Resource: Photo Contests and Grants Calendar

(updated December 2019)

Did you know that an editor can help you home in on the right images for contests and grants?

An objective, outside opinion and fresh look at work can help you craft a contest or grant entry that connects with the judges.

I've created contest edits for numerous photographers who went on to win World Press Photo, POYi, Communication Arts, and PDN Photo Annual awards.

Contests... Some are great. Some feel like they only exist to rob photographers of their precious income. Before you enter, carefully consider if it's worth your money. Stick with contests that have, in the past, recognized photographers whose work you admire.

Remember, the primary (commercial) benefit of entering a contest is getting your work in front of industry bigwigs who otherwise might not have seen it. You don't even have to win to enjoy that benefit, although, winning is preferred.

Here's a general timetable of contest deadlines throughout the year. Things change so make sure you go straight to the source for definitive info on deadlines, entry fees and eligibility.

Know of others? Connect on facebook, twitter, LinkedIn, or Instagram and let me know.

January

Andrei Stenin International Photo Contest
American Illustration-American Photography
Aperture Portfolio Prize (entries accepted December through early February)
Art Directors Club Photo Contest
Days Japan
Hillman Prize for Photojournalism
Inge Morath Prize - Recognizing outstanding female photographer under age 30
New York Foundation for the Arts (NYFA)
NPPA Best of Photojournalism
Pictures of the Year International (POYi)
Pulitzer Prizes
Sony World Photography Awards
The Syngenta Photography Award
World Press Photo Contest

February

Dorothea Lange–Paul Taylor Documentary Prize (entries accepted February through May)
Foam Magazine Talent Call
CENTER awards (The Choice Awards, Project Competition, & Project Launch)

March

Big Picture Natural World Photography Competition
Leica Oskar Barnack Award
Communication Arts Magazine
Spider Awards B&W Photo

April

Imagely Fund
Px3 Photography Competition

May

Burn Magazine Emerging Photographer Grant
Canon Female Photojournalist Award
W. Eugene Smith Fund (entries accepted January through May)
Getty Images Grants
Howard Chapnick Grant
ICRC Humanitarian Visa d'Or
POYi Emerging Vision Grant

June

CDS/Honickman First Book Prize in Photography - Biennial book prize
PDN Photo Annual
Visa pour l'image - Visa d'Or award and Pierre and Alexandra Boulat Association Grant
The Bayeux-Calvados Award for war correspondents

July

Ian Parry scholarship
Taylor Wessing Photographic Portrait Prize
New Orleans Photo Alliance

August

Critical Mass by Photolucida
Moran Contemporary Photo Award - Portrait and documentary prizes (up to $150,000) for Australian photographers

September

Alexia Foundation
ASMP/NY Annual Photo Contest
BJP International Photography Award
Graphis Photography Annual
The Julia Margaret Cameron Award for Female Photographers
FotoEvidence Book Award

October

Hasselblad Masters Awards
Atlanta Photojournalism Seminar Contest

November & December

Aftermath Project
Feature Shoot Emerging Photography Awards
Louis Roederer Discovery Award
Magenta Flash Forward
Marilyn Stafford FotoReportage Award
International Color Awards

Documentary Photography Grants

Please note that grant availability and application criteria may change over time, so it's always a good idea to check the respective organizations' websites for the most up-to-date information.

1. Magnum Foundation Emergency Fund: Supports independent documentary photographers who are covering critical issues around the world.
   https://www.magnumfoundation.org/emergency-fund

2. Getty Images Grants for Editorial Photography: Provides financial support to photographers working on compelling social, political, and cultural stories.
   https://wherewestand.gettyimages.com/grants

3. W. Eugene Smith Memorial Fund: Awards annual grants to photographers working on humanistic documentary projects.
   https://smithfund.org/

4. The Aftermath Project: Offers grants to photographers exploring the aftermath of conflict and promotes constructive storytelling.
   https://www.theaftermathproject.org/

5. Women Photograph Grants: Aims to support the work of women, non-binary, and gender non-conforming photographers worldwide.
   https://www.womenphotograph.com/grants

6. Alexia Foundation Grants: Supports photographers and visual journalists addressing social justice and humanitarian issues.
   https://www.alexiafoundation.org/

7. Open Society Foundations Documentary Photography Project: Funds photographers documenting social issues and human rights.
   https://www.opensocietyfoundations.org/grants/documentary-photography-project

8. Pulitzer Center Grants: Provides funding for journalism projects, including documentary photography, with a focus on underreported issues.
   https://pulitzercenter.org/grants

9. International Women's Media Foundation (IWMF): Offers reporting grants for female and gender non-conforming journalists, including photographers.
   https://www.iwmf.org/programs/reporting-grants-for-women/

10. CatchLight Fellowship: Supports visual storytelling that drives social change and amplifies underrepresented voices.
    https://www.catchlight.io/fellowship

11. The Documentary Project Fund: Grants for photographers and filmmakers working on projects that shed light on social, political, and environmental issues.
    https://www.documentaryprojectfund.org/

12. World Press Photo Foundation: Offers grants, fellowships, and other programs to support visual journalism and storytelling.
    https://www.worldpressphoto.org/activities/grants-programme

13. The FENCE Grant: Provides financial support and exhibition opportunities for photographers participating in The FENCE, an outdoor photography exhibition.
    https://fence.photoville.com/

14. The Ian Parry Scholarship: Aims to support young documentary photographers and offers mentorship, equipment, and cash prizes.
    https://www.ianparry.org/

Remember to visit each organization's website for specific details on application deadlines, eligibility criteria, and grant amounts.

Here are some grants specifically tailored for Indigenous photographers:

1. Native American Journalists Association (NAJA) - National Native Media Awards: NAJA provides grants to Indigenous photographers and journalists for their work in covering Native American communities. Website: https://najanewsroom.com/programs/awards/

2. IllumiNative - Native Storytelling Fellowship: Offers financial support to Native American and Alaska Native artists, including photographers, to create and share authentic narratives. Website: https://www.illuminatives.org/native-storytelling-fellowship

3. Indigenous Screen Office (ISO) - Mentorship Program: ISO provides grants and mentorship opportunities for Indigenous photographers and filmmakers working on storytelling projects. Website: https://www.screenoffice.ca/

4. N7 Fund - Nike: N7 Fund supports Native American and Aboriginal communities through grants for various artistic and sporting endeavors, including photography projects. Website: https://www.nike.com/n7

5. First Peoples Fund - Cultural Capital Program: Offers grants to Indigenous artists, including photographers, to support the continuation and revitalization of traditional art forms. Website: https://www.firstpeoplesfund.org/grants/cultural-capital

6. National Geographic Society - Indigenous Storytelling Grants: Provides grants to Indigenous storytellers, including photographers, to document and share stories from Indigenous communities worldwide. Website: https://www.nationalgeographic.org/funding-opportunities/grants/what-we-fund/indigenous-storytelling/

7. The Native Arts and Cultures Foundation - Artist Fellowship: Offers fellowships to Native American, Alaska Native, and Native Hawaiian artists, including photographers, to support their artistic development and projects. Website: https://www.nativeartsandcultures.org/grants-fellowships/artist-fellowship

8. Ford Foundation - Indigenous Art and Culture Initiative: Supports Indigenous artists and cultural practitioners, including photographers, through grants that foster the revitalization and celebration of Indigenous cultures. Website: https://www.fordfoundation.org/work/our-grants/indigenous-art-and-culture-initiative/

Seven Ways to be a LinkedIn Power User

(Originally published December 2019, updated January 2021)

I’m a big fan of LinkedIn.

Unlike contacts database subscriptions that you pay for, you can be reasonably assured that the information you see is correct. After all, it’s the individuals themselves who are updating the info, not a third party.

I also love that it’s a relatively politics-free social media space, where people unabashedly share their work achievements.

I’ve been posting on LinkedIn and leveraging it as a marketing tool for a few years, for both myself and individual photographers I work with, and have learned a lot along the way. Here are some of my top tips for getting the most out of it.

1. Take advantage of the new “Featured” feature.
   After years of begging, LinkedIn has answered! You can now highlight work, with large thumbnails. Feature images, recent posts, web links, and more.
   

2. Beef up your profile by adding images and videos.
   We’re visual people, working in a visual industry. Your LinkedIn profile should reflect that. You can add portfolio pieces to a specific experience block by clicking the edit icon, then uploading images or PDFs. To add websites or videos, click “link” and insert the URL you want to point to.
   
   You can also upload a banner photo to your profile page. Ideal dimensions are 1584x396.
   

3. Create long-form articles.
   LinkedIn’s built in publishing tool allows you post articles with larger photos and videos than you can in the experience blocks. You can create behind the scenes posts with photos from a recent shoot, a recap of a recent trip you took, a year-end wrap up of your favorite projects. Navigate to https://www.linkedin.com/post/new/ to get started.
   
   Once you have created articles, they will appear in your profile and add some nice visual interest to your page. That said, in my experience they have lower engagement than newsfeed posts. Which brings us to my next tip…
   

4. Share interesting news and updates in your feed as quick posts.
   Navigate to https://www.linkedin.com/feed/, then create a post as you would on facebook or twitter. I often share industry news and trends, because I love keeping up with that stuff and sharing it with others. I also occasionally post my own recent work to my feed.
   
   Another benefit of posting to your feed is that it is another way to add visual interest to your profile page.
   

5. Follow potential clients
   It can be weird and creepy to send a connection request to people you don’t know. Instead, I prefer to follow people (and companies). This way, interesting work they post automatically appears in your news feed, where you can like and comment. It’s a great way to stay up-to-date on what people are working on. When it comes time to approach them to show your work or pitch an idea, you’ll be in a much more knowledgeable position.
   
   To follow a company, do a search for them and then click follow. To follow a person, navigate to their profile page, click “more”, and then “follow”.
   

6. Research potential leads
   Sometimes, you know what brands, firms, or publications you want to work with, but aren’t sure who the right people to follow are. I use LinkedIn’s powerful search tool to help with this.
   
   Say you want to show your portfolio to Amazing Local Ad Agency, Inc, but you don’t know who would be the best fit. Head to the keyword search box at the top of the page and enter the company name. This will bring up their main page (where you can follow them, see #4).
   
   - Click on “See all 300 employees on LinkedIn”
   - Filter those results by location, if relevant
   - Add a relevant keyword in the “Title” box, such as photo, art, creative, marketing, or producer.
   
   This will bring up a refined list of people who may be a good fit for you, and from there, you can follow them or send them a promo in the mail. Again, I would NOT suggest sending a connection request at this point unless you have had some previous interaction.
   

7. Don’t be shy about asking colleagues and clients for recommendations
   It can feel a little awkward asking someone to write a glowing recommendation for you, but they are powerful ways of showing the world that you are great at what you do. When you complete a project, make sure you are connected to those involved in the production on LinkedIn, and ask those you worked most closely with to share a short recommendation. These will appear on your profile page.

A note about Premium LinkedIn accounts and InMail

If you are considering upgrading your account to premium, there are some benefits that I like, such as being able to see who is viewing your profile, and how many searches your profile appeared in. Also, if you are doing a lot of market research and searching for specific job titles or people, eventually, LinkedIn will force you to upgrade to premium before showing any more search results. If I have a lot of research I want to do, I’ll upgrade for a month and then downgrade when I’m done.

I’m not a huge fan of InMail because, just like unsolicited mail in your regular inbox, it can be annoying to be on the receiving end. I very judiciously use InMail if I have something specific, relevant, and timely to contact someone about and I feel very confident that my email will not be a nuisance.

Join me over on LinkedIn!

View fullsize

Use the Feature area to highlight recent work with oversized thumbnails

View fullsize

Examples of work can be added to an experience block. Images can be uploaded and links to videos can be embedded.

View fullsize

Long form articles and short posts appear in your profile under Articles & Activity.

To follow a contact (instead of sending them a connection request out of nowhere), navigate to the More… button on their profile page.

View fullsize

To find potential leads, use the search tool and filter by location, job title, etc.

Women in Visual Journalism - Staying Productive and Positive During COVID

I had the pleasure of speaking at the Women in Visual Journalism virtual conference. My co-host, Alicia Calzada, and I talked about things you can be doing during Covid to continue to move your career forward. We talked about updating websites, registering your copyright, social media, and more. Thanks to those who were on the zoom!

Photo Therapy Worksheet

This worksheet is to help you reflect on your photography business, including its strengths, weaknesses, and goals.

I use this worksheet with every new photographer I collaborate with as a way of identifying target markets, dream clients, and gaps in the work. This is especially helpful before embarking on a website update, print portfolio, or any marketing efforts.

I find it helpful to update this information on a yearly basis. It's good to reassess things, as well as to have an archive of goals. It's interesting to look back years later and see how your goals have changed.

If you have any questions, or are interested in 1-on-1 coaching help, please contact me!

Editorial Workshop

I'm so excited to be teaching this editorial workshop, along with the amazing Leslie Baldwin!

This is an updated version of a popular workshop I taught in Dallas, and will be a great experience for any photographer (aspiring or professional) who is looking to deepen their approach to destination and travel storytelling.

You’ll shoot and edit for two days in a welcoming, constructive group environment. We'll be taking full advantage of many of the wonderful things Austin has to offer, with a shot list comprised of restaurants, shops, and activities around town.

REGISTRATION IS OPEN --> http://www.ilovetexasphoto.com/shop/editorial-workshop/

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You will leave this class with:

✅ First-hand knowledge of what an editorial photo editor is looking for in feature story photography

✅ Strategies for handling a feature story assignment, from logistics to building a rapport with subjects

✅ A concise edit of new images that you can add to your own portfolio, build a promo out of or share on your social media accounts

✅ Real-world examples of marketing efforts that get the attention of magazine editors and art buyers

✅ An annual marketing checklist, with suggestions for when to do social, email and print promotions

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Class size is limited to 12 to ensure maximum awesomeness and opportunities for high fives!

Diversity in Photography - Resources

Originally published September 2016. Updated June 2020.

As discussions around representation, diversity, and equality in media become more frequent, new resources are available to help creatives find, hire and publish photography by marginalized communities of artists and storytellers.

This list features organizations dedicated to increasing the presence of underrepresented groups in the media. Please contact me if you have corrections or suggestions for additional links.

Creative Directories & Agencies

Authority Collective
"The Authority Collective is a group of womxn, femmes, trans, non-binary and gender non-conforming people of color reclaiming their authority in the photography, film and VR/AR industries.”

Diversify Photo
Another fantastic database of artists around the world. “Diversify was born out of a recognition that calling for more diversity in the photo industry is not enough. To diversify photo, we need to equip Art Buyers, Creative Directors, and Photo Directors with resources to discover photographers of color available for assignments and commissions.”

Firecracker
Firecracker was established in 2011 by Fiona Rogers to promote women working in photography, through a variety of online features, networking opportunities and public events. Now in its 10th year, Firecracker continues to champion the work of female, female identifying and non binary photographers internationally through its online platform, annual grant, social media channels and event program. Rogers was previously Chief Operating Officer of Magnum Photos.

Hire Black Female Creatives
A list of Black female photographers, graphic designers, art directors, hair/makeup, and other creatives available for projects.

Women Photograph
Excellent resource for finding female-identifying and non-binary photographers around the world. Founded by Daniella Zalcman.

African Photojournalism Database
African Photojournalism Database is a directory of emerging and professional African news photographers, photojournalists and documentary photographers reporting on cultural, economic, environmental, political and social issues on the continent, as well as sports, nature, and stories of everyday life. There are over 400 photographers currently listed on the database, including over 180 professional photographers.

GirlGaze
"Girlgaze, initially created as an Instagram hashtag highlighting the female perspective, is an online jobs marketplace and creative agency that connects companies and brands with a global community of diverse and inclusive female-identifying creatives to generate award winning content.”

Women in Photography
Women in Photography is a platform for any female Photographer or photo interest. The aim is to give female artists a platform to show their work, inspire and encourage on their journey as a photographer.

Rueda Photos
A collective focusing on “themes with social context, referring to the territory, the gender issues and the current affairs that are specific to it”.

F Collective
"An initiative that asks brands + their agencies to pledge to present a female photographer option on each job, with a goal of increasing gender diversity in advertising photography.”

Free the Bid
FREE THE BID is a 501c3 non-profit initiative advocating on behalf of women directors for equal opportunities to bid on commercial jobs in the global advertising industry.

We, Women
"Through a radical transformation of image-making—with the goal of contributing to lasting change—We, Women believes we can revolutionize how we see our world and ultimately, ourselves.” Offers grants and other opportunities.

Natives Photograph
"Natives Photograph is a space to elevate the work of Indigenous visual journalists and bring balance to the way we tell stories about Indigenous people and spaces. Our mission is to support the media industry in hiring more Indigenous photographers to tell the stories of their communities and to reflect on how we tell these stories. “

Native
"We connect emerging journalists, documentary makers and visual storytellers from underrepresented regions and communities with major publications and introduce them to a global audience."

Majority World
Massive list of photographers from Asia, Africa, Latin America and the Middle East. Hard to search by destination, suggest contacting with specific needs. “We specialise in sourcing high quality images from these diverse continents, which provide unique insights into local cultures, environments and development issues.”

The Luupe
"A community of women photographers creating custom content for leading brands. We believe authenticity in advertising shouldn’t be hard to achieve. So we’re making it easier and more affordable to get a steady stream of stunning, diverse content - created specifically for you.”

Women Who Draw
Illustration is not my main area of focus, but as a photo editor, I am sometimes asked to make illustrator recommendations. I love this database for the filtering capabilities (location, race, illustration style, etc).

Stock photo archives

CreateHER Stock
“A grassroots resource and digital space for stock imagery that can be used for lifestyle, business, and everyday content creation for bloggers, creatives, and online influencers.”

Nappy
“Beautiful photos of Black and Brown people, for free. For commercial and personal use.” Similar model to Unsplash, which I’m not really a fan of because I don’t believe you can make a living off exposure. But if you are using free sources like Unsplash, Nappy fills a void that is needed in the industry.

Gender Spectrum Collection
"The Gender Spectrum Collection is a stock photo library featuring images of trans and non-binary models that go beyond the clichés. This collection aims to help media better represent members of these communities as people not necessarily defined by their gender identities—people with careers, relationships, talents, passions, and home lives.”

TONL
“Culturally diverse stock photos that represent the true world we live in. Creating an inclusive culture takes both commitment and action. A diverse mix of voices leads to better discussions for everyone.” Founded by Joshua Kissi.

Offset
Not specifically a stock archive showcasing the work of underrepresented communities, however, they do make an effort to feature more diverse and representational photography.

Production Resources

3% Movement

New Pandemics
Casting and management agency dedicated to increasing LGBTQ+ visibility.

Portfolio Review Dos and Don'ts

Are you thinking of attending a portfolio review but aren’t sure what to expect? Many photographers have questions, even if they’ve done reviews before. Do reviewers expect to see gallery-quality prints? Can you bring an iPad? Should you have a leave behind? How do you decide what to show?

Having participated in many formal portfolio review events over the years, I’ve seen a lot of the same missteps and successes. Here’s a handy guide to my top dos and don’ts.

DO

Be honest with yourself about if you are really ready to show the work. Maybe you need another year of shooting before you start showing your book to art buyers, art directors and photo editors. You only get one chance at a first impression, don't rush it if it's not the right time. Ask people who you trust for their honest opinion.

Research your reviewers and make sure that your work is relevant to what they do. You have 15-20 minutes, often with some pretty influential and powerful creatives in the industry, don't waste it. Would you roll up to a job interview without knowing anything about the company?

Have a purpose for each review and communicate that purpose to the reviewer when you sit down. Example: "I've been following your magazine for years and feel my work would fit in. Do you think I'm ready to shoot for you, and if not, what needs improvement?"  Or, "I would love get feedback on the book and recommendations for colleagues in the industry who may respond to my style of work." Or, "This is a new personal project that I'm working on, would love to know if you think it's ready to show to galleries."

Come armed with 1 or 2 specific questions that are pertinent to your reviewer's area of expertise.

Do bring the actual portfolio that you intend to show to clients. Hopefully the reviewers you meet with are also potential clients. They're not going to give you a pass because you intend, later on, to make a better book. So don't bring a hastily thrown together book and then say that you are going to change it later. The whole point of the portfolio review is to get feedback and how can someone give you good feedback if what they are looking at isn't what you really want to show?

Make sure your prints look great. This is especially important when seeing galleries.

Leave behind a well-printed leave behind. Invest in a graphic designer to help you create something that looks professional. Just because you know Photoshop doesn't mean you are a designer. If you are seeing a dream client, kick it up a notch and leave something more unique than a postcard. However, keep in mind that not everyone will want a promo. See below.

Keep notes. By the end of a long day, all the reviews can start to blend together. Make a separate page for each reviewer and mark down which images they pointed out liking, where they paused a bit longer, what questions they had about your work and specific feedback they gave you. You may also want to record audio of each meeting, if the reviewer is cool with that.

Photographers and creatives gather at the Texas Photo Roundup Portfolio Reviews in Austin, TX. Photos by David Weaver.

DON'T

Don't default to an iPad presentation. An iPad is not necessarily the best way to show still photography.  The glare in some rooms makes it very hard to see the photos, especially if your images tend to be dark. I often find myself looking at my own reflection instead of the photos.

Also, unless the iPad presentation is really slick, it can feel like not enough care was put into the portfolio. I mean, let's admit it, how hard is it to create a folder of images for someone to flip through? When I see a beautifully printed portfolio, it lends the photographer some legitimacy, makes them at least appear to have invested a lot of time and effort into their work, all which helps me take them more seriously.

Everyone spends so much time on their phones now, consuming an almost endless stream of imagery. It doesn’t feel as unique to be swipe through an iPad. Print feels special.

All that said, pay attention to your budget and don’t spend the extra money on printing if you can’t afford it.

Don't force your leave behind on the reviewer. Some people flew in for the event and may not want to tote a bunch of promos and books back. Or they may feel it's environmentally wasteful and rather not have the extra 'stuff' in their lives. Or they just may not have liked your work enough to want to take a promo. Ask if they'd like a card, but don't push it. Also don't just offer a huge and bulky leave behind. If you want to make something big, it's also nice to offer something small like a postcard.

Don't make excuses. Popular examples include: "I didn't bring my strongest work." "I didn't have time to put together much, but this should give you an idea." or "I just found out about this event."

Don't argue with constructive criticism The people looking at your work know what they are talking about. They may all have different opinions, but that is valid considering that people come from different backgrounds and that visual art is very subjective. You may not agree with someone, and that is ok, but don't tell them that they are wrong.

Want to get ready for a portfolio review? Contact me to learn how we can fine tune your portfolio, create a great promo and get the most out of the time and money you're investing.

New Orleans Photo Alliance's PhotoNOLA portfolio review session at the International House Hotel conference facility. Photo by George Long, used with permission.

Photography Portfolio Website Products

Updated Winter 2018

I’ve maintained versions of this list since 2011.

A LOT can change in a short amount of time in the world of photography portfolio websites, which made the list hard to keep current. But recently, I was inspired (angered) to freshen things up. A few days ago, I received an email from Squarespace (which I used to build this site) announcing that they were partnering with Unsplash to deliver free stock photos to Squarespace’s customers.

This really rubbed me the wrong way. Squarespace has been a preferred platform for photographers since its beginning, and now Squarespace is encouraging their clients to seek out free photography. It’s a slap in the face to the professional photo community.

So with that in mind, I wanted to dust off this list and offer some suggestions for alternatives. I’ve personally built websites for photographers using Format (my current favorite), PhotoFolio (formerly APhotoFolio), and Photoshelter and think they’re all great. Here are others that friends and colleagues have recommended:

• 22Slides - Free 14-day trial and a flat $10/mo afterwards.

• Adobe Portfolio - Adobe has joined the portfolio game with this add on to the Creative Cloud.

• Cargo Collective - Offers users free-standing websites and a wide variety of customizable templates. $99 per year or $13 per month.

• Flosites- Slick portfolio websites and cool extras like Instagram story templates

• format- One of my favorites. I’ve built quite a few sites using their platform and they look great. Easy to use interface. Basic plan for $6 per month, pro plan for $12 per month.

• Graph Paper Press - Wordpress themes for photographers. Great comparison pricing chart at http://graphpaperpress.com/pricing/. Pricing starts at $0 and goes up to $149 a year.

• Indexhibit- Honestly, I don’t really get how you use Indexhibit, but I know a lot of photographers like it so I’m including the link!

• Koken - Content management and portfolio templates

• LiveBooks - This used to be a really popular platform, and everywhere you turned, you would see one of their templates in action. They were bought by Wedding Wire a few years ago, and seem to be trying to re-boot the business.

• Pixpa - Portfolio, storefront, blog, all integrated seamlessly.

• PhotoFolio - Formerly known as APhotoFolio. Company was founded by Rob Haggart of the popular APhotoEditor blog. Nice templates. Very popular so without some customization, many sites look very similar.

• Photoshelter - Portfolio templates and advanced photo archive tools. Buyer portal allows creatives to find photographers by specialty, location, etc. Company is great about offering free advice to the photo community through downloaded white papers on topics like SEO and blogging.

• SmugMug - When I asked on Facebook for recommendations from photographers for sites they love, SmugMug came up multiple times. People commented that they like the templates, and the easy-to-use ecommerce and print fulfillment features.

• Viewbook - Gallery basic plan starts at $4.99 per month, $9.99 for a standard portfolio, and $19.99 per month for the pro plan. Portfolio app available for viewing on ipad.

• Visura - Visua offers a website portfolio platform as well as a searchable network of photographers for buyers to explore.

• Wix - I used to make fun of Wix websites. They were so dated looking, even when they first came out. But they’ve done a lot of work to modernize their templates and it shows. Lots of integration options for ecommerce.

• Zenfolio - Robust ecommerce soultions. Free 14 day trial. Basic plan starting at $25 per year. Premium for $100 per year.

Format

Photoshelter

PhotoFolio

Portfolio Reviews By Month

Portfolio Review at Texas Photo Roundup. Photo by Nick Cabrera, used with permission.

Updated October 2017

Thinking about attending a portfolio review event? Here is a list of review opportunities in the United States, organized by month.

When choosing which reviews to attend, keep in mind that some are geared more toward fine art photography and others are more commercial and editorial. Research the reviewers who will be in attendance to see if they are a good fit for the kind of work you do. Looking for tips on how to prepare for a review? Check out my Portfolio Review Do's and Don'ts

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March

FotoFest Houston: International Biennial of Photography and Photo-related Art with portfolio reviews.

MOPLA Portfolio Reviews: A juried, annual portfolio review. Fresh Look pairs photographers with top photography experts in their respective fields for an in-depth conversation that provides professional feedback and critique in a casual, relaxed environment.

Photo Alliance held at the San Francisco Art Institute, produced in cooperation with Lens Culture. 

New Orleans Photo Alliance's PhotoNOLA portfolio review session. Photo by George Long http://GeorgeLong.com (used with permission)

April

Photolucida Portfolio Review: Photographers at the mid-career level register for one-on-one meetings with the reviewers of their choice. Each review session lasts for 20 minutes and we limit the number of participants to assure that everyone receives 4 or 5 reviews per day for four days. It's a great way to network. Numerous photographers have walked away with opportunities to exhibit, publish and sell their work after attending the Portfolio Reviews.

Palm Springs Festival Portfolio Review: As part of Palm Springs Photo Festival, Over 1,000 Portfolio Reviews with industry professionals will be offered during the week. Prices start at $250 for 5 reviews.

October

NYC Fotoworks: Bi-annual portfolio review where photographers can have 1-on-1 meetings w/ industry professionals.

PhotoPlus Expo: Designed exclusively for emerging and professional photographers, this is a great opportunity to meet and present your work for critique and receive the advice of the industry's top professionals. Takes place at the Javits during Photo Plus Expo. 

Filter Festival Portfolio Reviews: Participants sign up for twenty-minute face-to-face reviews and receive candid advice about their work, as well as information on getting their photographs exhibited and published.

Atlanta Celebrates Photography Portfolio Reviews: the ACP Portfolio Review and Walk offers artists the opportunity to meet with highly respected curators, dealers, editors, and agency representatives from across the United States and beyond. The Portfolio Walk (following the review sessions) gives participating photographers the opportunity to present their work to the general public at an evening reception, open to all. On hold for 2017 with new format to come in 2018.

American Society of Media Photographers: Annual portfolio review in New York for commercial photographers that is free for members.

CENTER's Review Santa Fe: The three-day, annual event offers participants a minimum of nine portfolio reviews, inclusion in the Review Santa Fe 100 online resource, a reception at the New Mexico Museum of Art, and a reception at Photo-eye Books and Prints.

November

Medium Festival of Photography, Eye to Eye portfolio reviews: Eye to Eye portfolio reviews offer an opportunity for photographers to receive exposure and feedback about their work from influential gallery directors, curators, and industry professionals. Takes place in San Diego.

December

PhotoNOLA Portfolio Reviews: Annual event that coincides with PhotoNola. Offers twenty-minute face-to-face meetings with gallery owners, editors, publishers and museum curators from throughout the U.S.

Year-round opportunities

Portfolio Reviews at The Center for Photography at Woodstock: As a benefit of membership, CPW staff are available for in- person portfolio reviews. Intended to provide constructive feedback, portfolio reviews are a great way to receive professional advice and guidance. They also feature portfolio reviews by Skype!

American Society of Media Photographers (ASMP) and American Photographic Artists (APA) members might have local portfolio review offerings depending on your chapter. Furthermore, both ASMP and APA often provide discounts for members that attend portfolio reviews.

New Orleans Photo Alliance's PhotoNOLA portfolio review session. Photo by George Long http://GeorgeLong.com (used with permission)

Are there great portfolio review events that I am missing? Contact me and I'll add them.

Great Promo Ideas

Looking for some self-promo inspiration?

Check out my pinterest board of great photography promo ideas. From large-format newspaper promos to simple postcards, this board features examples of great design and image choices.

Have something you'd like to add? Contact me!

Other great resources include:

• Under Consideration blog
• APhotoEditor's Instagram feed features tons of well-designed promos that were mailed to founder Rob Haggart
• PDN's Promos We Kept feature
• Dwell's Promo Daily - hasn't been updated in a while but still a great source of inspiration

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Want to make a cool promo that will grab clients' attention? 

Insight on participating in contests from Tsuyoshi Ito of ONWARD Photo.

ONWARD Photo Competition 2014 is now accepting submissions. Tsuyoshi Ito, Founder and Director of the ONWARD gives six tips below on participating in photo contests. Six Tips for Finding the Best Competitions for You Now that you know how to effectively enter a photography competition, where will you test your skills? If you've begun your search, you've probably discovered that the sheer number of contests available makes it almost impossible to decide which ones to enter. The goal of this article is to help you, the photographer, cut past all of the industry buzz words and marketing efforts to identify exactly which competition is going to be the best fit for you.

I have a good deal of experience with these competitions - I host an international one annually (ONWARD Photo Competition, for a small shameless plug). And in order to help increase the information I share in this article, I consulted several pro and semi-pro photographers who have also been challenged by this issue. Given our unique experience of both hosting and participating in photography contests, we’re hoping our combined perspectives will be the missing pieces to help you “crack the code.”

So without further ado...

Tip #1: Work Toward Your Goal While this is the most basic of our six tips, it might also be considered the most important. When you come across a competition, start by taking a look at the juror(s) and finding out what "prizes" the competition offers. Do they align with your personal goals?

Having your image chosen by a famous photographer and juror may provide the nod of approval you desire, while being selected by a curator or other industry professional can result in the right contacts.

If you're solely "in it to win it," cash money and/or gifts may be enough. However, should you want to jump-start or advance your career in photography, you will want to confirm that the reward includes some kind of exposure. If so, your objective may be placement in a museum or collection versus a gallery exhibition.

Want both the prize and the ongoing recognition? Find a well-rounded contest that acknowledges various goals and offers all of the above. There truly is no right or wrong decision here. We simply recommend you choose a competition that fulfills or aligns with your personal goals as a photographer.

Tip #2: Know Their Vision

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After you take note of your own objectives in entering a competition, you should take a deeper look at the hosts to learn what their goals are. Do they provide detailed information about how the contest works, as well as what's expected of you? Or do they just request your credit card information and ask you to submit your image(s)?

If you encounter the latter, the organization is most likely in the business to make a profit—the fees they collect will go toward prizes, and whatever’s left over will go into their pockets.

You may be okay with this if your goal is to win a prize. However, if you want more out of the competition, move on and align yourself with an organization whose vision is compatible with yours. This may mean you're looking for an organization that positions itself as a year-round resource with offerings that are important to you. Again, there is no right or wrong decision here; we just want you to be sure that your time and money are being invested into the right organization for you. Tip #3: Be Aware of "Free"

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There are hundreds of competitions that will let you participate at no cost - but are they really free? The old adage, "nothing in life is free," applies to more of these zero dollar contests than you may think. Scan the fine print of these so-called “free” events, and you may find that they plan to own the rights to your image and may even sub-license them to third-party companies for their use, too! As you consider entering this contest, you'll also want to evaluate whether winning that free camera bag you'll use for a few years is worth losing the rights to your image forever.

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On the other hand, the entry fee that you balk at paying will, in many cases, pay off in the end. Those charging an entry fee typically invest that into their competitions, to finance reputable jurors, various promotions (e.g., marketing your selected images) and celebratory events (exhibitions!) — all while allowing you to maintain ownership of your work. So before you skip over a contest because they charge an entry fee, look into where that money goes, and remember how you can benefit from what is typically a small investment in the grand scheme of things.

Tip #4: Calculate the Costs Sure, the only fee written in the contest instructions is the entry fee, but have you truly understood the fine print? Exactly what else will you be responsible for? It's very important not only that you read the competition details, but also that you truly understand them as well. If you don't, you may miss a hidden message, or, even worse, a hidden cost. For example, if the competition will host a physical exhibit to showcase the selected images, will they provide the frame or expect you to frame the work yourself? Who is responsible for the shipping charges, both to and from the venue? You may notice that they will require you to supply the hardware, but not disclose the related fees in detail. Therefore, you'll need to review the information carefully so that you can determine what it is you're really going to end up spending to participate in the contest.

Tip #5: Be Truly Recognized You can usually count on a competition to post the selected images on their website. However, in today's digital world, seeing your image on a website might not be as exciting to you as seeing your image on a gallery wall, where people can experience your winning print in person. Picture your photo perched atop that bright white wall for hundreds to gaze at in awe. Even better, imagine the chance to mingle with photographic peers and industry professionals, discussing your inspiration for the image, making valuable contacts and getting invaluable advice. These networking opportunities might be otherwise difficult to come by, so you want to keep this in mind when deciding which competitions are worth your time.

Tip #6: Stay Exposed So, you've found a contest that's going to praise your work all over the Internet, but have you looked into just how long you'll be featured? Many competitions will remove all traces of your win shortly after the contest is over, in order to make room for the latest and greatest group of participants. However, it doesn't have to be that way.

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There are hosts out there who remain interested in positioning themselves as a partner and trusted source to all of their selected photographers, no matter the year. If this is important to you, it may be a better option to align yourself with a competition that will continue to showcase your photograph(s) long after you've won. In Conclusion… ...With the digital age on the rise, it means that photographs are more easy to share, which has helped lead to more competitions. Wading through the hundreds that are available to you can be a little confusing at first, but knowing what you want to get out of the competition and the - sometimes dirty - little details of the competition should help you feel infinitely more confident in the decision you make. Hopefully some of these tips have helped you get that much closer to finding your right competition - or introduced you to the world of competitions for the first time! Happy contesting!

Guardian Picture Editor on Finding and Hiring Photographers in the US

Caroline Hunter is Deputy Picture Editor of The Guardian's Weekend Magazine which features gorgeous photography. I recently spoke with Caroline about the process of finding and hiring American photographers from her vantage in the U.K. How often are you hiring U.S.-based photographers? We hire U.S. photographers every week. I work on a busy picture desk and we often feature contributors and celebrities who are based in the US. Sometimes it feels as though we commission more photography in that part of the world than anywhere else!

Are you more likely to look for someone who is located in the city you have an assignment in, or to fly someone in who has the perfect style for the story? Does that depend on if it’s a big feature or a smaller front of the book story? Yes, basically if it's a big feature or a cover shoot or a very important subject, we'll almost always use someone that we've used before. If the flights aren't too expensive or the distance too great, we'll often fly someone to a particular location - it's just safer and more reassuring to use someone whose work you know very well. If on the other hand, it's for a smaller feature or a a fairly straightforward shoot/job, we'll always prefer to use a local person. This saves massively on budgets - although the end result can be unpredictable !

Walk us through a typical shoot. You get the story from the editorial team. What comes next? If you don’t have someone in mind, where do you begin your search? What are some of your favorite resources for finding people? How much do you rely on recommendations from colleagues? A typical shoot can work in many different ways. Sometimes we'll have the written copy/feature already. This is the best way to commission as you know exactly what the story is about. Quite often though, I might not know much about the feature as it hasn't been written yet. On other occasions, I might commission a shoot that is part of a much bigger and ongoing feature - which will often change as time goes on. Sometimes it will be a celebrity shoot that will require styling, hair and make-up and location scouting.

I'll discuss the shoot with one of the commissioning editors as well as the Art Director and then will have a think about ideas and photographers. I might do some research on the internet for visual ideas as well as looking at online portfolios. If I don't have someone in mind, I might look at the Wonderful Machine website or recent editorial shoots for other magazines that I like. I'll also have a look through the sites of photographers who have contacted me recently - just to refresh my memory. I like looking at websites like Nowness, which is great for visual ideas. I don't rely too much on recommendations - sometimes it's nicer to discover fresh talent.

How can a US photographer get on the radar of an editor in Europe? Obviously they can’t network with you at parties, and planning trips to show their portfolio can be time and cost prohibitive. With all the noise online, how can they get through to you in a memorable way? I think it's quite hard. The most effective way is a meeting - but I know that this is very tricky and expensive to set up. Photo-festivals are a good way of potentially seeing/contacting many editors/agents in a short space of time - but these too can be expensive. Being located in a city where there isn't much competition and you're a 'big fish' in a small pond is quite a good way to get stand out.

Most of the photographers we use are based in NY and LA - two of the most competitive cities for creatives on the planet ! Having an interesting and consistently high standard of work will ensure your work always stands out - and a well-designed, easy to navigate website is essential. Being well-connected and getting known in certain circles is important too. I often get recommendations from other photographers and editors.

Do you have favorite blogs that you follow to stay up to date on what is happening in the US photo scene? I like looking at the NYT lens blog as well the New Yorker Photo booth, Time magazine and blogs like Flak photo and Lens Culture.

Do you make trips to photo festivals or portfolio review events to meet new photographers? I know in the past a lot of European editors went to Visa pour l’Image and Arles, but it seems like travel budgets aren’t what they used to be.  Yes, I regularly attend photo festivals. I find them really energizing. I like doing portfolio reviews as it gives me a chance to meet and spend time with new and existing photographers.

What are some of the trends that you’re seeing when it comes to the kinds of photographers that are getting assigned? Any trends in promos you receive? I get a lot of monthly newsletters (always emailed) from photographers who have just done a shoot or e-zines where they're telling me what they've been up to in the last few weeks. I think the trend for highly retouched, digitally remastered images will be with us for some time. This seems to have replaced the very natural-looking painterly style imagery that was fashionable around a decade ago.

Can you share some pet peeves when it comes to photographers courting you? For a photographer, I think that it's important to know the market that you're pitching to. If you're ringing up a photo editor, agent or art buyer - don't expect them to give you a page-by-page description of their product. You should already know which sections you'd like to contribute to and be able to ask questions and comment on recent work that was featured. It's really no point pitching a lifestyle or travel feature to a magazine that only deals with current affairs. It might sound like commonsense but you'd be amazed at how many times this happens.

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Caroline Hunter is a magazine photo editor and Deputy Picture Editor of The Guardian's Weekend Magazine. She has over fifteen years experience of commissioning and art-directing portraits, photo-journalism, celebrity shoots, still-life, interiors, beauty and conceptual photography. Previous to the Guardian, she worked for Time Out London, Emap publications and The Saturday Telegraph magazine.

 She has degrees in Fashion Journalism and English Literature from the London College of Fashion and the University of London respectively. She is a regular portfolio reviewer and judge at international photo-festivals. She lives and works in London.

Video interview with KLRU Collective

klru.org/collective Turning your love of photography into more than a hobby is not an easy task. With the rise in popularity of apps like Instagram, everyone has the ability to be a photographer, but it takes more than just having the right equipment. We’ve got some tips from Austin professionals at the Texas Photo Roundup on how to "develop" your photography. Music: "You Belong Here" by LEAGUES

KLRU Collective filmed photographer Kimberly Finkel Davis and me at the Texas Photo Roundup!

I talk about what it takes to be a working professional, and Kimberly visits AgavePrint and Cloverleaf Studio for help with her beautiful print portfolio.

Songs about Photography Playlist

Looking for some musical accompaniment to your days spent at the computer? Tune into my "Songs about Photography" playlist on Spotify. Have any suggestions to add?

Get Organized and Build a Better Portfolio Webinar with Photoshelter

Photoshelter CEO Andrew Fingerman and I talked about getting organized and building a better portfolio. Lots of actionable steps are included that you can apply right away to the presentation of your work. 

Jasmine DeFoore has over 20 years experience in the photo industry as an editorial photo editor, project manager, marketing director, artist representative, and freelance art producer. She uses this mix of experiences to help commercial photographers get the kinds of jobs they are looking for.

Podcast Interview with The Candid Frame

I was recently interviewed by Ibarionex Perello. We talk about marketing, editing, brand identity and more. As hard as it is for me to listen to my own voice, I encourage you to give it a listen. Let me know how I did. I've only managed to get through the first 45 seconds or so. http://thecandidframe.blogspot.com/2012/08/the-candid-frame-151-jasmine-defoore.html

Q&A with Garden & Gun's Maggie Brett Kennedy

Why do you think Garden & Gun is at the top of so many people’s “dream clients” lists.

That’s amazing. We’re fortunate that photography is a focus of the magazine’s design. A lot of full page images and great paper stock to ensure high quality reproduction. Our readers let us know how much they relate to the photography each issue. We’ve always been a photo friendly publication.

You have hired Peter Frank Edwards for many stories, and one of those recently won a James Beard Award. Can you describe what it is in Frank’s work that keeps you coming back? How do you two work together? Is it a collaborative process?

I’ve had the pleasure of working with Peter Frank Edwards since the very first issue of Garden & Gun (Spring 2007). He’s from the South, spent his life in the outdoors, and previously was a fisherman and sous chef. Peter Frank Edwards IS Garden & Gun! He’s covered everything from hole-in-the-wall barbecue joints to traditional foxhunting and continues to get excited by every assignment. He lives the pages of the magazine so really gets what we’re all about.

It is very much a collaborative process. There is a level of trust after working together for many years. I know he is going to find the creative angle with each assignment and bring back the unexpected. I always look forward to his tales from the road. (Read more about their collaboration in my Q&A with Peter Frank Edwards).

You use such an amazing variety of types of photographers, that it is hard to pigeonhole Garden & Gun as having a particular style. How do you describe the visual aesthetic to people?

I like to work with a mix of national photographers and Southern-based talent in each issue and try to deliver the unexpected whether it’s for the front or back of the magazine or a feature.

It’s a balance between seasoned well-known shooters and up-and-coming photographers. We always strive for images that communicate a sense of place. Images that make you want to be there, in that moment. We like lots of natural light and rarely incorporate conceptual photography.

Walk us through a “typical” day at work.

Garden & Gun has a small staff so each component of photography and the overall process is very hands on. The magazine contains a wide variety of content so each day is filled with assignments ranging from Southern food and chefs, hunting and fishing, architecture and interiors, portraiture, music, you name it.

The magazine covers a wide editorial range and incorporates a high/low mix of content. For example, a profile of actress Anna Camp or a new modern architectural project verses gritty and soulful juke joints or frogging in Louisiana. Every day is exciting and keeps me on my toes. I also like to set aside time each week to respond to inquiries, research photographer’s new work, etc.

How many print and email promotions do you receive in an average week? Have any stood out to you lately, enough to where you actually contacted the photographer?

I receive about 30 promos a week. Bryan Johnson sent me a promo that turned into an online photo essay for G&G. The content was perfect for us: http://gardenandgun.com/newsletter/spill-one-year-later.

When being promoted to, do you prefer print or email?

Both are great, so however the photographer is most comfortable showcasing their work. I’m old school and still love print. I continue to hold onto those real standout print promos. Witty design on quality paper with gorgeous photographs always excites me.

Do you have any pet peeves when it comes to the marketing materials photographers send you?

Do not send emails with large file attachments. Be familiar with the magazine’s content and visual style and send an appropriate selection of photos. I prefer a tighter, well-constructed edit rather than a large quantity of work. Websites should be easy to navigate and show me images immediately.

What are some of your favorite ways to discover new photographers?

All types of blogs (photo, galleries, designers, magazines, etc.), chatting with people in the industry, those standout promos I receive, and an occasional portfolio review.

Questions from photographers

1. Is it OK to call Photo Editors to follow up after sending a promo?

Email follow up is great and always easier than phone calls.

2. When I send an email, should it be in a email newsletter format or will a simple note saying what I've been up to suffice?

Either is fine. Be sure your work is easy to view.

3. Do you take a chance on photographers just starting out fresh out of school?

Yes.

4. What is the best way to get noticed by a photo editor and ultimately hired to shoot a job?

Develop your own style, have confidence in your work, and do your research on each publication you approach. Send quarterly updates about your projects, travels, etc. I just worked with a photographer for the first time I’ve been corresponding with for two years. Everything has to fall into place before that project can become a reality.

5. What are some of the qualities of an ideal photographer to work with?

Passionate about their work, down-to-earth, excited to tackle all kinds of challenges, professional, someone who thinks outside of the box and brings something new and fresh to the table visually.

6. Can you share some names of some photographers whose work you are inspired by?

I love to look at classic Southern icons (Jane Rule Burdine, William Christenberry, Sally Mann) as well as current shooters (Marcus Nilsson, Peggy Sirota, Andrea Fazzari, Ditte Isager, Trujillo- Paumier).

7. What is the most interesting shoot, photographically, so far?

The next one...

Peter Frank Edwards G&G Cover

photos by (clockwise from top left): Joey and Jessica Seawell, Dan Winters, David McClister and Michael Turek

Bryan_promo

Miller Mobley Spread

Maggie Kennedy is the photography director of Garden & Gun magazine. She previously worked as a creative director and producer of commercial photography in San Francisco and New York with an emphasis on food, still life, and interiors.

Q&A with Travel Photographer Peter Frank Edwards

James Beard Award-winning Oyster story by Peter Frank Edwards

Tell us about how your relationship began with Garden & Gun. Did they contact you?

Garden & Gun contacted me when they were in the planning stages for the launch of the magazine -- well before the first issue came out.   As I recall, at that time there was no real photo or art department.  They sort of "reorganized" after a couple of issues, made some staff changes. I've enjoyed a great relationship with them.

Can you describe your work process with Director of Photography Maggie Brett Kennedy? Do you collaborate on ideas? is the editing process collaborative?

Yes -- we do collaborate on ideas -- which can be anything from a quick phone call to bouncing sketches back and forth.  We talk less about composition and set-ups and more about texture, color, mood, etc.  She is interested in and respects photographers' points of view and is genuinely interested in the creative processes of each photographer she works with.  I always feel like they are hiring me (or other photographers) to "do what we do"  -- there's a lot of trust in that.  The edit is also collaborative, and she's always interested in what I think tells the story or what I'd like to see published.

What's the most challenging shoot you've done for them and why?

One of the most technically challenging shoots was an assignment covering the oil spill.  They sent me to Louisiana right as the oil was just starting to show up in the marshes.  I had a lot of ground to cover in a very short period of time, and because of the time frame there was no opportunity to get official press credentials.  I'd show up places, and even though we had called ahead and had a contact at an area or location, the National Guard or local police would not let me in.  In addition, it was about 100 degrees and 100 percent humidity, and all the camera gear was fogged up and would literally drip with condensation.  I had one little camera that seemed immune to this problem, probably because it's more plastic and less metal and glass.

What's your all time favorite story?

I worked on a piece about a North Carolina BBQ road trip with writer Sandy Lang -- we got the call on a Tuesday and we were on the road Friday.

BBQ Road Trip by Peter Frank Edwards

It was a very stream of consciousness couple of days -- we met some characters, ate tons of great food -- and it was one of those assignments where you feel like you're getting gold at every click of the shutter.

Why do you think G&G is on everyone's dream client list right now?

Both Maggie and Marshall McKinney (art director) give photographers a lot of creative freedom, and you can see that come through in the stories and the single images. They treat the work well and with respect -- they are champions of great imagery.

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A former fish monger and sous chef with a degree in anthropology, Frank was born and raised in coastal South Carolina. During college, he practiced photography at a camera shop and was soon off to Europe – and ultimately to Berlin – where he shot artist portraits and projects before returning to the American South, to live again by the ocean. In his photography, Frank mixes his passions for travel, people and food. When not on location, he splits time between his Charleston home and a cottage in Maine.