Hi!
I’ve been lurking during this conversation and I just wanted to say
that I too am in the processes of making decisions about what to
photograph and how and I really am gaining a lot from the group’s
conversation. I just wanted to say, “Thanks”
Holly Gage
Noel,
I think your booth shot is lovely, simple and elegant, and I hardly
see that a tasteful vase of flowers, placed judiciously could hurt –
Sounds extremely nit-picky to me and kind of scarey as I have a vase
of flowers in my booth shot. And the comment about your work not
pushed enough is really relative. Does that mean there is no room at
these shows for beautifully crafted traditional work? Not all worthy
work is going to be avant garde, cutting edge - furthermore, I would
like a few jurors to spend a weekend in a booth trying to sell a
booth full of “avant garde” work - it might be what they want to see
but it sure as hell isn’t what “joe public” is buying and I don’t
know about you, but I have to make a living…
Grace S.
Really shows the difference between the slate background and a gradient background with drop shadow!
Holy Cow, it sure does! Dramatic comparison-- well done. They would
look even better photographed with a “real” shadow instead of a
faked one, but the difference is astonishing!
Noel
Sorry, no amount of excellent photography will help a work that doesn't have the charisma to begin with.
Ah, if only this were true!
I firmly believe that jurors take their jobs seriously, and work
very hard to separate the wheat from the chaff. But I have had the
experience many times of seeing unworthy work at a good show, and
wondering why, only to look around and see blow-ups in which the
work looks fantastic because of how it was photographed. I have
stood, dumbstruck, comparing the actual piece with the photo, trying
to reconcile the two.
What’s worse, some work is SO much better than it looks in slides!
Not necessarily for want of skill in the photographer (my titanium
work is damned hard to photograph well, for the same reason it is
exciting in person-- titanium reflects light in unique ways, and
changes as it moves, unlike any other material. Just can’t convey
that in an image!)
There is no perfect system.
Noel
Really shows the difference between the slate background and a gradient background with drop shadow!
It sure does, Beth. You are good!
M’lou
Noel,
Your comments say it all. A bunch of effete “art managers”, all
stuck in their own gigantic egos about how the “art world” must
operate. I see NO ONE has addressed my comments about how galleries
essentially use your free inventory to take half your money. Odd, in
a world, where retail jewelers generally have to BUY finished goods.
This situation exists ONLY because most artists don’t have the time
or skills to sell their work, either wholesale or retail, so the
gallery starts to look attractive. A good salesperson would be a far
better investment.
Wayne
Hey Goo,
I think if you take a look at most of the major metalart / jewelry
magazines or something like a Christie’s catalog you’ll get a pretty
good idea of what these jurors are looking for in photography. I
think in answer to your questions #1, #2, #3. I think using the
standard grey or gradient backgrounds are best. And used because
when they look at the images if all the backgrounds are consistent
there is no confusion about whether they are looking at a piece that
stands out to them because of the background or because the piece is
a definite pick. Although there is always the possibility of your
piece being so fabulous they would pick it no matter the background.
But, I still think in most cases it would count against you.
I believe the standard for taking jewelry photos is a material /
product called veritone…
Good Luck,
Aaron
@Aaron_Willoughby
Hi Linda,
Beth, what feature from Photoshop Elements did you use to get that last picture (uniform background with shadows and highlights)?
On a separate blank layer, I used the Gradient tool (Reflected
Gradient option) with two colors (a light and a dark). I then added a
drop shadow on a copy of the main layer using the Styles and Effects
palette.
Beth
Noel,
Gorgeous!!! I love the clean, elegant look. The blue & gray combo is
also very striking. If you don’t mind, I wanted to ask a few
questions about your lighting. I see you have a few small black
fixtures that seem to be attached to a couple of the cases. What kind
of lights are they? Are they your only lights, or do you also have
ones overhead and these just accent certain special pieces? Do you
have any trouble with glare from them on the glass top of your cases?
By the way, I’m sure a vase of flowers would look lovely in your
booth. I’ve never happened to do it myself, but I’ve seen others do
it & I always think it’s very nice (well, assuming it’s done right,
of course!).
Thanks!
Lisa
Designs by Lisa Gallagher
I see you have a few small black fixtures that seem to be attached to a couple of the cases. What kind of lights are they?
They are called Cyberlux. They are quite expensive-- I was lucky
enough to buy four of them used. They telescope, and are quite
bright.
Are they your only lights, or do you also have ones overhead and these just accent certain special pieces?
I have overhead as well. At the show where this was taken, a certain
number of spots and floods are included, and the little ones add
fill and sparkle.
Do you have any trouble with glare from them on the glass top of your cases?
I can aim them so it isn’t too bad. I’d rather have inside-the-case
lights, I think, but it’s always a matter of allocation of scarce
resources (money).
Hope this helps!
Noel
Internet and web sites are flattening the gallery world "alittle"
bit. art jewelers are selling more and more to buyers directly, they
are becoming more used to buying jewelry onlone. there will always
be galleries, but the web can act as your sales agent also
Noel,
Even though we are pushing classes in our booths and not jewelry, a
vase of flowers is a must in my booth. Metalwerx participates in both
supply shows and high end craft shows like Craft Boston. Since we are
a non-profit, for the craft show, we get the weird space with a giant
column on the side or middle. But, my job as Ms. Marketer, is to make
the most spectacular booth I can with what we have. I don’t get to
see the booth space until I arrive, but last year for CraftBoston, I
had a lovely tall vase in the corner which brought your eyes right up
to our sign. I spent $100 bucks on a drop dead gawjus vase of flowers
and had many, many comments on our greenery.
In the supply shows, I exhibit photos which are sitting on the
ground. When people walk, they look down to see where they are going.
This allows me to sprinkle shots of people fabricating jewelry which
places the idea of “school” in their head. When they look up, they
see more photos, our lit exhibition case of student and faculty work
and then up to our flowers and up to our sign. The visual information
we portray contains a total branded look which plays to our
strengths. We are a school. We teach. We excel in excellent
workshops.
I like flowers. I like a bit of greenery among the harsh light of
flourescent bulbs and the blare of signs all vying for my attention.
Any juror that gets hung up on the vase of flowers shouldn’t be a
juror. Your booth looks lovely and professional and most of all,
inviting.
Booth display is a subtle art. For any of you who are fortunate to
live near Chicago or NY, I suggest you visit SOFA (Sculptural Objects
and Functional Art). This is the show where the galleries set up
their booths and I have taken quite a few tips from them and how they
display. Galleries make a living at drawing you in their space and
creating an atmosphere to sell.
M E T A L W E R X
School for Jewelry and the Metalarts
50 Guinan St.
Waltham, MA 02451
781 891 3854
www.metalwerx.com
Aaron - your reply is both kind and insightfull my argument is but an
hopefull attempt at a commitment on the part of someone with clout to
put these types of ideas in writing. I believe it to be an act of
altruism on the part of some person or an organization (SNAG
perhaps? ) to step up make a commitment at guidelines that would
support the jewelry community and its budding members.
best regards goo
Having sat on several juries, I would like to share a little info
about the actual jury.
The jury for the Va Beach Boardwalk Art Show takes two days.
Approximately one third of the show is pre-juried for the next year
by the Standards Committee (known as the art police). They look at
consistency of work, quality, new evolving work, etc.
The ceramics are grouped, wood, jewelry, paintings, etc. All three
slides of work are presented on a large screen at once. The 4th and
5th(booth) slide are next. The slides are not left up very long
since there are so many to see but the jury can request to go back
to a particular artist work by description.
If you send an artist statement they will read it but no names are
revealed. Invariably the photographers had the worst booth slides,
go figure! There is a rating system of 1 being the worst I did use
some 0), and 5 being the best. These scores are totaled over the
next weeks and letters sent out to the artists.
The jury consisted of artists who had previously been in the show,
the standards committee, local art educators involved with the art
community (not just art teachers), gallery owners, art collectors,
etc. There were at least 12 - 15 people each day.
It is really tough work and we were exhausted at the end of the
first day!.
My husband and I were on the Standards Commmitte and jury one year.
We took copies of cataloges and flyers of jewelry that is mass
produced so the other members of the jury would understand what is
mass produced since we have previously had problems with buy/sell at
our local shows. This show is for artists making one of a kind and
limited editions. Reproduction are not allowed for paintings etc.,
photos are limited to a total edition of 250 including all sizes.
Another jury I sat on for a local outdoor show, consisted of myself
and two professors who had never attended the particular show. They
didn’t have a clue about the type of work that is in outdoor shows
and were jurying it as thought it were museum show. They didn’t
choose enough artists to fill the show so there had to be a second
jury.
I have also noticed over the years that all judges have an agenda.
Last spring one judge claimed there was no art other than painting
because the “reason d’etre” is only to be art. “If it is functional,
it can not be art.”
If the judge walks by your booth 10 feet from the front of the
booth, they aren’t looking art jewelry for an award!
So every show is a crap shoot.
Just some of my expeeriences,
Barbara in Norfolk
If the job is too difficult because of too many slides then perhaps those calling for entries should state a specific number of entries will be accepted. you,dont want to sit through 1200 slides in order to show a little respect then do something about it. Shorten the acceptance period for the jewelry category and set some standards in your announcement or call for show entries.
Shows earn $ from every person who juries for them. Figure the
income from 850 jury fees at $25 a person. There is no way shows are
going to limit that income, nor should they.
Also many of us always have yet one more GREAT piece in us that we
will finish at the last minute, get photographed, and add to our
entry. Your suggestion would cut off all those wonderful late minute
entries.
Running a successful show is a complicated issue. Mess with one part
and you throw another unrelated part outta whack. One really needs
to know how all the parts relate to each other to start wholesale
changes. For instance…If you cut back on the $ made by the show,
they most likely will cut back on promotion and advertising. That’s
what brings the customers in to buy the work & brings quality
artists back to the show.
The jury system needs improvement, no doubt. My biggest gripe with
after being a juror and having a friend relate his experience
observing a ZAPP jury session, is that for the time & money we give
the shows, they need to use some of our money and their time to give
our images more then a 10 second looksy. The whole process needs to
slow down, ALOT.
The jury system does need re-working, shows need to be more artist
friendly.
If anyone is truly concerned about this and wants to do more then
rage about it on this forum…go to the NAIA (national association
of independent artists) and join that group.
http://naia-artists.org/ Put your $ where your concern is. NAIA is a
“trade” organization for show artists and does a lot of good. Its a
member run and supported non-profit and has done many things to
improve the lot of show artists. The jury system and upgrading it is
just one of the many projects NAIA is working on. They need artist
members, $$$, and volunteers. Time to step up.
In answer to Wayne Emery who said to the need for quality images and
photography
Nonsense. It's necessary ONLY if you are for some reason driven to sell through "shows" or galleries. Like I said, in two plus decades I have sold millions of dollars worth of jewelry, without the need for professional photography, a gallery ripping me off, or show administrators so stuck in their artsy world they think slides are the "cat's meow" and that digital imagery is somehow lacking.
Wayne since we are talking about “jury photos” so one presumes this
thread is about getting into shows. And to get into shows quality
photography is mandatory.
As for Wayne’s comment;
Your comments say it all. A bunch of effete "art managers", all stuck in their own gigantic egos about how the "art world" must operate.
This is really a gross generalization that can’t be responded too.
The world of art is full of all sorts of people, from the ones with
large egos, to some really great people who do a lot for artists.
What works for one artist will not work for others. I would hate to
sell on e-bay, off my website, wholesale, or thru a gallery. They
are not my “style.” But I LOVE doing shows and don’t mind putting up
with the current imperfect system. I don’t expect life to be perfect.
But I do work at changing things. Hence I am a member of NAIA & I’m
involved with helping run 3 different shows in the Pacific NW. I know
the problems from both sides of the booth, as an organizer and as an
artist. The shows I’m involved in have fewer of the problems we are
discussing because they are artist run shows, for artists. Change &
improvements are possible but people have to step up with a positive,
can-do attitude.
Oops. Sorry. Got on a soapbox. 8-/ Climbing down now.
Noel said
There is no perfect system.
Well said! The current evolving (from slides to digital images) jury
system one has its flaws but it also has its up sides.
hth
Carla
Shows earn $ from every person who juries for them. Figure the income from 850 jury fees at $25 a person. There is no way shows are going to limit that income, nor should they.
sooo. the vagueness about what is acceptible in a jury photo is
purposefull to increase profit ? that seems unethical,
best regards -goo
Hi All,
Here’s a short essay that I wrote last year about juries and
jurying. Having juried several shows and exhibitions, both solo and
with others, I can say that ambiguity is the worst sin, in my eyes.
More about that below.
Also, when I look at images offered for jury, I like to see a
consistency of approach both in the work and the photography. The
work can certainly vary in type and, perhaps, style. But there should
be something that says very quickly that this work belongs together.
Someone had posted that the work shouldn’t look like the result of as
series of workshops. One should also consider the nature of the
juried venue as well.
I again urge anyone interested in this topic to go to the
Professional Guidelines on the SNAG website. Great info.
Also consider attending the Professional Development Seminar at SNAG
in Savana this year. It is $10 the day before the conference for 4
hours of solid info. The first half of this year’s is about images
and digital vs. film. It will be posted on the SNAG website soon.
Take care,
Andy Cooperman
Juries: Putting Your Best Foot Forward
[c] 2006 andy cooperman
Rejection is always an unpleasant experience. Unfortunately it
is a fact of life, especially so for those artists and
craftspeople who wish to sell their work or gain exposure and
perhaps notoriety by showing their work in a competitive
environment. Juried venues such as exhibitions, craft shows and
publications attract fresh talent and can raise the competitive
bar regarding quality and innovation. And, because it is
exclusionary by definition, adding the word "Juried" before any
listing on your resume gives it professional weight. So there are
many sound reasons that we take the emotional risk of submitting
work to a jury. But who gets in and who doesn't in the end boils
down to the opinion(s) of that jury. And while nothing can or
should change that, things can certainly be done to improve a
person's chances.
There is nothing that will block the path towards "acceptance"
more quickly than a poor quality or unintelligible image, be it
digital or slide. The goal is to convey as much about
the piece pictured as possible WITHOUT AMBIGUITY OR CONFUSION.
Relying on the jurors' having any time or desire to puzzle out
what is going on in an image will result in an irritated jury
indisposed to accepting the entry. The odds are that they will
simply move along. It should be clear in the slide what the
object is, and the character of the surfaces and materials. (Some
materials may be nontraditional, experimental or used in a new
way. This is, of course, fine but how the material appears to the
eye-its character-- is crucial.) If you don't take your work
seriously enough to document it well, then there's a good chance
that jurors will equate your lack of proper documentation with a
lack of professionalism or commitment and in turn may not give it
serious consideration. But obtaining quality images of your work
does not of necessity mean parting with large amounts of hard
earned cash. It is certainly within the grasp of most of us to
learn how to shoot images (film or digital) that, while perhaps
not quite up to publishing standards, are suitable for jurying.
Lighting is perhaps the single most important thing to consider.
If the piece is under lit or too heavily shadowed it will create
confusion. Drama is fine and can actually help to create a
powerful impression. That being said, too much of a good thing
can get in the way. Avoid slick, Madison Avenue types of
composition. Also, too much backlighting can create a silhouetted
appearance in the slide that flattens the image and draws the eye
towards the periphery.
Consider your background. Is it:
-distracting?
-too busy or cluttered?
-too dark or light?
-does it bleach out the piece?
-does it isolate the piece?
-Does the object need to be recorded in context-that is, does it
need to be sited on the body, on a wall or somehow installed?
As stated above, be sure that the materials are clearly
depicted. Yellow gold should appear yellow. Sterling should be
silvery white if not patinated but not the glaring white of an
overly "hot" image. These hot spots draw the eye and create
misleading or distracting focal points. Highly polished
reflective surfaces are tough to record with accuracy and
clarity. They should never include a fun house mirror reflection
of the camera, photographer, light stand or studio wall.
Label the slide clearly. At the absolute minimum indicate the
orientation of the slide with an arrow (or whatever is required
in an exhibition prospectus) the artist's name, title of the
piece and the type of object. Ideally detailing
materials, techniques, dimensions and year of completion should
appear on the slide mount. When the competition is tough and the
jury needs to make a cut, this can make a real
difference. If you are including a slide list to accompany the
submission, then a clear number corresponding to that list should
appear.
Even with the best possible images work submitted should be
appropriate to the theme or character of the venue. Production
work conceived and designed to be worn at the office may not be
the best choice to submit to an academic exhibition. And edgy,
one of a kind pieces featuring controversial subject matter may
not be suitable for submission to a church based craft fair. I am
not assigning relative validity to any type of work but, if the
goal is to be juried in, then doesn't it make sense to focus your
efforts towards appropriate scenarios?
Some work comes alive only when held in the hand. It may have
some tactile quality or a specific function that is interactive.
Think hard about choosing these pieces for submission. Ask
yourself whether any functionality will be apparent from within
the static confines of a sealed display case, a slide (or digital
image) or a 2 dimensional published image. If you do choose to
submit such a piece, be sure to illustrate anything that is
special about its character in detail images.
Jurying anything is a difficult task and carries with it serious
responsibility. Anyone asked to provide their services as a
juror or on a panel of jurors should well consider whether they
are prepared to make difficult, objective and perhaps even harsh
decisions before accepting. That's the juror's side of the
equation. The artist or craftsperson must fulfill their side of
the bargain by submitting the best possible visuals they can of
their strongest work, thoroughly labeled and documented. Do your
homework and select an exhibition that you feel suits your work.
Assemble a group of images that works well together
compositionally and perhaps thematically. And understand that
even though rejection is part of the game, you can maximize your
chances of making the cut. In a competitive world it's always
smart to put your best foot forward.
The vagueness about what is acceptible in a jury photo is purposefull to increase profit ? that seems unethical,
Now, goo darling, you seem terribly angry at juries. Have you been
hurt?
It’s really not that complicated; no world wide conspiracy to keep
you out of shows.
If you can deal with the jury system, then play the game. If you
prefer to opt out, you may opt out.
Everyone agrees the system is not perfect, and some are working to
improve it.
Elaine
http://www.CreativeTextureTools.com ™
Hard to Find Tools for Metal Clay
the vagueness about what is acceptable in a jury photo is purposeful to increase profit ? that seems unethical,
Nothing unethical about it. Artists are aware of this. If you don’t
want to pay the jury fee & be one of the unchosen masses (Cherry
Creek, CO comes to mind, with 1200 wannabe-in-the-show) don’t apply.
It costs $ to produce a show. It has to be earned from a variety of
sources.
Many of the best shows for artists are NOT the big shows, but small
local ones. Apply there and get in. Develop a local following, sell
lots.
Goo I don’t mean to keep contradicting you but…the imperfect
show system is not all that bad or exploitive of artists, unless, and
this is a biggie, they don’t do their homework and don’t learn the
culture and “rules” of how to play the game. Its like every thing
else
in life. Ya gotta learn about it or you will be throwing your $ away.
But that is the individual’s fault/ responsiblity not the show’s.
hth
Carla
the vagueness about what is acceptible in a jury photo is purposefull to increase profit ? that seems unethical,
Hi…sorry, I agree with a lot of the things that you have said up
until this point, but I don’t really think the jury requirements are
vague at all. Can you point me to a specific show where the entry
requirements are vague? The shows that I apply to are extremely
specific. Now, I do get a little frustrated in that they are
extremely specific and then (when I attend the show) I find
exhibitors blatantly breaking those specific entry requirements. An
example would be that I held back applying to a show that said there
was to be no “strung beads”. At the time, I was weaving elaborate
focals and putting them on a strung bead necklace. I go to the show
and what do I see?..two specific exhibitors with “assembled”
jewelry. In other words…buy the Beadalon, the beads, the clasp and
voila…art jewelry. But, would you think may be I go to the
director of the show and complain? It’s not going to get me
anywhere…it’s actually going to get me nowhere, fast. Maybe, put
your best, best foot forward in your jury shots (get the Bruce Baker
cd to find out how ) and then do the show and give the customer
whatever the heck you want to. I wrote to Thomas Mann once, to get
his take on shows “crap shoot” is what he thought as well.
Kim Starbard
http://www.kimstarbarddesigns.com