Introducing the
LensCulture Project Review:Gallery Focus
online project review | new york exhibition | online exhibition | openstudios
After over 10 years of bringing exposure and resources to photographers all over the world, we are introducing our new Project Review service for photographers interested in having their work seen by gallery professionals and taking the next step in crafting their work for marketing and potential sales.
We’ve brought together a team of fine art and gallery professionals to design an in-depth review that helps you better present your photography to collectors, galleries and the overall marketplace. You will gain critical feedback and insights on exposure, representation and ultimately presenting your creative works to sell.
In addition, your work will be considered for our LensCulture Print Show in New York City as well as our Online Exhibition, which will be curated by a group of gallerists and curators from around the world. Both exhibitions will be promoted to our global audience of 2.5 million.
Finally, all participants will be able to market and sell their prints with the help of our partners: OpenStudios, an online platform that helps you market your work and connect with buyers online, and PICTO, a leading photo lab based New York and Paris.
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Receive an in-depth written review by an Industry Professional
Be considered for our gallery exhibition in New York City
Be considered for our Online Exhibition
Get an OpenStudios account to sell your work
Get an In-Depth Project Review:
Professional. Personalized. Actionable.
We’ve recruited a team of industry professionals to take an in-depth look at a project from your portfolio. Through an extensive pre-review questionnaire, feedback is tailored to answer questions specific to you and your work. Our creative community is ready to help you fine-tune your project, providing guidance to help you better present your work to collectors, galleries and the overall marketplace.
“I would suggest that you work on your writings. It is important for a gallerist or curator to have a complete picture of who you are as an artist, and your background statement is a way to discuss that.”
Excerpt: Balder Olrik Review
Tell Us About Yourself
Our Reviewers want to know who you are as an artist. We ask you to complete a brief but thorough questionnaire to understand your objectives for your work. The more information you provide, the better our reviewers can assess the project’s strengths and weaknesses plus suggest opportunities for growth and direction to further your goals. In addition, we ask you to provide your biography, website, and resume (cv), but these materials are optional.
Present Your Project
Show us a cohesive body of work, up to twenty images, that speaks to your ideas, tells your narrative, or engages us with your story. We are looking not only for your visual signature, but the ideas behind the work. Provide a short project statement that clarifies what the series is about, how you hope to engage us as viewers, and what you would like us to take away from the work.
Get Your Review & Recommendations
Our industry professionals will review your submitted materials, spend time with your images, and develop a thorough response to your questions and concerns. Make the most of this opportunity—the more information you provide, the more in-depth and focused your answers will be. Our reviewers can provide clarity and insights into your work, your process, marketing, and placing your work in front of gallery professionals who can help you advance your fine art career.
Review Feedback could include:
- Discussion of the visual strength of your work
- Editing your artist or series statements
- Fine-tuning or focusing your project for exhibition
- Marketing your work
- Working with a gallery
Actual Reviews
See Vasantha’s full review
Project Review — A Myth of Two Souls By Vasantha Yogananthan
A Myth of Two Souls is inspired by the epic tale The Ramayana. Drawing inspiration from the imagery associated with this myth and its pervasiveness in everyday Indian life, Vasantha Yogananthan is retracing the legendary route from north to south India. First recorded by the Sanskrit poet Valmiki around 300 BC, The Ramayana has been continuously rewritten and reinterpreted, and continues to evolve today. Yogananthan’s series is informed by the notion of a journey in time and offers a modern retelling of the tale.
A Myth of Two Souls juxtaposes three sets of photographs: color landscapes, color still lifes and hand-painted staged portraits.
The landscapes are mythical to Indians today as they were described in the original version of The Ramayana. In the portraits, inhabitants of these landscapes stage scenes that have left a mark on their imagination. Shot in black and white using a large-format camera, these theatrical portraits have subsequently been coloured by an Indian artist using the ancient technique of hand-painting.
This technique was traditionally reserved for household portraits of wealthy patrons and has been subverted in Yogananthan’s photographs. He has applied this ancient art to depict the whole of society by using passersby as actors, regardless of caste, and by photographing outside of the studio he has expanded it into new territories – from modern metropolises to remote countryside.
Through classic colour and hand-painted photography, A Myth of Two Souls interweaves fictional and historical stories with a narration that takes viewers on an epic journey. A Myth of Two Souls will be published in seven photobooks between 2016-2019, one per chapter of the tale.
Reviewer Feedback
Greetings Vasantha, and thank you for participating in LensCulture’s new Professional Development program! On behalf of the LensCulture community, it’s a pleasure to spend time with your work.
This is a very beautiful and well-realized body of work, and judging from your recent achievements it seems as though you have a good understanding of professional practices.
To address your question on how to present your work in the context of sales and retail, I do find this somewhat vague. Do you mean that you are wondering how to present the work in exhibition form, and the actual design and format of exhibitions for your work? Or how to approach gallerists to seek exhibitions and representation? Or how to market your work to position the prints, rather than publications, as collectable commodities?
Either way, there’s no one single direction or route to take, but exhibiting work and selling prints very much contains a different set of challenges and strategies than photobook publishing. I think Alec Soth once made a distinction between photographs made for the book and photographs made for the wall. I think that the translation from book project to a physical exhibition is not always a smooth transition, but it offers a great opportunity to create new context and experience of the work distinct from page layouts. I’ve seen many exhibitions where the reading of the layout and design mirrors publications in a sequential form and others where the book sequence has been upheaved in favor of a more holistic view of the series. When it comes to proposing exhibitions to gallerists, you should have a clear idea of what form you want the show to take, though I think the nature of many of the images that you are presenting here can stand alone very well and aren’t overly reliant on the other images to offer a strong notion of visual context.
I also think that if you do find a gallerist that shows interest in working with you, they would also have input that can guide you forward, and in terms of sales, a good gallerist should handle all that for you so that you can remain focused on the production of the work itself. Outside of the gallery world, you could also work towards selling prints independently if you have the drive, patience, and marketing savvy to see it through. And of course the avenues for pursuing individual print sales are numerous, but all require persistence and discipline to maintain a consistent strategy of doing so.
A couple other short notes on your presentation:
Everything looks great, but in your statement you write the project is based on the tale of Ramayana, but you don’t actually go into what that tale is about, so in reading your whole statement and looking at the work I still feel that I’m missing out on crucial and central information that would inform my reading.
I also think that the selection of images is very strong, and your edit works nicely. Though the one image that stands out to me is Party Field because it doesn’t seem to fit cleanly with the other images here. The compositional structure and perspective deviate from the strategies that bind your other images together, and the cropped figures on the bottom of the frame seem awkward and don’t adhere to the strong measure of formality present in your other pieces.
Finally, you spend some time in your statement mentioning B&W works and hand-painted works, but these do not occupy a presence in your selection of images. So again, your presentation leaves me feeling like I’m missing out on something crucial to the understanding of your work.
See Balder’s full review
Project Review — Nodak Moments By Balder Olrik
I wish to give credit to the spaces that surround us, but we hardly notice.
The Nodak Moments - Places where you leave your camera in the pocket.
My technique is inspired by the theories of behavioural scientist and Nobel Prize winner Daniel Kahnemann.
Banning information from the picture makes our perception system perceive the image in a different and more councious way.
Instead of using photo manipulation to remove unwanted elements, I found it much more interesting to trigger, what Daniel Kahnemann call “System 2”, with monochrome blocks of colour.
Reviewer Feedback
Hello Balder! Thank you so much for sharing your work with me and the LensCulture community.
I really enjoy when photography is looked at in new ways, expanding the ideas that convey space and matter. Architectural photography is particularly complex, and often hard to hold someone’s interest. You have managed to engage me in a way that keeps me coming back to your images to find new ways to look at the work. Your color palette complements the boldness of the color swatches you include in the images. The compositional elements of adding color also enhances the viewer’s experience.
I have reworked your edit, playing with the flow of images. When submitting for reviews, contests or calls for entry, I would suggest that when you upload a body of work think about how you would see it in a gallery. For your edit, I started out with Outpost, thinking of an entry point to connect with the ideas behind the work. As I worked through the images I looked for work to give us a nonlinear thread to view, yet pulls us from one image to the next. Whether it was color, structure or an object, I wanted to make sure the images did not look repetitive.
I must admit Suburban Privacy is my favorite image of the submission. It works on many levels for me. It holds interest as a photograph at its base, and the subtraction of information through the blocking of the light adds a layer of mystery. The bold color stripe below and sitting on top of the hedge is at first confusing, then interesting. Not just for the placement, because at first glance it could be a wall over the hedge, but the color lifts the darkness and allows us to see more information in the night scene. It has me looking at the image from edge to edge, telling new stories every time I look at it. On the Other Side of the Gate is a complex image, and I am not sure it fits the edit. With so many of the images showing the hard-scapes of architecture, the organic qualities of the hedge seem to not fit. There is nothing wrong with the image, I am just wondering about is inclusion in the edit. If you have more work like this, add it for balance, or take it out and add it to another chapter of the story. For example if you think of this work telling stories, the hard exterior architecture can tell one chapter, interiors another and garden spaces, or organic objects another. Three stories in one overarching theme.
I think your weakest image is Light Bubble. The subtlety doesn’t hold up in the density of the image, and the small bar just doesn’t read for me.
I can see your influences of the Bechers, as well as Gerhard Richter. Because you straddle the line between photography and painting, I believe you have greater opportunities for exposure, looking beyond a traditional photo specific gallery and searching for contemporary galleries that include photography in their program. Finding galleries who share your vision of fine art is much preferable than to isolate yourself as a “photographer” instead of an artist. You are not homeless, but searching for an audience. You are able to reach a wider audience by your approach to using photography as a tool for a larger vision.
I would suggest that you work on your writings. It is important for a gallerist or curator to have a complete picture of who you are as an artist, and your background statement is a way to discuss that. A few sentences about who you are and how you connect to your photography is helpful for understanding your artistic process. What you have written as your artist statement needs to be fleshed out. There are three components I would like to see for a fuller picture of you and your work. A text biography of you and your connection to photography, an artist statement about your connection to your ideas about your work, and a series/project statement specific to the work you are showing me. A CV (Curriculum Vitae) is helpful to show exhibitions, awards and representation. I realize we are working in a visual medium, but your words help to give us greater meaning and depth to the work. The more information a gallerist has about you and your work, the easier it is for us to sell and represent the work with confidence.
I have added links to various portfolio reviews that offer in person contacts and the ability to network and see you are part of a larger community of photographers and artists who can share in your love of photography. Critical Mass is an online portfolio review that over 200 jurors participate in to look at work. If you don’t have the ability to travel, this is a great way to get your work in front of influencers in the photographic community.
I have highlighted a few artists that you might want to look at, both work to obscure original objects, and alter its identity. John Divola works in camera, and Baldessari works to obscure on top of the work, layering through various mixed media to restructure place , time and object.
Thank you again for giving me the opportunity to see your images. I wish you the best in your creative endeavors.
Additional Recommendations
Recommended Books & Photographers
The Photograph as Contemporary Art, by Charlotte Cotton
The Artist Statement: How and Why to Write Yours by Jennifer Schwartz
The Photographer’s Playbook by Jason Fulford and Gregory Halpern
John Divola is great - do take a look at his work.
John Baldessari
Photo Competitions
Critical Mass
The Fence
Portfolio Reviews & Festivals
Photolucida (USA)
FotoFest (USA)
PhotoNOLA (USA)
Center’s Review Santa Fe (USA)
Medium Festival Portfolio Reviews
Recommendations for Gaining Exposure
Fraction Magazine
See Christian’s full review
Project Review — Silent Kingdom By Christian Vizl
Silent Kingdom was worn as a childhood dream.
Every since I was a kid, as far back as I can remember I was attracted to the sea. I dreamt about what lay beneath the waves, and how would it look if suddenly all the water vanished, leaving static all the animals and living creatures. In this way, I could walk inside the ocean and see them all, suspended for a moment in time and space. To this day I carry within me that dream; and very gratefully realize it through my photography. My intention is to capture the essence of being immersed in the experience and presence of the animal or habitat I am photographing, and to share with others their splendor and true nature.
Today the world’s ocean is in grave danger. Overfishing, pollution, climate change, acidification and other human pressures threaten the fundamental nature of the ocean and it’s animals are being pushed to near extinction. The majority of humans see marine animals merely as tons of food, but in reality they are so much more than that. They don’t have a voice that we can understand, so the higher purpose of my images is to be a voice of the ocean and for the ocean, hoping that people can get a glimpse of who they really are, beautiful sentient individuals, with feelings and different personalities, with complex behaviors and interesting lives that science is only starting to understand.
I believe Photography is capable of real service to humanity, promoting empathy and initiating change, so my goal is to create poetic images showing the incredible beauty of these animals and that carry the power of changing our perception and spark the love and empathy that we all have inside. If we want to have a future in this planet, we need to understand that our lives are interconnected and our own well being is directly linked to the well being of these animals. As Dr. Sylvia Earl stated, “No blue no green, if the oceans die, we die”
All the images where taken in their natural environment, with great respect to the animals. Nothing was added or taken away in the images and for postproduction I only used basic settings in Lightroom. I envision these images printed in large format with giclee prints in cotton paper and exhibiting them in galleries and museums.
Reviewer Feedback
Hello Christian! Thank you for your submission. It is a pleasure to review and bask in your beautiful images.
These warm, romantic portraits are timeless and while it is impossible to gage scale, you have given us immense detail to explore the singular beauty of these creatures. For many people the ocean is a terrifying place because of the unknown. You have given us a point of entry that is engaging and interesting.
I have reworked the series as far as flow. I worked from your statement, “I dreamt about what lay beneath the waves, and how would it look if suddenly all the water vanished, leaving static all the animals and living creatures.” That to me is where we start with Jacks at Cabo Pulmo. I believe this is your strongest idea of suspension, and my idea of the overwhelming weight of what lies beneath us.
When looking at a complete entry of 20 images, you want to make sure there is a certain amount of uniqueness to each image. Repeating patterns or subject placement can take away from the overall impact to the story you are trying to tell. A few of the images have some compositional repetition, and I think also three crocs (or gators) is two too many.
My favorite images are two images focused on rays, yet very different from each other. Mobulas at Los Cabos and Spotted Eagle Rays. The Mobulas image transcends a simple photograph of wildlife. The geometry, the structure, the light is beautiful. The highlighted edges of the rays show depth and detail, and as a viewer I am drawn into the photograph from edge to edge. Spotted Eagle Rays is the opposite of Mobulas, showcasing the beauty of negative space, and focusing on the elegant line of the rays. The way the rays are suspending in time and space, the light and dark balance the image compositionally make a captivating portrait. This image also speaks to your core idea of suspension and what lies beneath.
I would spend some time focusing on your writings. While you are first and foremost a visual artist, being able to discuss your work is an invaluable skill. Words help a gallery be able to articulate who you are as an artist as well as the ideas your images convey. I think that your Artist Statement and Biographical Statement (Background) should be different. The background should be a written paragraph on who you are as an artist. What motivates you? Excites you? What you have listed here currently is your CV (Curriculum Vitae). The Artist Statement is more of a discussion of this specific series. What we are seeing, how we should engage with the work, and what you want us to take away from the series. There is also an option for a process statement that is completely separate from either the Artist Biography or Series statements. The process would be the technical aspects of how the print is produced. When broken out, these statements combine to give us a clearer picture of you, your ideas and your artistry.
You ask about your market for this body of work. I would look to galleries who specialize in wildlife and nature. Do your research, and look at the rosters of the galleries that you are interested in. If there is an artist in the gallery that does the work you do, it may not be a good fit. Think about how different your work is, and what you can bring to the conversation. For exhibition opportunities, I would look at aquariums and natural history museums that have programs to showcase art. Many museums may have designated spaces to showcase art that focuses on the mission of the museum.
I have added an artist link here for Ryuijie Douglas. He is based in Monterey California, and dives in the Monterey Bay. His work is similar to yours, but as a wet darkroom printer, his final print work is an alternative process, done in palladium. I think you have the same notion of the beauty of the ocean, and different ways to express it.
I have also listed a number of options for you to review for writing an artist statement, finding your audience and a few ideas of exhibition spaces that may have appropriate calls for entry that your work could fit into.
Congratulations on a beautiful body of work, and I wish you the best in your creative journey.
Additional Recommendations
Recommended Books & Photographers
The Artist Statement: How and Why to Write Yours by Jennifer Schwartz
How to write an Artist’s Statement
The Photographer’s Playbook by Jason Fulford and Gregory Halpern
Finding Your Audience: An Introduction to Marketing Your Photographs, by Mary Virginia Swanson
Ryuijie Douglas
Photo Competitions
Critical Mass
Portfolio Reviews & Festivals
Photolucida (USA)
FotoFest (USA)
PhotoNOLA (USA)
Medium Festival Portfolio Reviews
Recommendations for Gaining Exposure
The Center for Fine Art Photography
Other Resources
Los Angeles Center of Photography
Photographic Center Northwest
See Dan’s full review
Project Review — Light Space & Time By Dan Nelken
To extend time and space by permanently capturing, as only photography can, those fleeting moments of light in our atmosphere that create the subtle colors and wisps of shapes that appear every day when we look skyward.
Reviewer Feedback
Hi Dan. I’m glad I had a chance to review your work. On a first take, your photographs are quite arresting and immediately encourage me to want to see them in person, as prints. They definitely have a presence and I can imagine that only being amplified in the tangible object.
I think you probably know that the other reaction that some may have is, “uh oh... sunset/sky photographs.” This is a major hurdle that you have to get past when marketing these photographs to the fine art world. That being said, a real question is what fine art world do you seek? Not knowing this answer, it is hard to advise you. For example, if you were seeking the Chelsea gallery market and/or museum shows, I would highly recommend boning up on the theory and concept that underpins this work. In other words, what sort of commentary are you making with this work? Since you are using one of the most photographed tropes in photography, sunsets and skies, how do you feel you are distinguishing yourself from the rest? (You may be interested in looking at/reading about Penelope Umbrico’s work.) And, you also might want to discuss a bit about why you are creating grids. The grid can have a lot of associations for people; for example, they are often used in typology studies. Why are you gridding/stacking your photos?
BUT... if you are not interested in this part of the fine art market but rather a corporate or commercial market, you will more likely want to address the poetry of what you are contemplating. In other words, the theory may be less important and the building of your character as a photographer who is regarding this beauty, may be a real asset to selling the photographs. A person who is buying art for offices and hotels will be interested in knowing about you and the myth of you (though the Chelsea art world is also very interested in the myth of the artist... but they may prefer the derelict persona versus pious monk.) In the case of seeking corporate clients, you also may not have to justify your choice of gridding, etc., but you will want to provide installation photos for them so they have a sense of what the images look like in space.
In both cases, I highly recommend that you provide a little more information about the presentation of the images. What size are the prints? What are they printed on? i.e. digital inkjet on photo rag, or something to that effect. In other words, I would be prepared to tell someone definitively how you expect to show this work.
For the fine art gallery/museum world, I would revisit your artist statement. I personally feel that the discussion of analog vs. digital is not very important UNLESS it somehow has a direct implication for how the viewer is meant to consider your photographs. In the case of what I looked at, this doesn’t seem to be important.
Again Dan. It’s a pleasure to review your work. I am interested in seeing where the project goes and how you angle it into the market. Best wishes and good luck!
Additional Recommendations
Recommended Books & Photographers
The Photograph as Contemporary Art, by Charlotte Cotton
Crusade For Your Art: Best Practices for Fine Art Photographers, by Jennifer Schwartz
Finding Your Audience: An Introduction to Marketing Your Photographs, by Mary Virginia Swanson
Portfolio Reviews & Festivals
Photolucida (USA)
FotoFest (USA)
The Annual New York Portfolio Review
LOOK3 Festival of the Photograph
See Daniel’s full review
Project Review — Botanical Inquiry By Daniel Shipp
“Botanical Inquiry“ is a series of photographic dioramas that shuffle nature, geography, and physics into familiar but fictional environments.
In these compositions the physical characteristics of the unremarkable plants I have collected become storytelling elements which, when staged against the backdrop of common urban environments, explores the quietly menacing effect that humans have on the natural world. From a subjective and ambiguous point of view we witness the plants ability to adapt and survive.
By manipulating the optical and staging properties of photography with an analogue “machine“ that I have constructed, I have produced these studio based images “in camera” rather using Photoshop compositing. They rely exclusively on the singular perspective of the camera to render their mechanics invisible.
Reviewer Feedback
Daniel, Thank you for sharing your work with the LensCulture community and me. This beautiful series is a pleasure to look at, and to review.
Your images are complex and engaging, giving in great detail not only the visual image you place before us, but the intent to see how that organic object lives in the world surrounded by man.
The first impression I have is the incredible volume of information you place in every part of your image. They are rich in texture, subtle in color and intricate in detail. Everywhere I look there is something revealed, both evident and hidden. I am consistently returning to each image, always finding something new. The density of color, the degree of darkness and light are all something I am drawn to.
My favorite image, and I must say it was hard to select, is Mixed Use Enclosure. It meets the mark in how you approach the work, and how we as viewers are asked to engage with it. It lures us with the beauty of the floral, and asks us to question our surroundings with the inclusion of the background industrial space. It has bold color, subtle foreboding background, and depth. It shows the construction of the image, the real and unreal, the organic and manufactured. It is an image I can go back to day after day and revel in its beauty, and question my part in the broader context of how we interact with surroundings.
Your work reminds us to slow down and look around at where we are.
I want to address your concern about showing outside of Australia, and gaining more visibility in the larger fine art community. I would suggest looking at in person portfolio reviews in the United States like Fotofest in Houston, Photolucida in Portland Oregon. These reviews are invaluable for you to connect with the photographic community, and introduce yourself to a group of curators, gallerists and collectors who can help propel your work forward. If travel isn’t an option, Photolucida has an online review, Critical Mass (I have linked below). This is an opportunity to get your work in front over 200 reviewers without having to travel. The top 50 artists selected have opportunities for exhibitions, residencies and a book. Even if none of these opportunities come your way, it is possible that someone may engage with your work during the review process, ask for more information that could lead to a longer term relationship through potential inclusion in exhibitions, representation or other possibilities.
I would also consider submitting to Center Santa Fe’s Review Santa Fe and their project competitions. Because that is a juried review, the artists who participate are at the top of their game. The bar is high at this review, but the rewards are engagement with the fine art community that can give you the broader exposure you seek.
I have added links to various portfolio reviews, please take a look. The Houston Fotofest is the most international of the group, and gives the widest visibility. It takes a little research to find the week that would most benefit what you want to do with your work and where you want to go from here.
Thanks again for sharing your work, and I wish you the best in your creative endeavors.
Additional Recommendations
Photo Competitions
Critical Mass
The Fence
CENTER Choice Awards
Aperture Summer Open Call
Portfolio Reviews & Festivals
Photolucida (USA)
FotoFest (USA)
PhotoNOLA (USA)
Center’s Review Santa Fe (USA)
Medium Festival Portfolio Reviews
“The reviewer has taken the time to get a good grasp on my work on a deeper level than I am used to and the insights are concise and articulate. It’s been really useful to have a critical eye assess my work - professional feedback of this sort is not easy to come by.
As well as an appraisal of my work, I requested more practical knowledge about opportunities for increasing my international exposure. The review supplied me with great relevant information to go ahead and explore further, along with a list of links relating to all the websites discussed. This saved me a lot of time in research and opened my eyes to new opportunities.”
— Daniel Shipp, Sydney, Australia
“I learned not only the detailed strengths and weaknesses of my images, but also [received a] comprehensive analysis of my project, including the overall concept, the consistency of the theme, the inclusion/edit of the images, as well as suggestions on how to move forward. The remarks are detailed, to the point, constructive, and definitely encouraging and helpful. It spells out the doubt I have for the project. It also provides me with some direction I can further pursue, which is exactly what I need now.
I would like to take this chance to thank LensCulture team for spending so much time to help me with my project development. I feel a new chapter of my project has been unveiled. Very much appreciated.”
— Claire Hsiang-Wei Chao, Taichung City, Taiwan
New York Gallery Exhibition
We’ve partnered with Klompching Gallery in New York City to produce a series of group exhibitions featuring up to 20 photographers and curated by the gallery directors themselves: Debra Klomp Ching and Darren Ching. This two-week-long exhibit will be open to the public and will launch with a press preview and opening reception. Printed works from all 20 included photographers will be available for purchase and promoted to our audience of over 2.5 million. The first show in this series opens this December!
Klompching Gallery, New York
The LensCulture Winter Print Show 2017, our inaugural exhibition, will run from Dec 13 - 23, 2017.
To be considered for the exhibition, projects must be submitted by
Tuesday, October 24, 2017
LensCulture Online Exhibition
Our panel of fine art professionals will select 40 artists to be shown in the LensCulture online exhibition, including the 20 photographers showcased at New York City’s Klompching Gallery. Printed works from all 40 included photographers will be available for purchase online via OpenStudios and promoted to our audience of over 2.5 million.
Dina Mitrani
Founder/Director Mitrani Gallery
Miami
Caroline O’Breen
Owner and Director
Galerie Caroline O’Breen
Galerie Caroline O’Breen
Amsterdam
Susan Nalband
Founder/Director Gallery 555
Boston
Yumi Goto
Curator, Reminders Photography Stronghold
Tokyo
Darren Ching
Co-owner
Klompching Gallery
Klompching Gallery
New York City
Debra Klomp Ching
Co-owner
Klompching Gallery
Klompching Gallery
New York City
To be considered for the exhibition, projects must be submitted by
Tuesday, October 24, 2017
Market & Sell Your Work Online
with OpenStudios
We’ve partnered with OpenStudios, a platform that helps photographers to market their work and connect with buyers online. OpenStudios is free until you sell your first print, then you’ll receive an additional two months free as part of the LensCulture Project Review. With OpenStudios, photographers can participate in an online marketplace where gallerists, curators, collectors and photography-lovers can purchase high quality prints and learn about the stories behind the images.
LensCulture and OpenStudios have partnered with PICTO Labs, a leading photography lab based in Paris with offices in New York City, to provide fine art quality printing and fulfillment. PICTO was formed in 1950 in Paris and has partnered with some of the world’s most famous photographers including Henri Cartier-Bresson, Robert Capa, Chim, and William Klein as well as the most prestigious brands in the fashion and beauty industries.
Ready to take the next step?
Submit a project from your portfolio today and receive advice on presenting your work to galleries, collectors, and the art marketplace—as well as the opportunity to be showcased online and in an exhibition at a New York gallery. $65 USD
Deadline for Online + New York Exhibition: Tuesday, October 24, 2017
Photo © Courtesy of Klompching Gallery