![\"\"](\"http:\/\/www.apogeephoto.com\/wp-content\/uploads\/2016\/march2010\/Elliott_photos\/Elliot_photoexhibit3.jpg\")
\nCopyright \u00a9 Derrald Farnsworth-Livingston 2010<\/p>\n
\nCopyright \u00a9 Derrald Farnsworth-Livingston 2010<\/p>\n
William Penn University in Oskaloosa, Iowa There is an art to taking great photos and there is an art to developing the knowledge and skills needed to get those photos shown in a gallery setting.<\/p>\n In an effort to find out how to put together a photography show, I interviewed three photographers who have extensive experience in presenting their photo art in gallery shows.<\/p>\n What follows is some advice from Derrald Farnsworth-Livingston<\/a> of Omaha, Nebraska; Larry Ferguson<\/a>, also of Omaha; and Liz Darlington of Savannah, Georgia.<\/p>\n Step 1: Knowing the Business<\/strong><\/p>\n Ferguson suggests starting with the question, \u201cWhy?\u201d<\/p>\n \u201cYou have to think that you are a good enough photographer to put yourself out there and have some sort of gumption or knowledge about yourself that you think you should be an exhibiting artist,\u201d he said. \u201cAsk yourself, \u2018Why do you even want to do that?\u2019 It opens you up to review and critical analysis. You have to think about why you want to put your work on public display.\u201d<\/p>\n He suggests accumulating resume materials and recommendations ahead of time. Become extremely knowledgeable about the industry and then have something unique that nobody else has.<\/p>\n For young photographers or for those new to the world of fine art photography, Ferguson suggests that they need to know who the galleries are, know about the shows being presented and the venues available. And participating in group shows is a great way to start.<\/p>\n \u201cYou\u2019ve got to start somewhere,\u201d he said. \u201cStart where it will be easy for you to show. Look in listings in newspapers, find which galleries are approachable.\u201d<\/p>\n He said people need to look at business opportunities. Some may be able to do a show at a local library or hallway gallery.<\/p>\n \u201cMost young people or new artists need to start out small,\u201d he said. \u201cGetting someone into a group show would be beneficial.\u201d<\/p>\n \u201cThere is a hierarchy–a pecking order,\u201d he said. \u201cIt takes an incredible amount of work, skill and personality to make it all come together.\u201d<\/p>\n Step 2: Finding a Location<\/strong><\/p>\n Darlington<\/em><\/strong><\/p>\n \u201cGet to know the gallery curators and their staff. Then attend their openings and approach them with each new body of work to see if they are interested in showing it,\u201d she said. \u201cYou can also rent gallery space in most towns and put together your own show that way. Be sure to do a press release and invite as many gallery owners\/curators as possible to your show.\u201d<\/p>\n Farnsworth-Livingston<\/em><\/strong><\/p>\n If one does not have their own studio, Farnsworth-Livingston suggests doing a bit of homework–find out where other artists have been exhibiting photographs. It may take time, but it can be well worth it.<\/p>\n \u201cSince I do not have my own studio, I often research where area artists have been exhibiting. Once those galleries have been found, there are usually contacts available via a website,\u201d he said. \u201cAnd sometimes, I have to email several people in order to get to the correct individual.\u201d<\/p>\n Ferguson<\/em><\/strong><\/p>\n Ferguson, who has participated in over 400 exhibitions and worked as a photographer for over 30 years, also suggests matching the caliber of the gallery in which you wish to present.<\/p>\n \u201cWhen you approach galleries, you have to make sure your work fits into their scenario,\u201d he said. \u201cYou don\u2019t want to try to exhibit out of your league. Be sure your photographic art meets their standards of quality–the quality of existing artists being handled,\u201d he said.<\/p>\n Step 3: Selection of Photographs<\/strong><\/p>\n Farnsworth-Livingston<\/em><\/strong><\/p>\n \u201cThe first thing I do to prepare for a show is to select the pieces which will be exhibited,\u201d he said. \u201cI spend several days going through a selection process.\u201d<\/p>\n \u201cI start with about 70 images and then slowly whittle that down to the final selections,\u201d he added. \u201cI then have those pieces printed with about 5 extra in case an image does not turn out how I had envisaged for the final show.\u201d<\/p>\n Darlington<\/em><\/strong><\/p>\n \u201cMaking a start on the work so you can pitch the idea to a gallery is probably the most important thing,\u201d she said. \u201cI always like to have three or four images from the series complete and I will then send them to galleries as part of a proposal for a show.\u201d<\/p>\n Ferguson<\/em><\/strong><\/p>\n Ferguson said it is important to have a tight body of work and that can take time. And once the photos are selected, presentation is also a key.<\/p>\n \u201cGo into a presentation with photographs professionally matted, framed and ready to go,\u201d Ferguson said. \u201cThere must be flawless execution in putting it all together.\u201d<\/p>\n Step 4: Printing and Framing <\/strong><\/p>\n Farnsworth-Livingston<\/em><\/strong><\/p>\n When you consider the size of the prints, Farnsworth-Livingston said that will vary from exhibit to exhibit. He uses a variety of sizes ranging from 8×12 inches, which is matted and framed to 14×18 inches, to 20×30 inches, which is matted and framed to 28×38 inches.<\/p>\n Not distracting from the photograph itself, Farnsworth-Livingston said he uses a consistent medium for prints.<\/p>\n \u201cAll the pieces are printed on glossy photographic stock and framed,\u201d he said. \u201cI use a consistent, simple frame with the same color mat so that the framing does not distract from the art.\u201d<\/p>\n William Penn University in Oskaloosa, Iowa<\/strong><\/p>\n Darlington<\/em><\/strong><\/p>\n \u201cGalleries often want the work as large as they can possibly be, unless you have a conceptual reason for working smaller,\u201d she said. \u201cI always enlarge as much as possible, but if this isn\u2019t in keeping with how you want the work to be, it is not necessary. Many artists want the viewers to have a more intimate experience with the work, so they choose to print smaller.\u201d<\/p>\n Darlington said she works in two print mediums for her work.<\/p>\n \u201cThe first is acetate or transparency. I then sandwich the prints between two pieces of glass so there is almost a lightbox luminescence to the image,\u201d she said. \u201cMore recently I have been printing on Fujiflex paper and then front mounting piece to plexiglass for a borderless professional print quality.\u201d<\/p>\n \u201cThe reason a particular print medium is chosen is usually dependent on the type of work you are doing,\u201d she added.<\/p>\n Step 4: Knowing Your Costs and Gallery Participation in Those Costs<\/strong><\/p>\n Prepare yourself–your cost could vary depending upon the size of the show, your abilities to do some of your own work, your location, the number of pieces being printed and framed, the size of each piece and the materials used.<\/p>\n And in addition, there will be fees paid to the galleries. Our photographers told me that the galleries commissions can vary widely. They will take anywhere from nothing, which is rare, to a small fee, up to 30% and 50% of the retail price.<\/p>\n DeSoto National Wildlife Refuge near Missouri Valley, Iowa Farnsworth-Livingston \u201cThe typical costs for different sizes, which include the print, mats and frame are approximately: Gallery Participation<\/em>: \u201cShows almost never cover the costs. The exposure does bring some recognition and can bring in sales later. It usually takes several years of repeat shows for a gallery to participate in your costs.\u201d<\/p>\n Darlington \u201cThe costs can depend on many things, including whether or not you are able to do your own printing, how large the work is, and whether or not you pay someone to frame the work. On average, I pay around $150-250 per image to have it printed and framed professionally. Therefore the average cost for a show that includes 10 images is around $1500-2500 and this excludes shipping or delivery costs associated with getting the work the gallery.\u201d<\/p>\n Gallery Participation:<\/em> \u201cI usually try to get grants to pay for the show, otherwise everything is out of pocket in the hope that I recoup costs through sales. I very rarely make money on a show. Most people I know are happy if they manage to cover costs, although some are lucky enough to actually make a little profit.\u201d<\/p>\n Ferguson \u201cThe cost–it depends upon how big of a show you and the gallery want to put on,\u201d he said. \u201cThe number of pieces and the size of those artworks can vary widely. The bigger you are in the art world, the bigger your shows might be and the scale of the works may be bigger too.\u201d<\/p>\n \u201cSmaller works may have a materials investment of $50 each and bigger works may have a materials investment of $1,000 each. That’s with me doing all of the work myself, including all the darkroom work and the matting and framing. My last big show cost me over $15,000 in materials.\u201d<\/p>\n Gallery Participati0n:<\/em> \u201cGalleries are in the business of selling art, so if your work doesn’t sell, there won’t be any more shows of your work at that venue. Later, how are you going to share the profits of photo shoots that happen after a gallery show with the gallery if they helped promote your show? If you are showing your work in like a library or some other public venue that doesn’t get a lot of sales, then you will have to think about how you are going to make money doing that.\u201d<\/p>\n \u201cSometimes you just want to have a show to get some credentials, sometimes that’s the only way to get a real gallery to actually take on your work and show\/sell it. You have to start somewhere. And my personal experience is that once the exhibit has closed at a particular venue, there are usually very few phone calls from people who want to buy your work outside of that venue. If people do want to get in tough, they will usually call the gallery and not the artist.\u201d<\/p>\n Added Information\u2026<\/strong><\/p>\n You’re set up with a show, so what more do you need to know.<\/p>\n How Long Do Exhibits Last?<\/strong><\/p>\n Farnsworth-Livingston<\/em><\/strong><\/p>\n \u201cTypically, an exhibit lasts for about a month.\u201d<\/p>\n Ferguson<\/em><\/strong><\/p>\n \u201cExhibition lengths can vary from gallery to gallery. Sometimes shows can last a few days or a few months, depending upon the venue. Typically shows run from three to four weeks. It’s all about what you and the gallery can agree to do together.\u201d<\/p>\n Darlington<\/em><\/strong><\/p>\n \u201cUsually they show the work anywhere from one week to one month, depending on the type of space. Most commercial galleries show for at least a month.\u201d<\/p>\n Setting Up the Exhibit: What You’ll Need to do Before Opening Day<\/strong><\/p>\n Farnsworth -Livingston<\/em><\/strong><\/p>\n \u201cYou need to have an idea of what order the prints will be in. You need to take and make sure that any presentation materials always are available. Things like brochures or display cards with your name and information may be required.\u201d<\/p>\n Ferguson<\/em><\/strong><\/p>\n \u201cPromotion of the exhibition\u2026 You have to get the word out about the show so that people can come to it–newspapers, FaceBook, emails, sending out promo packets to news outlets and reporters, along with printable files for publications. Call family and friends and invite them to come.\u201d<\/p>\n Darlington<\/em><\/strong><\/p>\n \u201cPostcards are made and sent out as invites, as well as e-cards and press releases.\u201d<\/p>\n \u201cThe finished work is delivered to the gallery usually a few days before or on the actual day of hanging.\u201d<\/p>\n \u201cThere is usually an opening night reception and in some cases, people include a closing reception.\u201d<\/p>\n So if you\u2019re ready to put yourself out there, take your newly gained knowledge and venture out into the world of photo gallery exhibitions.<\/p>\n by Elizabeth Elliott<\/p>\n","protected":false},"excerpt":{"rendered":"
\n<\/strong><\/p>\nPhotography Gallery Ideas<\/h3>\n
\n<\/em> Ferguson<\/em><\/strong><\/p>\n![\"\"](\"http:\/\/www.apogeephoto.com\/wp-content\/uploads\/2016\/march2010\/Elliott_photos\/Elliot_photoexhibit4.jpg\")
\nCopyright \u00a9 Derrald Farnsworth-Livingston 2010<\/p>\n![\"\"](\"http:\/\/www.apogeephoto.com\/wp-content\/uploads\/2016\/march2010\/Elliott_photos\/Elliot_photoexhibit1.jpg\")
\nCopyright \u00a9 Derrald Farnsworth-Livingston 2010<\/p>\n
\n<\/strong><\/p>\n
\n<\/em><\/strong><\/p>\n
\n$60 for an 8×12 inch photo, $100 for a 12×18 inch photo and $120 for a 16×20 inch photo.\u201d<\/p>\n
\n<\/em><\/strong><\/p>\n
\n<\/em><\/strong><\/p>\n