Tag Archives: Juror

Things to submit to….

Lots to submit to…you might consider these!
due date November 11th
This annual call for entry seeks to showcase the newest ideas in contemporary photography. Emerging
artists have an opportunity to have their work seen by a nationally
recognized figure in the field of photography. Past jurors include
Michael Foley, Clint Willour, George Slade, Carol McCusker, David Bram
and most recently Debra Klomp Ching. From these submitted entries a
cohesive show emerges for display at wall space. The ND13 exhibition
will be in Santa Barbara, California in January, and Seattle, Washington
in February. The juror is Ann Jastrab, from the Rayko Photo Center in Los Angeles.
Due date: January 4th

This competition is open to artists working with plastic cameras with
plastic lenses. The more obsolete, flawed, and lo-tech, the better.
Images should be taken with cameras with limited controls, such as
Diana, Holga, Lubitel, Lomo, Banner, and Ansco cameras. Beautiful prints
from less-than-gorgeous cameras – that’s what we’re looking for! This
is RayKo’s largest exhibition of the year with artists from all over the
globe submitting work, and hundreds of attendees at the reception.


Due date: November 30th

We began publishing photographs on One, One Thousand
in November 2010. Since then – and thanks to continued support from
photographers, readers, and the greater photography community – we’ve
had the pleasure of sharing more than 40 portfolios and projects.
They’ve all been made in the South, and we believe they offer unique
perspectives on both the complexities of modern Southerness and the
diversity of art coming out our region in the first part of this new
To celebrate our 2 year anniversary, we’re organizing a special January 2013 edition of One, One Thousand. An amazing jury will be selecting a group of 4 photographers to be featured on our site.

2 Year Anniversary Jury:
Tom Griggs, Editor, fototazo
Maggie Kennedy, Photography Director, Garden & Gun
Jennifer Shaw, Coordinator, PhotoNOLA
Aline Smithson, Editor, Lenscratch

due date Nov 15th 

Photography in any process is eligible with no limitations as to size or materials. Each artist may submit up to five works on online only.  No mailed or emailed entries will be accepted.

AND if you have a sense of humor, you might enjoy this…

The Visual Conservancy’s Sunset Contest
The Visual Conservancy
announced a new photography contest today.  The Stillwater, Minnesota-based group decided to
differentiate their contest from others that encompass wide varieties of
subject matter over a list of genres. 
The result may be the most focused photographic competition yet. 

“It occurred to us that
there was an astounding number of one particular type of photograph being
taken,” said Carl Corey, whose farm and studio serves as the de-facto
headquarters for the Conservancy. 
“I mean, it’s only sunset for a few minutes everyday, yet you look on
Flikr or Facebook and it’s pretty clear that as soon as the sky starts getting
a bit of color, everyone and his uncle is out there with a camera, snapping
away.  I’m not talking just folks
taking vacation taking snapshots on their camera phones, either.  There was a guy who wanted to get into
our group who presented about thirty shots of sunsets he’d taken with an 8×10
camera.  Every other picture he had
was of a sunset.”
“A sunset, or a
broken-down windmill,” clarified Dan Gerber, Visual Conservancy co-founder and
the group’s un-official standard-bearer. “I’d say his portfolio was 70/30
sunsets and windmills.”
“Maybe 75/35,” Mr. Corey
corrected. “You’re not counting all those windmills that were shot at sunset.”
“(I) Forgot about
those!”  Dan laughed.  Mr. Gerber then recalled for me the
precise moment when the idea for this photo contest hit him.  “We kind of knew we weren’t going to
invite this person to join the group, based on his work, but we started joking
that it was a shame there wasn’t a contest for who could spend the most money
shooting sunsets, because this guy would have to win it.”
“We realized that there
was a viable niche that was not being filled.  We did some informal research and concluded that it was
possible to launch a contest for very little investment, charge a fee and then
see if you get enough participation to make it worthwhile.  We will, of course, have all works
judged by a panel.”
Dan, who had been nodding
vigorously, jumped in.
“The glory is, the
photographers who win our various categories will have to pay for their own
shipping, framing and a special fees relating to their show.  We haven’t decided where we’re going to
have a show, but it could be New York—or Hudson.  We have a pretty nice community center.”
“What Dan means,” Corey
interjected, “Is that we’re currently weighing a couple of options vis-à-vis
the venue.  Whatever that ends up
being, the thing to remember here is that because of this contest, several
lucky men and women will be able to present their photographs as the work of a
nationally-recognized, award-winning photographer, whether or not that image
happens to be a sunset.”
“Or a windmill,” Mr.
Gerber added.
The Visual Conservancy’s
first annual Sunset Competition will be accepting entries from now until
November 15th.  Details
can be found on the group’s Facebook page,

Mónika Sziládi, Untitled (Blonde)

Mónika Sziládi, Untitled (Blonde)

Mónika Sziládi

Untitled (Blonde),
, 2011
From the WIDE RECEIVERS series
Website – Msziladi.com

Mónika Sziládi was born and raised in Budapest, Hungary and lives in New York. She holds an MFA in Photography from Yale (2010) and a Maitrise in Art History and Archaeology from Sorbonne, Paris (1997). In 2008 she received the Gesso Foundation Fellowship to attend Skowhegan and she is a 2012 resident at Smack Mellon. She is a winner of The Philadelphia Museum of Art Photography Competition (2010), a recipient of the Alice Kimball English Traveling Fellowship (2010), a Juror’s Pick by Julie Saul and Alec Soth, Work-in-Progress Prize, Daylight/CDS Photo Awards (2010) and the recipient of Humble Arts' Fall 2012 New Photography Grant. Selected exhibitions include Point of Purchase, DUMBO Arts Center, NYC (2006); Lost and Found, Staatliche Kunsthalle, Baden-Baden, Germany (2007); Designations, NT Gallery, Bologna, Italy (2008); Market Forces, Carriage Trade Gallery, NYC and Galerie Erna Hecey, Brussels (2009); US Featured Exhibition, Flash Forward Festival, Toronto (2010); 31 Women in Art Photography, Hasted Kraeutler, NYC. (2012).

Submit to The Family at DCCP!

The Family – A Juried Exhibition 
Special Guest Juror: Aline Smithson 

The Show

For the Family, Smithson will select 35 photographs for a print exhibition at the DCCP
gallery, which will be on display from January 12, 2013 through February 2, 2013. The
Juror’s Choice, Best in Show, and Honorable Mention awards will be published on a
Lenscratch special issue (www.lenscratch.com) as well as the DCCP website.


•Each accepted participant will be included in the print exhibition, and the DCCP online gallery.
•Juror’s Choice – $100 cash prize, plus a free (three-image) submission to a future call for entries show at the DCCP.
•Best in Show – A one-year individual membership to DCCP, plus a free (three-image) submission to a future call for entries show at the DCCP.
•2 Honorable Mentions – A free (three image) submission to a future call for entry show at the DCCP.

Click here to download the pdf for entry information.

• Participation is open to all artists working photographically, amateur and
• Entries must be recent works that have not been exhibited in any previous DCCP
main gallery show.
Entry Fee
Entry fees are non-refundable and are good for a submission of three images. Up
to three additional entries may be submitted at $5 for each entry (both members and nonmembers).
Entry forms are included in this .pdf or for download at detroitccp.org
Check or money order should be made payable to:
Detroit Center for Contemporary Photography.

Early Submission Discount – Must be postmarked by Saturday – September 29, 2012
DCCP Non Members $25
DCCP Members / Student $20
Additional Entries $5 per image
Regular Submissions – Must be received by Saturday – November 3, 2012
DCCP Non Members $30
Current Student (with id) $25
DCCP Member $20
Additional Entries $5 per image
• Applicants signing up for membership at the time they submit will receive the
automatic discounted entry fee. Membership application form is available in this
.pdf packet or for download at detroitccp.org. Please note that Annual
Membership is a separate due requiring registration, and is not complimentary for
those having participated in a previous exhibition at the DCCP.

ILLUSION at the Center for Fine Art Photography

Looking at the current exhibition at The Center for Fine Art Photography
Gallerist Terry Etherton of the Etherton Gallery selected images for the current exhibition at The Center for Fine Art Photography’s ILLUSION exhibition.  
Directors Selection: Cellar in the Attic, Ida Roden
Juror’s Selection: Against the Storm, Emma Powell
Directors Honorable Mention/Livebooks Award: Untitled (Object), Jim Kazanjian
Wax Marilyn, Hollywood, CA, Frank Mullaney

Breakfast, John’s Island, WA, Karen Strom

Cinecitta 22, Gianluca Gamberini

Snow Shadows, Eleanor M Brown

Immeasurable, Ellen Jantzen

Persephone, Anne Berry

Bollards in Sea Green, Kathleen Taylor

“Equivalents” Competition Exhibition at Photo Center NW

Scratched Print Skylight Hallway © Mary Ellen Bartley

While working on a series of cloud photographs in 1925, Alfred Stieglitz coined the title ”Equivalents” for his work, with the idea that the photographs could correspond to both the reality in front of the camera’s lens and the internal being of whoever was looking at them. Photographs could be representational and abstract, so even a photograph of a mundane subject could provoke a strong emotional response.

W. M. Hunt, the juror of the 17th Annual Photo Competition at Photo Center NW, chose this idea as the open theme for this year’s contest. So, the winning images are eclectic, but all meet Hunt’s criterion for what makes great photographs: their ability “to evoke a sensation that resonates through my being,” regardless of subject matter or technical process. See if the work resonates through your being too at Photo Center NW’s Seattle gallery, or check them out online. And for more of Hunt’s curatorial vision, check out The Unseen Eye: Photographs from the Unconscious, 35% off as part of Aperture’s summer sale, which ends this Friday, August 10.

Review Santa Fe: David Emitt Adams

Over the next month, I will be sharing the work of photographers who attended Review Santa Fe in June.  Review Santa Fe is the only juried review in the United States and invites 100 photographers to Santa Fe for a long weekend of reviews, insights, and connections.  I was fortunate enough to be a pre-juror for this event. 
Arizona photographer, David Emitt Adams has a wonderful project that pulls us back and forth through photographic history.  Exquisitely presented, his project, 36 Exposures, shines a light on what we have lost in the digital world–the tactile presence of objects that surround film, and the creation of work that does not require a battery or outlet.  His work focuses on historical media and uses that media to create an informed contemporary dialogue about photography’s past and present.

David received a BFA from Bowling Green State University in Ohio and an MFA from Arizona State University.  His work has been exhibited throughout the United States and
abroad. David was selected for the prestigious Lens Culture
International Exposure Award 2011
and most recently, was awarded the Freestyle
Crystal Apple Award
for Outstanding Achievement in Black and White
Photography.  Within the last year,
David was awarded the Nathan Cummings Foundation $5000 travel grant that funded
a trip to France and England.  This
opportunity enabled him to investigate the resurgence of antiquated processes
at its source and their application in contemporary photography. Currently he is working on two new bodies of work as an
Artist-in-Residence at Art Intersection in Gilbert, Arizona. 

Images from 36 Exposures
As an artist who is enthralled with photography, I gain
pleasure from exploring its past and discovering how that past relates to where
the medium is today.  Photography
is in the era of megapixels and I have made the conscious decision to embrace
the processes and elements of display from
photography’s past.  This is
not to say that I have rejected the digital era. 
I, too, own a digital camera, but have chosen to conduct a
constant search to understand everything photography is, and could be.

In the piece 36
Exposures, I have used 35mm film canisters that were discarded by my
“Introduction to Photography” students as a base to hold their portraits.  I employed a labor-intensive, 19th
century, chemical photographic procedure known as the wet plate collodion
process to make the students’ photographs on the very film canisters that
played a crucial role in their initial understanding of photography.  The canisters and the process I used
speak of the evolving nature of photography, representation, and culture.  By mining the history of photography, I
can find the relevance of my work today. 

Vance Gellert

I recently had the great pleasure to co-juror the Portrait Contest hosted by the Santa Fe Workshops.  Over the next several days, I will be featuring the work by several of the winners.  Almost a thousand photographers submitted closed to 4,000 images and the decision process was a tough one.  So many stellar photographs, so I am thrilled to featured these stand-out portraits.
Vance Gellert’s Second Prize Winning Image
Nina and Misha, Russian Performance Artists

Vance  received his MFA in photography from
Virginia Commonwealth University. He has been widely exhibited and published and has received numerous grants for
his work including one from the National Endowment for the Arts. He was
co-founder and executive director of pARTs Photographic Arts in Minneapolis where
he also curated exhibitions for 13 years. He joined IFP Center for Media Arts
as photography curator in 2008.

Vance has a natural ability as a portrait photographer, as evidenced in the series below, Real: Artists and Landscapes.  I am also featuring a sampling from his series, Smoke and Mirrors, about ritual and ceremony in health care in third world countries and western clinical practice.

REAL: Artists and Landscapes
Sometime in 1998, I was turned down for a travel grant request to curate a project of photography from Cuba. When I inquired as to what I could have added to make the request fundable, they said samples of my artwork, which was confusing since this was a request to find other people’s artwork. Heeding that advice, I went to Cuba on my own dime to find artists and brought my trusty Hasselblad. I photographed the photographers I interviewed in their studios as well as the environs in and around Havana.

There’s something about visiting visual artists in their studios. It not only yields compelling imagery, I find it creatively inspirational. After leaving the gallery in 2003, I set off on another project to find self-taught artists around Minnesota for interviews and portraits in their studios. The portraits were complemented with images of their environment that were taken on the way to or from the artist’s studio. These were paired with their portraits and a sample of their artwork in the exhibition REAL: Artists and Landscapes.

Images from Smoke and Mirrors

From the NY Times: When Vance Gellert studied pharmacology
in the early ’70s, he found that a scientific method of systematic observation,
precise measurement and disciplined testing could explain the efficacy of most
treatments. For that matter, it was a satisfying way of explaining much of the
world around him.

Mr. Gellert had always wanted to study the
role of shamanic ritual in enhancing the application of traditional plant
medicines. In 2005, as he approached 60, he resolved to combine his academic
and photographic interests by studying and documenting shamans and other
healers in Peru and Bolivia. He spent 10 months of the next five years living
with healers, studying their rituals and undergoing treatment himself.
Mr. Gellert understood that just because
the spiritual world of the shamans didn’t conform to Western science didn’t
mean that the healing he witnessed wasn’t real. “Scientists generally approach
things quantitatively and statistically,” Mr. Gellert said, “but there are
thing that don’t lend themselves well to that kind of research and
In fact, he was aware of powerful forces at
work; forces he didn’t know how to explain. Photos, it turned out, often served
better than scientific prose to describe what he witnessed — or experienced.

“Since it was invented, photography has
served science as a recorder of facts,” Mr. Gellert said, “but photography also
has subtleties and nuance that can communicate on a different level. When you
start looking at things that are not quantifiable, photography might be an
excellent tool.”

It is difficult to capture spiritual
experience in a photograph. Yet Mr. Gellert’s portraits often suggest powers
lurking just beyond what the eye can see.

The shamans let him into their lives and
encouraged him to photograph their treatments. They had confidence in their
practice and had no qualms about sharing it with a medical colleague, even one
who might occasionally have seemed slow to fully grasp what they were doing.

Though he started his quest
to learn about the relation between ritual and medicine, he came to see
ceremony and ritual as an integral part of healing. “The medicines are the
tool, but it is the process of interaction between healer and patient that is
most important,” Mr. Gellert said.

Jody Ake

I recently had the great pleasure to co-juror the Portrait Contest hosted by the Santa Fe Workshops.  Over the next several days, I will be featuring the work by several of the winners.  Almost a thousand photographers submitted close to 4,000 images and the decision process was a tough one.  So many stellar photographs, so I am thrilled to featured these stand-out portraits.
Jody Ake’s Director’s Award image
Jody Ake was born in the American South and attended the College of Santa Fe in
New Mexico with a major in photography. Later he moved to Portland, Oregon to
continue his education. He received a Masters in Photography from the
University of Oregon and shortly thereafter relocated to New York City.
While living and working in NYC and Brooklyn, Ake continued to explore
collodion as his process of choice, shooting portraiture, landscapes and
still life subject matter, and has maintained his profession as an
independent photographer throughout. He currently lives and works in
Portland, Oregon. His self portrait is below.
Jody creates portraits, nudes, still lifes and landscape images
using the wet collodion processs. Invented in 1851, the method entails
coating a glass plate with collodion and exposing the plate while it is
still wet. The end results are ambrotypes, appearing on glass in the
form of a negative until backed by black velvet, thus rendering the
positive image. Jody is one of a handful of contemporary artists who have
revived this photographic method, hand-mixing all of the necessary
chemicals for each and every exposure.  I am featuring two bodies of work, Portraits and Landscapes, using these methodologies.  Needless to say, Jody is a master technician, bringing a strong and consistent sensibility to a process that is unpredictable at best.

I believe the portrait can disclose more about the subject than what is found on the surface. The subject , either willingly or subconsciously, shows us more than he/she intends. The camera can see more than the naked eye, moving past our persona and catching a glimpse of who we really are. With this in mind I turned the camera on myself. I hoped to see deeper, looking to see if there were aspects of myself that would be revealed in the image. After years of self-reflection I started photographing other people, looking for differences and similarities between them and myself.

I have always loved the west. The mountains and desert
plains call to me with a promise of adventure and solitude. I travel there as
often as I can, amazed at the scope of the land, looking for meaning in the
emptiness. I think of early photographers heading west for the first time.
Carrying with them their large cameras and working with laborious early
processes. Capturing images of the west that most will not see for themselves.

I think of them as I look for signs of those that came before me. Photographing the evidence left behind by progress and expansion. I photograph the New West through an old process, comparing what I find with what those that came before me found.