding a very famous photographer that is currently looking for a full-time first assistant. Note the extensive skill set that would get you considerd for the job. Next time you say no one shoots film, think again. And for those of you still in photo school, these are the things your school should be teaching you.
Attention experienced NYC photo assistants:
Currently, there is an opportunity to work fulltime as a photo assistant for (Photographers name here).
Who we are looking for:
We are looking for a seasoned assistant (minimum two years assisting experience) with an upbeat and enthusiastic attitude and a strong work ethic. All candidates must possess the ability to operate effectively and efficiently under high-pressure photo assisting situations.
Time Commitment:
We are looking for a minimum of a two-year commitment following an eight-month training period.
Skill Sets Needed for the position:
-Experience using the following analog and digital camera systems: Canon and Nikon digital 35mm systems, Hasselblad medium format camera system using PhaseOne digital backs, Mamiya RZ, Pentax 67, and the Sinar 4x5 and 8x10 large format systems.
-A strong background in using all types of grip equipment as well as the ability to manage the power needs of large-scale location and studio jobs.
-A high level of technical studio and location lighting experience using Profoto, Dynalite, and Briese lights and light shaping tools.
-Must have a great deal of experience using Photoshop (for retouching and workflow management) as well as Capture One.
-International travel experience (i.e. use of an equipment carnet) as a photo assistant.
-Experience in teching, rating, and developing film.
-Proficiency in traditional black and white printing is a bonus!
Responsibilities of the Full Time Assistants:
The responsibilities outlined below are split between the full time first and second assistants.
-Photoshoot Preproduction: creating equipment budgets, scouting shoot locations, placing equipment orders, building assistant team, and loading and teching film.
-Managing photo equipment rentals as well as overseeing and approving all photo-related billing/purchases.
-Onset management of crew, delegation of tasks, and working with (Photographers name) on-camera.
-Post-production: Low res retouching and compositing images, and overseeing postproduction (working as a liaison between (Photographers name) and client as well as retouching company and client).
-You will be responsible for the organization and maintenance of (Photographers name) extensive (to say the least) array of photographic, digital and camera equipment (including shoot computers), as well as our in-house studio and darkrooms.
Compensation:
Compensation is salary based and highly competitive.
If you meet the criteria outline above please email your cover letter and resume to :
Wednesday, May 12, 2010
THE NEW YORK PHOTO FESTIVAL 2010
THE NEW YORK PHOTO FESTIVAL 2010
Fri, 2010-02-26 15:46 — adminpgr01
Event-Organizer:
The New York Photo Festival (NYPH)
Event-Headline:
THE NEW YORK PHOTO FESTIVAL 2010
Event-Start-Date:
Wed, 2010-05-12
Event-End-Date:
Sun, 2010-05-16
Event-Description:
THE NEW YORK PHOTO FESTIVAL 2010
TO TAKE PLACE MAY 12‹16
Curated by Vince Aletti, Erik Kessels, Fred Ritchin and
Lou Reed
Three Years In, Organizers Have Succeeded AT Creating
the U.S.¹s First International-Level Photography Festival
The New York Photo Festival (NYPH) grew out of a simple and stark conundrum:
New York City, the world¹s capital of photography, had no major photography
festival. In fact, there was no American counterpart to the prestigious
festivals of Europe. To fill the void, Daniel Power of powerHouse Books and
Frank Evers, then the managing director of VII Photo Agency‹both based in
the creative hotbed of DUMBO, Brooklyn‹founded the New York Photo Festival
in 2008. After debuting to international acclaim, the festival grew in 2009,
in spite of the recession. The increasing success, especially given the
circumstances, has affirmed the vital demand for the New York Photo
Festival, as well as its staying power. The third annual festival will take
place May 12‹16, 2010 with expanded programming, more locations across the
city, and extended hours.
To help create NYPH¹10, Power, Evers, and Festival Director Sam Barzilay
have selected four world-class curators to bring their personal visions of
the most provocative and intriguing developments in contemporary photography
to the event¹s main pavilions: Vince Aletti, Erik Kessels, Fred Ritchin, and
Lou Reed. The curators¹ exhibitions will be announced soon.
The New York Photo Festival has become not only an essential destination for
photo professionals, amateurs and students from around the world, but also a
favorite event of art and culture aficionados. The programming includes
exhibitions, panel discussions, artists¹ stage presentations, slideshows and
accompanied projections, in addition to seminars and workshops.
As before, the main festival sites will be in the Brooklyn waterfront
community of DUMBO. However, this year, for the first time, events and
pre-festival activities will also take place in other parts of the city. The
festival organizers will offer free public admission to select exhibitions
in the main pavilions and reduced ticket prices for events. Exhibitions will
be open daily from 12:00 P.M. until 8:00 P.M.
As they have throughout the New York Photo Festival¹s first years, Two Trees
Management is once again acting as a major sponsor of the initiative,
providing sites and funding for festival programming.
About the NYPH¹10 Curators
Vince Aletti reviews photography exhibitions for The New Yorker's Goings On
About Town section and writes a regular column about photo books for
Photograph. He is the winner of the 2005 Infinity Award in writing from the
International Center of Photography, where he is currently an adjunct
curator. Aletti co-curated "Weird Beauty: Fashion Photography Now" with
Carol Squiers and is the curator of "This Is Not a Fashion Photograph," both
at ICP; he and Squiers worked together on ³Richard Avedon Fashion,² the
museum's summer 2009 exhibition, as well as on the catalog published by
Abrams.
Male, a book of photographs and other artwork from Aletti¹s personal
collection, was published by PPP Editions at the end of 2008. The Disco
Files 1973-78: New York¹s Underground, Week by Week, a compilation of record
reviews and club scene roundups by Aletti, was released by DJHistory.com in
2009.
Erik Kessels is a photography curator, writer, and picture anthropologist,
and a founding partner and creative director of KesselsKramer, an
independent, international communications agency located in Amsterdam. He
has curated exhibitions such as ³Loving Your Pictures² at the Centraal
Museum Utrecht, The Netherlands and at Les Rencontres d¹Arles Photographie,
France, and has published several books of his images‹including the In
Almost Every Picture series. Since 2000, he has been one of the editors of
the alternative photography magazine Useful Photography.
Kessels is an editorial contributor for both BON International and Identity
Matters, and he has lectured at the D&AD President¹s Lecture and at several
international design conferences in Singapore, Goa, Toronto, and Bangkok. He
has taught communication at Hallo© in Amsterdam and photography at the
Gerrit Rietveld Academie, also in Amsterdam. In 2008 he was an artist in
residence for the Amsterdam Academy of Architecture, where he curated a
celebration of amateurism. For the opening of the world¹s first graphic
design museum, in Breda, Erik organized an exhibition entitled ³The European
Championship of Graphic Design.² For the DVD art project Loud & Clear he
worked with artists such as Marlene Dumas and Candice Breitz. Kessels has
made commercial work for national and international clients such as Nike,
Diesel, J&B Whisky, Oxfam International, Ben Mobile, and the Hans Brinker
Budget Hotel, and has won an Effie, and the Cannes Press Lion (silver) for
Ad Agency of the Year and Ad Director of the Year.
Fred Ritchin is professor of Photography & Imaging at New York University¹s
Tisch School of the Arts. He is the author of After Photography (W. W.
Norton, 2009) and In Our Own Image: The Coming Revolution in Photography
(Aperture, 1990), and has co-authored books such as An Uncertain Grace: The
Photographs of Sebastião Salgado (Aperture, 1990), In Our Time: The World As
Seen by Magnum Photographers (W. W. Norton, 1989), and Mexico Through
Foreign Eyes: Photographs, 1850 1990 (W. W. Norton, 1993). His essays have
appeared in many other books, including Picture Imperfect by Kent Klich and
Under Fire: Great Photographers and Writers in Vietnam by Catherine Leroy.
Currently he is working on a new book, Outside the Frame, concerning
contemporary imagery and social change.
Ritchin is also director of PixelPress, an organization that has created
websites, books, and exhibitions that promote human rights and documentary
experimentation. He is the former picture editor of The New York Times
Magazine and Horizon magazine, former executive editor of Camera Arts
magazine, and the founding director of the Photojournalism and Documentary
Photography fulltime educational program at the International Center of
Photography. Ritchin was nominated for the Pulitzer Prize in public service
by The New York Times for the 1996 website, ³Bosnia: Uncertain Paths to
Peace,² which he co-created with photographer Gilles Peress. He also created
the first multimedia version of the daily New York Times in 1994. Ritchin
lectures and conducts workshops internationally on new and documentary
media.
Lou Reed is a playwright, poet, musician, and photographer whose photographs
have been exhibited worldwide. His third photography book, Romanticism, will
be released later this year on Edition 7L. He was named a Chevalier de
l'Ordre des Arts et des Lettres by the French government and is the
recipient of numerous other awards. He was inducted into the Rock and Roll
Hall of Fame in 1996 and is a founding member of the legendary band, the
Velvet Underground.
Reed released his first suite of electronic meditation music, Hudson River
Wind Meditations, on the Sounds True label in 2007. In late 2008 Reed
released a new album of live electronic music called Lou Reed's Metal
Machine Trio: The Creation of The Universe, which inspired two
extraordinarily well-received performances by the MM3 in New York, in April
of 2009. In December of 2006, Lou Reed premiered the live staging of his
masterwork Berlin at St. Ann¹s Warehouse in DUMBO, Brooklyn; the performance
was filmed by Academy Award-nominated director and artist Julian Schnabel.
Currently Reed is working on several projects including a collaboration with
artist Lorenzo Mattiotti on a graphic novel based on his album, The Raven; a
book of essays on Chen Tai Chi called The Art of the Straight Line, which is
slated for release in 2009; and continues to co-host a weekly radio show
with producer Hal Willner called The New York Shuffle.
About the New York Photo Festival
Designed to be an American counterpart and thematic successor to the
prestigious European photo festivals Les Rencontres d¹Arles, PHotoEspaña,
and Visa pour l¹Image, the New York Photo Festival creates an international
atmosphere of inspiring visual installations, professional and aficionado
fellowship and camaraderie, and news-worthy staged presentations, awards
ceremonies, and symposia over the course of four-and-a-half days during the
busiest photography month in New York City.
The festival was founded by Daniel Power and Frank Evers. The inaugural NYPH
(May 14 18, 2008) proved an astounding success, with over 15,000 tickets
sold, 2,500 industry professionals and artists, 1,000 members of the
international press, packed seating for all day and evening programming
events at St. Ann¹s Warehouse (450 capacity), 20 countries represented in
curated and satellite pavilions, 85,000 clicked site visits, 47,000 blog
posts, 2.5 million unique visits to www.nyphotofestival.com, 49 media
partners, and over 3,000 submissions from 87 countries for the New York
Photo Awards (www.newyorkphotoawards.com)
The New York Photo Festival 2009 (May 13-17, 2009) was bigger in all
respects.
The New York Photo Festival is headquartered in DUMBO, Brooklyn, NY.
Press Contact: Blake Zidell at Blake Zidell & Associates,
718.643.9052 or blake@blakezidell.com.
Event-Contact:
www.newyorkphotoawards.com
Fri, 2010-02-26 15:46 — adminpgr01
Event-Organizer:
The New York Photo Festival (NYPH)
Event-Headline:
THE NEW YORK PHOTO FESTIVAL 2010
Event-Start-Date:
Wed, 2010-05-12
Event-End-Date:
Sun, 2010-05-16
Event-Description:
THE NEW YORK PHOTO FESTIVAL 2010
TO TAKE PLACE MAY 12‹16
Curated by Vince Aletti, Erik Kessels, Fred Ritchin and
Lou Reed
Three Years In, Organizers Have Succeeded AT Creating
the U.S.¹s First International-Level Photography Festival
The New York Photo Festival (NYPH) grew out of a simple and stark conundrum:
New York City, the world¹s capital of photography, had no major photography
festival. In fact, there was no American counterpart to the prestigious
festivals of Europe. To fill the void, Daniel Power of powerHouse Books and
Frank Evers, then the managing director of VII Photo Agency‹both based in
the creative hotbed of DUMBO, Brooklyn‹founded the New York Photo Festival
in 2008. After debuting to international acclaim, the festival grew in 2009,
in spite of the recession. The increasing success, especially given the
circumstances, has affirmed the vital demand for the New York Photo
Festival, as well as its staying power. The third annual festival will take
place May 12‹16, 2010 with expanded programming, more locations across the
city, and extended hours.
To help create NYPH¹10, Power, Evers, and Festival Director Sam Barzilay
have selected four world-class curators to bring their personal visions of
the most provocative and intriguing developments in contemporary photography
to the event¹s main pavilions: Vince Aletti, Erik Kessels, Fred Ritchin, and
Lou Reed. The curators¹ exhibitions will be announced soon.
The New York Photo Festival has become not only an essential destination for
photo professionals, amateurs and students from around the world, but also a
favorite event of art and culture aficionados. The programming includes
exhibitions, panel discussions, artists¹ stage presentations, slideshows and
accompanied projections, in addition to seminars and workshops.
As before, the main festival sites will be in the Brooklyn waterfront
community of DUMBO. However, this year, for the first time, events and
pre-festival activities will also take place in other parts of the city. The
festival organizers will offer free public admission to select exhibitions
in the main pavilions and reduced ticket prices for events. Exhibitions will
be open daily from 12:00 P.M. until 8:00 P.M.
As they have throughout the New York Photo Festival¹s first years, Two Trees
Management is once again acting as a major sponsor of the initiative,
providing sites and funding for festival programming.
About the NYPH¹10 Curators
Vince Aletti reviews photography exhibitions for The New Yorker's Goings On
About Town section and writes a regular column about photo books for
Photograph. He is the winner of the 2005 Infinity Award in writing from the
International Center of Photography, where he is currently an adjunct
curator. Aletti co-curated "Weird Beauty: Fashion Photography Now" with
Carol Squiers and is the curator of "This Is Not a Fashion Photograph," both
at ICP; he and Squiers worked together on ³Richard Avedon Fashion,² the
museum's summer 2009 exhibition, as well as on the catalog published by
Abrams.
Male, a book of photographs and other artwork from Aletti¹s personal
collection, was published by PPP Editions at the end of 2008. The Disco
Files 1973-78: New York¹s Underground, Week by Week, a compilation of record
reviews and club scene roundups by Aletti, was released by DJHistory.com in
2009.
Erik Kessels is a photography curator, writer, and picture anthropologist,
and a founding partner and creative director of KesselsKramer, an
independent, international communications agency located in Amsterdam. He
has curated exhibitions such as ³Loving Your Pictures² at the Centraal
Museum Utrecht, The Netherlands and at Les Rencontres d¹Arles Photographie,
France, and has published several books of his images‹including the In
Almost Every Picture series. Since 2000, he has been one of the editors of
the alternative photography magazine Useful Photography.
Kessels is an editorial contributor for both BON International and Identity
Matters, and he has lectured at the D&AD President¹s Lecture and at several
international design conferences in Singapore, Goa, Toronto, and Bangkok. He
has taught communication at Hallo© in Amsterdam and photography at the
Gerrit Rietveld Academie, also in Amsterdam. In 2008 he was an artist in
residence for the Amsterdam Academy of Architecture, where he curated a
celebration of amateurism. For the opening of the world¹s first graphic
design museum, in Breda, Erik organized an exhibition entitled ³The European
Championship of Graphic Design.² For the DVD art project Loud & Clear he
worked with artists such as Marlene Dumas and Candice Breitz. Kessels has
made commercial work for national and international clients such as Nike,
Diesel, J&B Whisky, Oxfam International, Ben Mobile, and the Hans Brinker
Budget Hotel, and has won an Effie, and the Cannes Press Lion (silver) for
Ad Agency of the Year and Ad Director of the Year.
Fred Ritchin is professor of Photography & Imaging at New York University¹s
Tisch School of the Arts. He is the author of After Photography (W. W.
Norton, 2009) and In Our Own Image: The Coming Revolution in Photography
(Aperture, 1990), and has co-authored books such as An Uncertain Grace: The
Photographs of Sebastião Salgado (Aperture, 1990), In Our Time: The World As
Seen by Magnum Photographers (W. W. Norton, 1989), and Mexico Through
Foreign Eyes: Photographs, 1850 1990 (W. W. Norton, 1993). His essays have
appeared in many other books, including Picture Imperfect by Kent Klich and
Under Fire: Great Photographers and Writers in Vietnam by Catherine Leroy.
Currently he is working on a new book, Outside the Frame, concerning
contemporary imagery and social change.
Ritchin is also director of PixelPress, an organization that has created
websites, books, and exhibitions that promote human rights and documentary
experimentation. He is the former picture editor of The New York Times
Magazine and Horizon magazine, former executive editor of Camera Arts
magazine, and the founding director of the Photojournalism and Documentary
Photography fulltime educational program at the International Center of
Photography. Ritchin was nominated for the Pulitzer Prize in public service
by The New York Times for the 1996 website, ³Bosnia: Uncertain Paths to
Peace,² which he co-created with photographer Gilles Peress. He also created
the first multimedia version of the daily New York Times in 1994. Ritchin
lectures and conducts workshops internationally on new and documentary
media.
Lou Reed is a playwright, poet, musician, and photographer whose photographs
have been exhibited worldwide. His third photography book, Romanticism, will
be released later this year on Edition 7L. He was named a Chevalier de
l'Ordre des Arts et des Lettres by the French government and is the
recipient of numerous other awards. He was inducted into the Rock and Roll
Hall of Fame in 1996 and is a founding member of the legendary band, the
Velvet Underground.
Reed released his first suite of electronic meditation music, Hudson River
Wind Meditations, on the Sounds True label in 2007. In late 2008 Reed
released a new album of live electronic music called Lou Reed's Metal
Machine Trio: The Creation of The Universe, which inspired two
extraordinarily well-received performances by the MM3 in New York, in April
of 2009. In December of 2006, Lou Reed premiered the live staging of his
masterwork Berlin at St. Ann¹s Warehouse in DUMBO, Brooklyn; the performance
was filmed by Academy Award-nominated director and artist Julian Schnabel.
Currently Reed is working on several projects including a collaboration with
artist Lorenzo Mattiotti on a graphic novel based on his album, The Raven; a
book of essays on Chen Tai Chi called The Art of the Straight Line, which is
slated for release in 2009; and continues to co-host a weekly radio show
with producer Hal Willner called The New York Shuffle.
About the New York Photo Festival
Designed to be an American counterpart and thematic successor to the
prestigious European photo festivals Les Rencontres d¹Arles, PHotoEspaña,
and Visa pour l¹Image, the New York Photo Festival creates an international
atmosphere of inspiring visual installations, professional and aficionado
fellowship and camaraderie, and news-worthy staged presentations, awards
ceremonies, and symposia over the course of four-and-a-half days during the
busiest photography month in New York City.
The festival was founded by Daniel Power and Frank Evers. The inaugural NYPH
(May 14 18, 2008) proved an astounding success, with over 15,000 tickets
sold, 2,500 industry professionals and artists, 1,000 members of the
international press, packed seating for all day and evening programming
events at St. Ann¹s Warehouse (450 capacity), 20 countries represented in
curated and satellite pavilions, 85,000 clicked site visits, 47,000 blog
posts, 2.5 million unique visits to www.nyphotofestival.com, 49 media
partners, and over 3,000 submissions from 87 countries for the New York
Photo Awards (www.newyorkphotoawards.com)
The New York Photo Festival 2009 (May 13-17, 2009) was bigger in all
respects.
The New York Photo Festival is headquartered in DUMBO, Brooklyn, NY.
Press Contact: Blake Zidell at Blake Zidell & Associates,
718.643.9052 or blake@blakezidell.com.
Event-Contact:
www.newyorkphotoawards.com
DUMBO PHOTO FESTIVAL
A PHOTO STUDENT
CLASS IS NOW IN SESSION...
THE ADVENTURES OF JAMES POMERANTZ IN PHOTO MFA LAND
HomeAbout + FAQsPhoto Writings
New York Photo Festival May 12-16, 2010
NYPH dates and curators have been announced for 2010. It’s always nice to wander around Dumbo on a sunny May afternoon, especially when there’s good photography hanging. There’s also the NYPH Awards which are worth entering.
The New York Photo Festival is pleased to announce—after a very successful and critically acclaimed recession-year festival edition in 2009, and its splendid 2008 debut—the festival curators and exhibition dates for 2010.
New York City’s premier photography festival will take place May 12–16, 2010; the main festival sites will return to the Brooklyn waterfront community of DUMBO for the third straight year, and the festival will also expand its programming and pre-festival activities, for the first time, into other parts of the city.
Dedicated to the mission of pushing the boundaries of contemporary photography and showcasing ideas of our collective photographic future, the New York Photo Festival and its organizers and co-founders Daniel Power and Frank Evers will be forging down this path once more: NYPH’10 will feature the personal visions of curators Vince Aletti, Erik Kessels, Fred Ritchin, and Lou Reed as they take hold of the many indoor and outdoor sites in the formerly industrial neighborhood.
NYPH’10 will also see new initiatives in programming, including later and extended exhibition hours; reduced fare and open attendance hours for the public; special New York Photo Awards featured presentations; and expanded site programming.
PRESENTING THE NEW YORK PHOTO FESTIVAL 2010 CURATORS:
Vince Aletti reviews photography exhibitions for The New Yorker’s Goings On About Town section and writes a regular column about photo books forPhotograph. He is the winner of the 2005 Infinity Award in writing from the International Center of Photography, where he is currently an adjunct curator. Aletti co-curated “Weird Beauty: Fashion Photography Now” with Carol Squiers and is the curator of “This Is Not a Fashion Photograph,” both at ICP; he and Squiers worked together on “Richard Avedon Fashion,” the museum’s summer 2009 exhibition, as well as on the catalog published by Abrams.
Male, a book of photographs and other artwork from Aletti’s personal collection, was published by PPP Editions at the end of 2008. The Disco Files 1973-78: New York’s Underground, Week by Week, a compilation of record reviews and club scene roundups by Aletti, was released by DJHistory.com in 2009.
Erik Kessels is a photography curator, writer, and picture anthropologist, and a founding partner and creative director of KesselsKramer, an independent, international communications agency located in Amsterdam. He has curated exhibitions such as “Loving Your Pictures” at the Centraal Museum Utrecht, The Netherlands and at Les Rencontres d’Arles Photographie, France, and has published several books of his images—including the In Almost Every Pictureseries. Since 2000, he has been one of the editors of the alternative photography magazine Useful Photography.
Kessels is an editorial contributor for both BON International and Identity Matters, and he has lectured at the D&AD President’s Lecture and at several international design conferences in Singapore, Goa, Toronto, and Bangkok. He has taught communication at Hallo© in Amsterdam and photography at the Gerrit Rietveld Academie, also in Amsterdam. In 2008 he was an artist in residence for the Amsterdam Academy of Architecture, where he curated a celebration of amateurism. For the opening of the world’s first graphic design museum, in Breda, Erik organized an exhibition entitled “The European Championship of Graphic Design.” For the DVD art project Loud & Clear he worked with artists such as Marlene Dumas and Candice Breitz. Kessels has made commercial work for national and international clients such as Nike, Diesel, J&B Whisky, Oxfam International, Ben Mobile, and the Hans Brinker Budget Hotel, and has won numerous international design awards.
Fred Ritchin is professor of Photography & Imaging at New York University’s Tisch School of the Arts. He is the author of After Photography (W. W. Norton, 2009) and In Our Own Image: The Coming Revolution in Photography(Aperture, 1990), and has co-authored books such as An Uncertain Grace: The Photographs of Sebastião Salgado (Aperture, 1990), In Our Time: The World As Seen by Magnum Photographers (W. W. Norton, 1989), and Mexico Through Foreign Eyes: Photographs, 1850–1990 (W. W. Norton, 1993). His essays have appeared in many other books, including Picture Imperfect by Kent Klich andUnder Fire: Great Photographers and Writers in Vietnam by Catherine Leroy. Currently he is working on a new book, Outside the Frame, concerning contemporary imagery and social change.
Ritchin is also director of PixelPress, an organization that has created websites, books, and exhibitions that promote human rights and documentary experimentation. He is the former picture editor of The New York Times Magazine and Horizon magazine, former executive editor of Camera Artsmagazine, and the founding director of the Photojournalism and Documentary Photography fulltime educational program at the International Center of Photography. Ritchin was nominated for the Pulitzer Prize in public service by The New York Times for the 1996 website, “Bosnia: Uncertain Paths to Peace,” which he co-created with photographer Gilles Peress. He also created the first multimedia version of the daily New York Times in 1994. Ritchin lectures and conducts workshops internationally on new and documentary media.
Lou Reed is a playwright, poet, musician, and photographer whose photographs have been exhibited worldwide. His third photography book, Romanticism, will be released later this year on Edition 7L. He was named a Chevalier de l’Ordre des Arts et des Lettres by the French government and is the recipient of numerous other awards. He was inducted into the Rock and Roll Hall of Fame in 1996 and is a founding member of the legendary band, the Velvet Underground.
Reed released his first suite of electronic mediation music, Hudson River Wind Meditations, on the Sounds True label in 2007. In late 2008 Reed released a new album of live electronic music called Lou Reed’s Metal Machine Trio: The Creation of The Universe, which inspired two extremely well received performances by the MM3 in New York, in April of 2009. In December of 2006 Lou Reed premiered the live staging of his masterwork play Berlin at St. Ann’s Warehouse in DUMBO, Brooklyn; the performance was filmed by Academy Award-nominated director and artist Julian Schnabel.
Currently Reed is working on several projects including a collaboration with artist Lorenzo Mattiotti on a graphic novel based on his album, The Raven; a book of essays on Chen Tai Chi called The Art of the Straight Line, which is slated for release in 2009; and continues to co-host a weekly radio show with producer Hal Willner called The New York Shuffle.
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This was written by James Pomerantz. Posted on Monday, November 2, 2009, at 6:00 pm. Filed under Awards, Contemporary Art, Extracurricular Activities, Random. Bookmark the permalink. Follow comments here with the RSS feed. Post a comment or leave a trackback.
3 Comments
TIMOTHY BRINER wrote:
http://dsheaphoto.net/blog/?p=830
Tuesday, November 3, 2009 at 5:03 pm | Permalink
JAMES POMERANTZ wrote:
Frank Evers, Co-Chair/Co-Founder of NYPH posted the following
over at whatsthejackanory about their decision on this year’s curators:
We are thrilled with our curatorial choices, including Lou Reed, who I believe is really going to surprise a lot of people with his deep and current knowledge of contemporary photography. Along with his fellow festival curators, Erik Kessels, Vince Aletti and Fred Ritchin, this group represent as cerebral and thoughtful a team as we could possibly come up with this year. Considering that the twin pillars of NYPH are Ideas and Discovery, I am confident that this group will help make NYPH’10 a rousing success, while challenging and presenting us with works by an exciting new roster of important international artists.
I understand that some people feel that, regardless of this caliber, an all-male curatorial roster will somehow prevent the festival from showcasing female and international artists, or critical perspectives that ought to be on display. I would ask that such naysayers (including the anonymous ones), look at the festival’s track record both in past curated shows, satellite exhibitions and the Award (NYPHA) winners/honorable mentions. I would gladly match our collective contributions in just two years, in showcasing a diversity of contemporary artistic talent, to any other international festival of its kind. This year, I fully expect us to continue to lead in this area. (I might also add that next year’s roster has two amazing female curators already committed, so people also need to realize that the gender part is really how the cookies crumbles in terms of our ongoing engagement with the curatorial community).
Our ultimate goal is to create a space every year in NYC, where we can all gather to consider a wide range of works by international contemporary artists from around the world (male and female), in a context of scholarship and ideas crafted by our esteemed festival curators, talented satellite curators, and Awards Juries. Additionally, we are hoping that over time the larger photo community will use this event as an annual opportunity to gather, connect, share, and support each other. We are still a very young international festival, with huge expectations. We know that some of the things that we do don’t quite work, some of the ideas and artists don’t quite connect, but we’ve also had our hits too (as Andrew kindly pointed out) and we will continue to strive to improve our batting average over time. We face an ongoing challenge with limited funding and resources, but here we are at the end of the day…we are still standing and committed. We have more people than ever wanting to attend next year and participate, our online activity is already up over 500% over the same time last year (we are increasingly developing a very large international audience), so we know that we are heading in the right general direction, and we are fully committed to continuously improving the experience. We appreciate all the ideas, the concerns and the feedback, even the tough ones
Hang in there with us, and Thanks!
Frank Evers
Co-Chair/Co-Founder
New York Photo Festival (’08, ‘09, ‘10)
Tuesday, November 3, 2009 at 7:01 pm | Permalink
PETER VAN AGTMAEL wrote:
That’s awesome. I love lou reed.
‘If I ran for president
And once was a member of the klan
Wouldn’t you call me on it
The way I call you on farrakhan’
-Lou Reed, Good Evening Mr. Waldheim,
http://en.wikipedia.org/wiki/Kurt_Waldheim
Tuesday, November 3, 2009 at 7:19 pm | Permalink
CLASS IS NOW IN SESSION...
THE ADVENTURES OF JAMES POMERANTZ IN PHOTO MFA LAND
HomeAbout + FAQsPhoto Writings
New York Photo Festival May 12-16, 2010
NYPH dates and curators have been announced for 2010. It’s always nice to wander around Dumbo on a sunny May afternoon, especially when there’s good photography hanging. There’s also the NYPH Awards which are worth entering.
The New York Photo Festival is pleased to announce—after a very successful and critically acclaimed recession-year festival edition in 2009, and its splendid 2008 debut—the festival curators and exhibition dates for 2010.
New York City’s premier photography festival will take place May 12–16, 2010; the main festival sites will return to the Brooklyn waterfront community of DUMBO for the third straight year, and the festival will also expand its programming and pre-festival activities, for the first time, into other parts of the city.
Dedicated to the mission of pushing the boundaries of contemporary photography and showcasing ideas of our collective photographic future, the New York Photo Festival and its organizers and co-founders Daniel Power and Frank Evers will be forging down this path once more: NYPH’10 will feature the personal visions of curators Vince Aletti, Erik Kessels, Fred Ritchin, and Lou Reed as they take hold of the many indoor and outdoor sites in the formerly industrial neighborhood.
NYPH’10 will also see new initiatives in programming, including later and extended exhibition hours; reduced fare and open attendance hours for the public; special New York Photo Awards featured presentations; and expanded site programming.
PRESENTING THE NEW YORK PHOTO FESTIVAL 2010 CURATORS:
Vince Aletti reviews photography exhibitions for The New Yorker’s Goings On About Town section and writes a regular column about photo books forPhotograph. He is the winner of the 2005 Infinity Award in writing from the International Center of Photography, where he is currently an adjunct curator. Aletti co-curated “Weird Beauty: Fashion Photography Now” with Carol Squiers and is the curator of “This Is Not a Fashion Photograph,” both at ICP; he and Squiers worked together on “Richard Avedon Fashion,” the museum’s summer 2009 exhibition, as well as on the catalog published by Abrams.
Male, a book of photographs and other artwork from Aletti’s personal collection, was published by PPP Editions at the end of 2008. The Disco Files 1973-78: New York’s Underground, Week by Week, a compilation of record reviews and club scene roundups by Aletti, was released by DJHistory.com in 2009.
Erik Kessels is a photography curator, writer, and picture anthropologist, and a founding partner and creative director of KesselsKramer, an independent, international communications agency located in Amsterdam. He has curated exhibitions such as “Loving Your Pictures” at the Centraal Museum Utrecht, The Netherlands and at Les Rencontres d’Arles Photographie, France, and has published several books of his images—including the In Almost Every Pictureseries. Since 2000, he has been one of the editors of the alternative photography magazine Useful Photography.
Kessels is an editorial contributor for both BON International and Identity Matters, and he has lectured at the D&AD President’s Lecture and at several international design conferences in Singapore, Goa, Toronto, and Bangkok. He has taught communication at Hallo© in Amsterdam and photography at the Gerrit Rietveld Academie, also in Amsterdam. In 2008 he was an artist in residence for the Amsterdam Academy of Architecture, where he curated a celebration of amateurism. For the opening of the world’s first graphic design museum, in Breda, Erik organized an exhibition entitled “The European Championship of Graphic Design.” For the DVD art project Loud & Clear he worked with artists such as Marlene Dumas and Candice Breitz. Kessels has made commercial work for national and international clients such as Nike, Diesel, J&B Whisky, Oxfam International, Ben Mobile, and the Hans Brinker Budget Hotel, and has won numerous international design awards.
Fred Ritchin is professor of Photography & Imaging at New York University’s Tisch School of the Arts. He is the author of After Photography (W. W. Norton, 2009) and In Our Own Image: The Coming Revolution in Photography(Aperture, 1990), and has co-authored books such as An Uncertain Grace: The Photographs of Sebastião Salgado (Aperture, 1990), In Our Time: The World As Seen by Magnum Photographers (W. W. Norton, 1989), and Mexico Through Foreign Eyes: Photographs, 1850–1990 (W. W. Norton, 1993). His essays have appeared in many other books, including Picture Imperfect by Kent Klich andUnder Fire: Great Photographers and Writers in Vietnam by Catherine Leroy. Currently he is working on a new book, Outside the Frame, concerning contemporary imagery and social change.
Ritchin is also director of PixelPress, an organization that has created websites, books, and exhibitions that promote human rights and documentary experimentation. He is the former picture editor of The New York Times Magazine and Horizon magazine, former executive editor of Camera Artsmagazine, and the founding director of the Photojournalism and Documentary Photography fulltime educational program at the International Center of Photography. Ritchin was nominated for the Pulitzer Prize in public service by The New York Times for the 1996 website, “Bosnia: Uncertain Paths to Peace,” which he co-created with photographer Gilles Peress. He also created the first multimedia version of the daily New York Times in 1994. Ritchin lectures and conducts workshops internationally on new and documentary media.
Lou Reed is a playwright, poet, musician, and photographer whose photographs have been exhibited worldwide. His third photography book, Romanticism, will be released later this year on Edition 7L. He was named a Chevalier de l’Ordre des Arts et des Lettres by the French government and is the recipient of numerous other awards. He was inducted into the Rock and Roll Hall of Fame in 1996 and is a founding member of the legendary band, the Velvet Underground.
Reed released his first suite of electronic mediation music, Hudson River Wind Meditations, on the Sounds True label in 2007. In late 2008 Reed released a new album of live electronic music called Lou Reed’s Metal Machine Trio: The Creation of The Universe, which inspired two extremely well received performances by the MM3 in New York, in April of 2009. In December of 2006 Lou Reed premiered the live staging of his masterwork play Berlin at St. Ann’s Warehouse in DUMBO, Brooklyn; the performance was filmed by Academy Award-nominated director and artist Julian Schnabel.
Currently Reed is working on several projects including a collaboration with artist Lorenzo Mattiotti on a graphic novel based on his album, The Raven; a book of essays on Chen Tai Chi called The Art of the Straight Line, which is slated for release in 2009; and continues to co-host a weekly radio show with producer Hal Willner called The New York Shuffle.
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This was written by James Pomerantz. Posted on Monday, November 2, 2009, at 6:00 pm. Filed under Awards, Contemporary Art, Extracurricular Activities, Random. Bookmark the permalink. Follow comments here with the RSS feed. Post a comment or leave a trackback.
3 Comments
TIMOTHY BRINER wrote:
http://dsheaphoto.net/blog/?p=830
Tuesday, November 3, 2009 at 5:03 pm | Permalink
JAMES POMERANTZ wrote:
Frank Evers, Co-Chair/Co-Founder of NYPH posted the following
over at whatsthejackanory about their decision on this year’s curators:
We are thrilled with our curatorial choices, including Lou Reed, who I believe is really going to surprise a lot of people with his deep and current knowledge of contemporary photography. Along with his fellow festival curators, Erik Kessels, Vince Aletti and Fred Ritchin, this group represent as cerebral and thoughtful a team as we could possibly come up with this year. Considering that the twin pillars of NYPH are Ideas and Discovery, I am confident that this group will help make NYPH’10 a rousing success, while challenging and presenting us with works by an exciting new roster of important international artists.
I understand that some people feel that, regardless of this caliber, an all-male curatorial roster will somehow prevent the festival from showcasing female and international artists, or critical perspectives that ought to be on display. I would ask that such naysayers (including the anonymous ones), look at the festival’s track record both in past curated shows, satellite exhibitions and the Award (NYPHA) winners/honorable mentions. I would gladly match our collective contributions in just two years, in showcasing a diversity of contemporary artistic talent, to any other international festival of its kind. This year, I fully expect us to continue to lead in this area. (I might also add that next year’s roster has two amazing female curators already committed, so people also need to realize that the gender part is really how the cookies crumbles in terms of our ongoing engagement with the curatorial community).
Our ultimate goal is to create a space every year in NYC, where we can all gather to consider a wide range of works by international contemporary artists from around the world (male and female), in a context of scholarship and ideas crafted by our esteemed festival curators, talented satellite curators, and Awards Juries. Additionally, we are hoping that over time the larger photo community will use this event as an annual opportunity to gather, connect, share, and support each other. We are still a very young international festival, with huge expectations. We know that some of the things that we do don’t quite work, some of the ideas and artists don’t quite connect, but we’ve also had our hits too (as Andrew kindly pointed out) and we will continue to strive to improve our batting average over time. We face an ongoing challenge with limited funding and resources, but here we are at the end of the day…we are still standing and committed. We have more people than ever wanting to attend next year and participate, our online activity is already up over 500% over the same time last year (we are increasingly developing a very large international audience), so we know that we are heading in the right general direction, and we are fully committed to continuously improving the experience. We appreciate all the ideas, the concerns and the feedback, even the tough ones
Hang in there with us, and Thanks!
Frank Evers
Co-Chair/Co-Founder
New York Photo Festival (’08, ‘09, ‘10)
Tuesday, November 3, 2009 at 7:01 pm | Permalink
PETER VAN AGTMAEL wrote:
That’s awesome. I love lou reed.
‘If I ran for president
And once was a member of the klan
Wouldn’t you call me on it
The way I call you on farrakhan’
-Lou Reed, Good Evening Mr. Waldheim,
http://en.wikipedia.org/wiki/Kurt_Waldheim
Tuesday, November 3, 2009 at 7:19 pm | Permalink
Tuesday, May 4, 2010
QUESTION ON SHOOTING WITH CAPTURE ONE
Okay so say you are using the free version of capture one with the Canon Mark camera, can you shoot tethered with the free version because I cannot seem to get the camera to read.
with the free model can you only shoot using the phaze backs?
help please
PS can we have a review on the tethering kit? I have never received the full kit I do not know what half the wires are supposed to be used for
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