Doug Stockdale's Singular Images

April 29, 2014

Photo Independent & Paris Photo LA – 2014

Filed under: Art, Art Market, Photography — Tags: — Doug Stockdale @ 7:16 pm

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Untitled, copyright 2014 Douglas Stockdale.

This past weekend there were two photographic fairs in L.A., and in fact they were adjacent to each other. The largest of these was the second Paris Photo LA held again on the back lot of the Paramont Picture Studios in Hollywood. I wrote about Paris Photo LA in a lot more detail and posted photos on The PhotoBook blog, as my main reason to attend Paris Photo LA was to look at and acquire photobooks.

Thus, a little about the Photo Independent fair. This was it’s first year and similar to events in Paris for Photo Paris, this venue is attempting to take advantage of the large crowds that the Paris Photo LA attracted last year (as well as this year!). In this case, the venue was another film studio, Raleigh Studios, literally across the street from Paramont on Melrose in Hollywood.

I was gifted by Susan Burnstine with a VIP pass for the Friday’s opening night and I was able to weasel this into a PRESS pass and then onto the Raleigh Studios back-lot parking. I took an hour to walk the pre-opening and take some photographs before heading across the street to Paris Photo LA. I returned back for the 7pm VIP opening and walked the two stages where the photographers were exhibiting. The emphasis of Photo Independent was on individual photographers showing their work, versus the emphasis (and pricing) on galleries exhibiting at the Paris Photo LA. Note: unlike Photo l.a. earlier this year, I noted that Paris Photo LA had a much higher percentage of solo exhibits.

First the back lot stages at Raleigh Studios are small than Paramont Pictures, thus it seemed both more intimate and smaller in scale overall. It also meant that for the opening night, it did not take long to get this place crammed with VIPs that were strolling across the street from Paris Photo LA. I saw a number of familiar faces, thus I think the location strategy for Photo Independent was very successful as they were trying to do their best to not step on big brothers toes.

Not sure how the Photo Independent turned out for those who participated as I have not heard from anyone this morning. Most were going to be happy to break even with their investment and appreciate the heavy crowds that resulted from their proximity of Paris Photo LA. and hopefully make some good connections.

Cheers!

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February 21, 2014

Emaho magazine

Filed under: Art Market, Books, Photography, Projects/Series — Tags: , , — Doug Stockdale @ 9:34 pm

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“American” photobook titles, copyright 2014 Douglas Stockdale.

I have been just invited by Manik Katyal, founder, editor and publisher of EMAHO magazine to be a contributor to his magazine joining he and Colin Pantall as photobook reviewers. We are still working on the details of what that means, but the short answer is that he would like to co-publish my book reviews that I post on The Photobook blog. You may also recall that Katyal featured my artist book Pine Lake on EMAHO magazine.

Katyal has also asked that I focus on American photobooks, as Pantall is located in the UK and is predominantly covering the European photobook scene. When I stated The Photobook blog in 2009, one key aspect of this project was for me to look at photobooks beyond the borders of the U.S. as I see photobooks having a intercontinental reach. So this has stirred mixed emotions, but fortunately Katyal has not asked me to be a book reviewer exclusive to American photobooks.

With the internet and social media I observe a really quick mashup of ideas and concepts being shared amongst photographers and book makers. This request to be an American specialist is an interesting one. I am in the midst of reading America Latina Photographs (1960 – 2013) recently co-published by Museo Amparo, Fondation Cartier in conjunction with Thames & Hudson. American Latina covers an extensive and diverse region, extending from Argentina and Chile north to Mexico and includes the Caribbean islands. The curators/authors devolve into question of what does the term America Latina photography signify. I think the same beguiling question encircles the idea of American photobooks. Thus expect me to be equally broad and diverse while to looking at American photobooks.

I will start by broadly defining American photobooks as those created by someone born in America, someone who has moved to and resides at least a part of their time in America and photographers who reside in places other than in America who in turn investigate the culture, landscape and society of America.

An example I have in hand is Andreas Oetker-Kast’s recently published photobook Looking for Wonderland, a German photographer who made an American road trip investigation transversing across the U.S. Likewise Andrew Phelps, an American photographer who now resides in Austria who returned his family home to investigate a region of Arizona titled Haboob. And quintessential American photographers such as the late W. Eugene Smith and his three volume opus Big Book.

My photobook reviews will not be exclusive to the American photobook, but perhaps I will become a little more keen observant as to what is being published with regard to America.

Cheers!

footnote: the photograph of the American photobook stack, above, is also an investigation into the use of my recently expanded studio space. Another work in progress, but so far, so good.

December 9, 2013

Book Fair participation

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Renee Jacobs and me (photo by Wendy Hicks) Duncan Miller gallery, Santa Monica, CA

Yesterday afternoon was a fun and interesting event being a participant at the Duncan Miller gallery Photo Art Book Fair held in Santa Monica. Actually my first time as a “exhibitor”, so thought I would share a little bit about this experience.

First, the gallery space was about the size of my living room/dining room combination, with great lighting. Although with the exhibition tables ringing the two exhibition rooms, that meant that we had to stand directly in the spot lights. That was initially a little uncomfortable,  but after removing my jacket, I was comfortable enough.

Sarah Hadley on behalf of the gallery had provided a list of things to bring and what to expect, but in retrospect, it was missing a few items. I have purposefully not made any business cards, which I was only asked twice, but not having a business card at this event was a mistake that I will shortly correct.

Take-a-ways, promotional cards, brochures, etc was not on Hadley’s list, but this is something you need to include on your check list (now mine) if you are going to participate in similar events. Lots of folks walking by and you are not going to get their card to follow up, so give them something to remember you by. There were 26 of us exhibiting, so thinking that you will be remembered a couple of months after the event is expecting too much.

This was a great experience for me to directly interact with photobook  and photography collectors as they spent time with my work. My book Ciociaria was an easy read for attendees compared to the Pine Lake artist book. Ciociaria is a contemporary and traditional published photobook which can be picked up and viewed at leisure. Pine Lake on the other hand as lots of layers and parts, not really meant for a quick read, thus not well suited for a line of attendees who are waiting their turn. Nevertheless, Pine Lake continued to receive high praises for creativity and originality as everyone who spent a little time with it remarked they had not recalled seeing anything similar. Very cool!

Since I wanted to cover a gamut of options (a range of book prices aka price points), I also brought copies of LensWork #74 in which my portfolio for In Passing was featured. And I brought one of my Foundations portfolio editions, a retrospective collection of my early black & white landscape photographs that I completed in the 1980’s.

And of course, there were a bunch of friends coming by, such as Ann Mitchell, Jim McKinnis and Sarah Lee as well as a bunch of my co-conspirators (oops; co-exhibitors) that included Renee Jacobs with her partner Wendy Hicks, Sara Jane Boyers and Kathleen Laria McLauglin.

Cheers!

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Renee Jacobs holding her recently published Paris (discreetly concealing the cover’s ta-tas) while I hold Pine Lake. By chance (yeah, after a week of planning) we had adjacent exhibition tables.

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Kathleen Laria McLauglin, author of “Color of Hay“, which I reviewed on The Photobook last year.

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Ann Mitchell, both of our portfolios were published in LensWork issue #74

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Sarah Hadley, exhibition coordinator extraordinaire, also Executive Director of Filter Festival

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March 4, 2009

Stock Photgraphy – Fine Print

Filed under: Art Market, Photography — Doug Stockdale @ 4:32 pm

Postcard of Bavaria

Okay, this is part two following on from yesterday’s article about the potential for shooting Stock Photography, which is one more post than I planned, but I am on a roll. As Gordon had reminded me off-line, beware of the fine print with a potential stock agency.

And the fine print includes, who takes on the copyright of your photography, do you keep it or do they get to “assign” it? (hint: you want to keep the copyright, unless they offer you a ton of money). There are all kinds of financial and legal aspects that you should keep in mind and read at least once before you sign up.

Also, make sure you understand the photographic technical requirments for you images.  As an example, hereare the digital photography requirements at alamy.com Thus, the Bavarian castle picture above is nicely composed, it does not meet the technical requirements for a submission. I was leading a small group from my day-job on a sight-seeing week-end day and was only carrying my Canon G-2 for “snap” shots. The G-2 is a 4 Megapixel compact. Alamy needs Pro-level camera platforms with a minimum of 6 Mp. Now a difference of 2Mp may not seem like much, but when you compare the sensor sizes, lens quality & resolution, pixel density (12 bit RAW vs 14 bit) and the list goes on, I have a very nice memento, not a stock photograph.

So there are some minimum equipment requirements for Stock that you need to be aware of. Even my Canon XTi at 10.2 Mp shooting RAW at 12 bits is very borderline, although I use the top end Canon L lens. I do not have any image capture issues when I use my Hasselblad and 120 film, but it does take an investment in time to spot those digital files after I scan the negative or transparency.

So read carefully, but if you think that this might be an opportunity, jump in. Just as I might.

Best regards, Doug

February 27, 2009

Shamelessly Self-promoting myself

Filed under: Art Market, Photography — Tags: , — Doug Stockdale @ 9:06 pm

One of the things you are suppose to do, if you want to be noticed and eventually sell a print or book or get a gallery representation, is to promote yourself. And in a round about way, I have been. And then again, I have not been really diligent in this area. sigh

As I read other blogs & web-sites by photographers and painters, I realize that I could do a little bit more shameless self-promo stuff. Such as keeping an update on the side bar where I am providing a workshop, I’m in an exhibition or keep track of when someone has something nice to say about me. Okay, only when something nice  is said, eh, so we will try to ignore the occasional flaming.

So I have added some new sidebars to this blog  to help take care of that. And so on my to-do list is to add these same items to my information page to my web site. I have a couple of these items on my web site, but not all of them.

Best regards, Doug

January 7, 2009

Friday at photo l.a.

Filed under: Art Market, Books, Photography — Tags: — Doug Stockdale @ 8:52 pm

At the moment, I am making plans for a day in Santa Monica and at photo l.a.  Laura Russell and I are meeting for morning coffee to put finishing touches on the workshop at her gallery in March.

Then I want to head over to Bergamont Station in Santa Monica for the rest of the morning to do some gallery walking and potentially collect some material and information to write a gallery exhibition reivew. And the momentum is building for the collaborative blog Photo Exhibit. We have someone covering London, Tokyo, SF, San Diego, Denver, Austin/Centeral Texas and now a reviewer pending for the Netherlands. Very nice.

Then over to photo l.a. for the rest of the afternoon and into the evening. It will be a busy day, as I have a couple of books to read and prepare my reviews on site, as the Bruce Davison limited edition book by Verso Limited Editions is $12,500, so no review copies available for that one! And there are a bunch of folks that I have been in email contact that I now hope to put a face with the name.

I had really hoped to attend this local event last year, but as some of you might recall, I had a paying gig in Shanghia, so you just gotta follow the money trail, eh? And the personal photographic series that I had a chance to develop in China is pretty impressive (well, at least to me).

Anyhow, it will be a full day and hopefully I will see some of you there as I walk about. So give a shout if you spot me, eh?

Best regards, Doug

Okay, what to look for; blue jeans, tennies, Hawiian shirt, glasses, grayish hair & looking cool.

Update: Photo l.a. was photographic exhibitions on overload! What a great time. I met with Laura in the morning and did some brainstorming on why certain things occured in the second edition of the Sharpening book, such as some wierd typographic things. Overall, she really liked the use of the Blurb ICC color management when we compared images in the book to the actual print.

Then I did a quick tour of Bergamont Station and saw the tail end of the Michael Kenna exhibit at the Craig Krull Gallery, the ongoing Lilian Bassman at the Peter Fetterman Gallery, the pre-opening of John Divola’s Dark Star exhibition at the Gallery Luisotti Gallery  (leverging my writing for Photo Exhibit) and then helping with the unwraping of the Malone Mills photographs for her Orb exhibit at Frank Pictures (also leveraging my writing for Photo Exhibit). So I have some exhibition reviews to write and publish on Photo Exhibit.

Then over to photo l.a. for at noon for the rest of the day. I ran into a bunch of friends from the Photo Exchange and we had a wonderful & teasing lunch together, but I ended up walking most of the show with my buddy Paul Mounce. Who seemed to be very patient (and wondered off to continue looking at photographs) when I stopped to review a book or interview a photographer for The Photo Book. Photo l.a. is a teaser show, with most galleries bringing and exhibiting only a couple of photographs for most photographers they represent. So a lot of photographs, but limited in number.

The rumor was that certain galleries were laying claim to specific photographers and letting other galleries that also represented the same photogrpher know that they were going to be the only ones who should exhibit that photographer at the show. Interesting back room stuff that I just did not want to get into.

Overall, a great experience, but the take away was that with some exceptions, most of the photographs that were exhibited were the classics, not a lot of which were pushing the contemporary edge, such as Chris McGaw at the Duncan Miller Gallery booth.

Most interesting experience for me was to meet,  interview and discuss the exhibited photographs with the Russian photographer Alexey Titarenko. His metaphoric photographs utilize longer exposures of people and places to provide a sense of time and experience. A shared concept and one that I have connection with, but a process that Alexey has been consitently using since 1992. I will be expounding more on this later this month when I review his book Alexey Titarenko: Photographs, published by Nailya Alexander Gallery, on The Photo Book.

Best regards, Doug

October 31, 2008

UnCritical Mass acceptance

Filed under: Art Market, Photography, Projects/Series — Doug Stockdale @ 5:37 pm

Urban Redevelopment #10, 2008, copyright of Douglas Stockdale

Well from the ashes of defeat, a really nice post-submission group exhibit.

I was “juried In” to the group exhibit, UnCritical Mass, by Liz Kuball, who also had an UnCritical Mass submission. And from a review of those of us that did not get pass the first cut, the judging must have been a really tough assignment, because just look at the awesome work by those who did not make it. You know what, I am equally honored to be in Liz’s group exhibit.

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August 5, 2008

My blog intent – still evolving

Filed under: Art Market, Photography — Doug Stockdale @ 10:15 pm

I wrote the following as an updated note to an earlier entry, but it probably needs a seperate published manisfesto:

I have been trying to reconcile the writing I do for this blog versus The Photo Exchange, were I am the current Managing Editor, so for this subject (The Business of Fine Art Phtograph) and similar topics regarding the business of (Fine Art) photography, I will be posting those on The Photo Exchange. Thus, this journal will be more about my development of my photographic projects, series, singular images, photographs and the like.

Unless I have some technical glitch I want to crab about or want to extrol the benefits of some equipment, I defer to the ton of other blogs who think that this is more important than I do.

I realize that this declariation will probably reduce my readership to a mere pitance, but in am writing  to fete my thoughts and feelings about the work I do, so be it.

But I will probably change my mind about this again tomorrow;- )

Best regarsds, Doug

August 1, 2008

Limited Editions – Current Reality

Filed under: Art Market, Photography — Doug Stockdale @ 7:23 pm

I continue to contemplate the use of Limited Editions for my photographs after my lengthly discussion with Hal Gould while in Denver last week. There really is a lengthly list of pros and cons on this issue, but I guess it does come down to individual philosphy and creative intent.

In reality, there is no limit to the amount of photographic prints that can be made from a negative or electronic file, especially if you allow others to make your prints for you. If you complete your own printing, it is limited to your own life span, eh?

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May 13, 2008

Photolucida – Photo Reviews

Filed under: Art Market, Photography — Doug Stockdale @ 8:20 pm

I recently received an update from Photolucida (Portland, OR) that they are hosting a Nortwest Summer Portfolio Review. My article about the phtoto review that I participated at in Palms Springs received a lot of attention, thus I want to provide another opportunity, but regretfully it is already sold out! Bummer and I was giving this some intense consideration.

They accepted only 80 photograhers for the reviews, which will take place over two days, July 25 and 26 in Portland, OR at the Blue Sky Gallery. Of note, on their web site they do have a PDF regarding their How-to Guidebook for a Photo review, worth reading.

Also while gettng caught up on my reading back-log, I came across an article about Karen Irvine, the Curator of the Museum of Contemporary Photography (Columbia College, Chicago, IL) (aka MoCP) and she made the following comment as being a portfolio reviewer:

Well, successful in terms of it a productive exchange and twenty mintues well spent I thingk would mean that either the photographer or myself, or ideally both of us, walk away having learned something. Of course the obvious answer from my side would be to day that success means finding an artist I would like to work with. But to be honest, it rarely happens. Not to be too vague or trite, but to discuss art ina limited, closed context is often a learning experience. There have been times when the art is absolutely not interested in, but the artist is smart or insightful and we have had a good discussion.

Best regards, Doug

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