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Archive 1 - Contents - PREMIERE ISSUE - October 1999

See: Galleries

Directors'
Notes
WIPI
News
Industry
News
Gallery
News
Marketing
News
Book
Review

Nancy Clendaniel, Directors' Notes Archive #1
November 1999 - March 2000

Baby, we're back!

Following a five-year hiatus, Women in Photography International is back and better than ever. Founded in 1981, WIPI has long served the needs of photographers, photo educators, photography students, gallery owners and photographic organizations worldwide by promoting the visibility of women photographers and their work through a variety of programs, exhibitions and publications. As an educational, 501.c3 organization, WIPI is eager to perpetuate this tradition by providing member benefits that will accommodate changing interests and needs as we head into our 18 th year as a resource for the international photographic community - and the new millenium!

The metamorphosis that is WIPI's rebirth and revitalization is the production of an ONLINE VERSION of our quarterly publication, F2. Incorporating members' profiles and portfolios, interviews, book reviews, historical essays and exhibition listings, F2's goal is to become the premiere resource for networking within the international community of women in photography. We feel certain that the expansiveness and professional opportunity offered up in F2 (incorporated into our web site) will provide a network that is unparalleled. We need your vision, your voice and your support to continue producing F2.

Nancy Clendaniel, Director



WIPI News - Archive #1

PREMIERE ISSUE

2000 Women in Photography International

View   Current list of nominees.

 

Industry News #1 - Archive #1

We are happy to report that there is a new 'European Photography Prize'. The prize money amounts to 25,000 EURO.

The REIND M. DE VRIES FOUNDATION awards a prize entitled 'the Reind M. De Vries Foundation European Photography Prize', which is intended to support photography in the broadest sense of the word.

Everyone living in the geographic area of Europe is eligible to compete for the prize. Participants may submit a personal application dossier, or they may point out possible candidates.

Aim
The foundation was created with the aim of setting up and awarding an international prize, to be called the 'Reind M. de Vries Foundation European Photography Prize'.

The prize of 25,000 EURO is to be awarded in appreciation of an artistic, theoretical, scientific, technological or agogical achievement or contribution that has proved to be essential or substantially significant to the progress and promotion of photography in the real sense of the word.

Description
This means: the invention, discovery or elaboration of techniques, methods, materials and instruments that can be used for realising, recording, transmitting or registering photographic images in a tangible form. These recorded images may be the result of one or more photochemical, analogue photographic processes.

This also includes: scientific research and the historical and theoretical study of a specific field of photography or an important contribution or achievement stimulating the progress of photography or extending its scope, social influence and effect. Setting up an exhibition or writing a book are also eligible categories for the prize. The candidate is free to choose how he presents his application file. The prize can be awarded to one private individual, to a co-operative partnership or to the leader of a team.

The REIND M. DE VRIES FOUNDATION accepts nominations and awards the prize on the basis of the proposals of an international jury, consisting of:

President (who has no vote); Eugene Van Hoye, Director
'Museum voor Fotografie', Antwerp, Belgium
Secretary (who has a vote): dr. Johan Swinnen, professor
'Higher Institute for Fine Arts', Antwerp, Belgium
Voting Members:
Pool Andries, curator 'Museum voor Fotografie', Antwerp, Belgium
Jean Back, director of the 'Family of Man' Museum, Clervaux, Luxembourg
Jan Coppens, photography historian, Eindhoven, the Netherlands
David Elliott, Director 'Moderna Museet', Stockholm, Sweden
Roger Erlandsen, Director 'Cultural Hermitage', Oslo, Norway
Joan Fontcuberta, visual artist and publicist, Barcelona, Spain
Jean-Luc Monterosso, Director 'Maison Europeenne de la Photographie', Paris, France
Andreas Muller-Pohle, visual artist and publisher 'European Photography', Gottingen, Germany
Dr. Laurent Roossens, Agfa-Gevaert, Mortsel, Belgium
Val Williams, London, England, Curator 'Hasselblad Foundation', Goteborg, Sweden

Correspondence:
dr. Johan Swinnen:
e-mail: info@devriesfoundation.org
Website: http://www.devriesfoundation.org

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Industry News #2 - Archive #1

U.S. News & World Report has come out with a list of the top academic MFA photography programs - Fine Arts Specialities - for the year 2000. They are: Rochester Institute of Technology (NY)

  1. The Art Institute of Chicago(IL)
  2. University of New Mexico(NM)
  3. Rhode Island School of Design (RI)
  4. California Institute of the Arts (CA)
  5. San Francisco Art Institute CA)
  6. Yale University (CT)
  7. School of Visual Arts (NY)
  8. Art Center College of Design (CA)
  9. University of California-Los Angeles (CA)
  10. Cranbrook Academy of Art (MI)
  11. Syracuse University (NY)
  12. Temple University (PA)
  13. Pratt Institute (NY)
  14. Ohio University(OH)
  15. University of Arizona(AZ)
  16. University of California-Irvine(CA)


    Gallery News - Archive #1

    "Behind the Redwood Curtain:
    Women Photographers of Humboldt County, California 1850-2000"

    Rosie Lasley with Bertha Perigot, photographers 1896

    Using Humboldt County as a focus region, the Women in Photography International Archive has undertaken a comprehensive study of all women who have ever worked in the field of photography in Humboldt County, from 1850 (the date of the first settlement) through the year 2000. Why limit this study to women photographers? Women have been almost universally ignored in the existing literature of the history of photography. While the aims of this three-fold project (exhibition, book & community outreach) will do little to rectify the glaring oversight in our photographic heritage, it does provide a unique opportunity to highlight the contributions of one group of female photographers in a notably male-dominated portion of the world. Another important goal is to champion the creative productions of women in general. At the same time, by studying the photographic history of both men and women over the past 150 years, we can demonstrate that this male-to-female imbalance is itself now in the process of mirroring national trends. Local university photography programs, long the province of men, have shifted so rapidly in recent years that the majority of new students today are female. Finally, "Behind the Redwood Curtain" provides a unique opportunity for comparing this region's women photographers with other geographic areas. While a comparison may be drawn between Humboldt County and any rural county in America, it might just as easily be applied to a densely populated urban center such as New York City. 

    Long regarded as a wilderness until white settlement began in 1850, the Humboldt region lies some 275 miles north of San Francisco and contains a land mass of 3,573 square miles. Reputed to be the home of the elusive "Big Foot", Humboldt County is mountainous, laced with numerous rivers, and bounded by vast forestlands. In modern times, the population has hovered around 100,000, with the majority of the county's citizens clustered around Humboldt Bay which incorporates the principle cities of Eureka (Humboldt County's largest urban center) and Arcata (Home of Humboldt State University). Logging, ranching and maritime industries have constituted the principle economic base, while rains and dense fogs shroud the land. Groves of giant redwood trees dominate the landscape; often so thick and forbidding that even the local Native American inhabitants avoided their dark domain.

    Not surprisingly, Humboldt County has frequently been stereotyped as a "man's domain", where women are considered scarce. Pejorative slogans like: "Humboldt Honey" and "Where Men are Men, and so are the women" imply that only an independent-minded, burly woman with unshaven legs and armpits, ever found her way to this remote and inhospitable land. While much has changed over the past 150 years, both geographically and regarding the female population of Humboldt County, many of these negative attitudes linger still. 

    The makers of the 100 photographs selected for the exhibition "Behind the Redwood Curtain" represents roughly 10% of the 700 plus women who have been linked to photography in Humboldt County over the past 150 yrs. Although there are a number of motion picture and videographers in the area, we have elected to limit the exhibition to still photographers only. The image selection represents a wide spectrum of interests and backgrounds. Some have used a camera for a lifetime, while others still count themselves as beginners, including several young women who are still in high school. 

    You are invited to celebrate the photographs in this exhibition as it travels and, where possible, to congratulate the women who made them. We also trust that, at least for the women photographers of Humboldt County, California, the "redwood curtain" has been lifted, letting the sunshine of diversity and creativity shine through brightly.

    Exhibition Dates and Sites: 

    • Reese-Bullen Gallery, Humboldt State University
      4 November - 18 December 1999


    • International Photography Hall of Fame, Oklahoma City, Oklahoma
      15 February - 31 March 2000

    Other venues are pending.

    Curators for "Behind the Redwood Curtain" are:

    • Peter E. Palmquist, an independent historian of photography, specializing in pioneer photography, the American West, California photography to 1950, and women in photography globally. He is founding curator of the Women in Photography International Archive and author of more than forty books in the field.
    • Gia Musso, an historian of California and the West, and Associate Curator of the Women in Photography International Archive. She has most recently co-authored the book: Women Photographers - a Selection of Images from the Women in Photography International Archive, 1852 - 1997. Gia is the project manager for this exhibition.

    Peter Palmquist
    Women In Photography International Archive:


    I Hold You Close 1999 by Jorden Nigro

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    Marketing News - Archive #1

    Get Going with Greeting Cards

    by  Maria Piscopo

     Electronic Rights and Promotion Rights Only in Exchange for Piscopo Web site link http://www.mpiscopo.com

     As we enter the end of a very turbulent decade for the photography business, new clients and markets for your images are topics close to the heart of every photographer. You have experienced upheavals in new technology, in the clients and in the budgets for your photo services. In addition, you are probably looking for a market for many “personal” images not marketable to traditional commercial clients.  

    How about greeting cards? Whatever happens with the technology or commercial clients, the consumer greeting card market is growing and here to stay. The end of this century has seen tremendous growth of photo image use by the alternative greeting card publishers. With gross sales projections in the six and one half billion-dollar range the major publishers buy shelf space in major consumer outlets for their cards to dominate this market. You’ll find competition to get into their talent pool is quite fierce. Since nearly fifteen percent of the above sales are generated from alternative greeting card publishers, they may be your best bet for entry into this market. This figure is expected to increase to eighteen percent by the end of this year, an almost two billion dollar slice of the “pie”. Retail distribution is the key to greeting card sales success. Your first decision is whether to find a publisher to print and distribute your cards and reach the end consumer or to self-publish.

    How To Submit To Publishers
    The submission process begins with researching The Photographer’s Market Book 2000; (Writer’s Digest Books in Cincinnati, OH). Though not a “phonebook” of all greeting card publishers, it lists extensive information provided by those publishers looking for photo images. So if a publisher is not listed for any given year, that’s their way of saying “We’re full up!” The bonus is you get to talk to publishers that want your submissions. Follow the submission guidelines! Though it is always good procedure to call if you have any questions about submission directions, it is always better to send ten great shots than 100 mediocre images. Edit your work ruthlessly and follow the recommendations for submission formats very carefully. Always send a self-addressed stamped envelope for the return of your work. You should also design produce and print a promo piece for the publisher to keep on file. Since the shelf life of a photo greeting card is only thirty to forty five days, greeting card publishers are constantly in need of new, strong selling images!

    Payment Terms
    Many publishers choose to pay a royalty of 2% to 10% on the wholesale price based on sales of your cards and have set payment schedules (quarterly or annually). Be sure to determine whether royalty is based on cards printed or cards sold. Whenever possible, ask for a guaranteed advance. As with any photography pricing, everything is negotiable! Some pay a flat fee royalty based on each printing of your images. For example, the first printing of 5,000 of each card design pays the photographer from $75.00 to $100.00 for a postcard use and $150.00 to $175.00 for greeting card. In addition, each photographer gets one hundred cards free, making great promo pieces for other clients and markets. Contracts must be discussed and the issue of exclusivity and photo credits negotiated. For example, some publishers get five-year exclusive use of your image for greeting card market but always give photographer’s credits. Always record the usage you are selling. Though your image can then be sold in other markets, any original or subsequent clients should know it is on the greeting card market.

    How To Self-Publish Your Own Cards
    Since the greeting card industry has about a 30% turnover in new start-up publishers each year self-publishing is a good option to consider. The key to self-publishing your own line of cards is to find a theme. With a “theme” that is well defined, the retail distribution outlets can be easily identified. To define your theme and market, start your research with a focus group. For example, for every group of images you want to produce, prepare a presentation binder of prints. Select the prime target audience, a group of women, age’s twenty-five years to fifty-five years, to review the presentation. As questions like, “What cards would you buy?” instead of the less useful question, “What cards do you like?” This information will help you distinguish your favorite images from a best-selling greeting card! Knowing that women purchase 90% of greeting cards will have an influence on your theme and image selection. Since the major publishers have the grocery chains and department stores “locked up”; self-published and alternative greeting card published cards are more successful in their own unique outlets. These include stationary stores, retail gift shops, craft shops, bookstores, airport and hotel gift shops, car washes, even hardware stores. The key is to concentrate on a theme and find the best retail outlet for it. Also, when you self publish, remember that retailers need to charge twice the wholesale price when you calculate your design and production costs.

    Marketing Tips for Self-Published Greeting Cards
    Start with a line of cards, six to twelve designs would be a minimum. Look at what’s currently selling and then figure out your own designs. Put your sample book together then find the retail locations that best fit the cards. Plan your card production steps carefully. First, cut card stock to size. Second, score and fold card stock. Third, stamp my logo on back of card. Fourth, Paste color photographic print on front of card, add title and signature. Fifth, Package card using plastic sleeve with envelope and promotional copy. Plan for start-up time and production costs. These include research, card stock, envelopes, and packaging, creating the images, photo costs, lots of phone calls and your business cards and letters. Producing a catalog of your card designs is extra work but today’s desktop publishing software should make this easier. Look at other markets for your images after they have been greeting cards. Check on stock houses, poster and calendar publishers, and art fairs and fine art prints.

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    Book Review - Archive #1

    Witch Of Kodakery Book Cover

    Witch of Kodakery


    The Photography of Myra Albert Wiggins, 1869-1956,
    by Carole Glauber, with a forward by Terry Toedtemeier.

     Washington State University Press, Pullman (1-800-354-7360)
     

    Myra Albert Wiggins, photographer, painter, writer, and musician, lived and worked in the Pacific Northwest. Witch of Kodakery: The Photography of Myra Albert Wiggins,1869-1956 is the first comprehensive look at Wiggins' life and work. Her powerful and enduring photographs encompass Dutch genre, landscapes, portraits, family life, and scenes from her travels in the Northwest and abroad. Despite living in faraway Salem, Oregon, Wiggins' pictorial photographs appeared in national and international journals and hung in salons in the United States and Europe. Wiggins' artistic success led to her admittance into the Photo-Secession in 1903.

     The implications of Wiggins' work within the context of social, cultural and technological changes are considerable. Her life intersected the Arts and Crafts movement, the invention of half-tone printing, and the development of the dry plate and roll film - all highly influential to her style of photography. Few women in the 1890's struggled to balance the demands of marriage and motherhood with a career as Wiggins did. 

    While Wiggins' story weaves a description of turn-of-the-century amateur photography, it also portrays the intertwining of personal ambition with collegial friendships, the filtering of national photographic politics westward to Salem, and how Photo-Secession membership both helped and hindered Wiggins' photographic pursuits. Her astuteness for self-promotion dovetailed with the same media and corporate hierarchy that happily endorsed her work. The title of the book derives from an Eastman Kodak promotional campaign employing witch and witchery imagery as a metaphor for the magic, charm, and fascination of photography. 

    Later in life, while a grandmother, Wiggins built a second career as a painter and mentor to artists. Although her paintings did not explore new ideology and technique as did her photographs, she continued to garner awards and recognition for her work. Culminating her career, the Seattle Art Museum in 1953 and the DeYoung Museum in San Francisco in 1954, honored her with retrospective exhibitions of her photographs and paintings. Her vivacity and devotion to her work remained intact until her death at age 86. Extensive research using diaries, letters, newspapers, photographic journals, Wiggins' photographs, exhibition catalogs, and interviews with family members and friends create a revealing and thought provoking narrative about an artist and her times. 

     

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