Get Exposure and Find Collectors for Your Photography Online | Jennifer Schwartz | Skillshare

Get Exposure and Find Collectors for Your Photography Online

Jennifer Schwartz

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6 Lessons (18m)
    • 1. Trailer for 10-Course Series: Crusade For Your Art

      1:09
    • 2. Course 8: Intro

      0:33
    • 3. Online Blogs and Publications

      6:05
    • 4. Online Competitions

      4:53
    • 5. Should You Sell Your Work Online?

      3:58
    • 6. Description of Class Project

      1:19

About This Class

In this course, you will learn about the different exposure opportunities available to photographers online. Three specific online competitions are highlighted, as well as a number of online publications and how to approach them. We also discuss the pros and cons to selling your work online, both directly on your website and through a third-party seller.

This class is perfect for photographers at any level who are interested in learning about online exposure and sales opportunities. For your class project, you select 10 images to create a sample submission for an online competition.

Jennifer Schwartz's 10-part series on best practices for fine art photographers gives you the tools to take your fine art photography career by the reins and thoughtfully and purposefully develop a plan to get you where you want to go.  Learn how to tighten your work, develop your brand, identify goals and a plan for your photography, and strategically launch your project. Check out all the courses here.

Transcripts

1. Trailer for 10-Course Series: Crusade For Your Art: Hi. I'm Jennifer Schwartz on the creator and executive director of Crusade for Art, a nonprofit organization with the mission to educate, inspire and empower photographers to connect new audiences. Start I owned a commercial fine art photography gallery in Atlanta for five years, and I'm working with the photographers both with the gallery and with a nonprofit realize there is really a lack of information out there about how to navigate the fine art photography world. And it can seem pretty intimidating. Trying to figure out how to approach a gallery, how people get their books published. How museum collections acquire where So I wrote this book called Her Savory Our best practices for fine art Photographers. And this 10 core skill share series is gonna roughly follow the form out of the book. And it will talk about basically the ace ese to navigating the fine art photography world. How to edit in sequence your work, how to write an artist statement, how to cement work to a gallery, how to prepare for a portfolio review, how the price, your work, really everything. So I hope that you will join me and have fun and appreciate for your art. Thanks 2. Course 8: Intro: and this course, we're gonna build on the theme of exposure opportunities for your photography, and we're gonna talk about how you can get exposure and sales from showing your photographs online. This goes beyond just showing your work on your own website, but how to get work on different photography publications Online photo Blog's with the benefits of submitting to the photo competitions are especially once that live online and also whether or not you should sell your own work online and different ways to go about doing that. 3. Online Blogs and Publications: previous courses in the Siri's. We talked about more traditional exposure opportunities for photography, so we discussed exhibitions at length, and we discussed publications. When we talked about exhibitions, we talked about different venues that you could show your work in a gallery, Um, that you could have your work in a single exhibition for a gallery, or you could have ah, more extensive relationship where the gallery would represent you and show your work more regularly. We talked about different group shows and juried competitions that you might enter Teoh. Start getting your work out there and on gallery walls and also some alternate venues that might make sense for the type of work you make. In the last course. We went into a lot of detail about publishing the different ways you can get your work in print in a book format. So whether you go from doing a small addition, handmade artist book to self publishing a monograph to going through a traditional publisher to get a large run on distributed version of your book out there, one area that a lot of people overlook is showing the work online. When you think about the number of people that will walk into a gallery space or exhibition space and see your work hanging on the walls versus the number of people who will look at your work. If you show it on an online publication like a photo magazine or blawg, it's exponentially more that would most likely see your work online. And it doesn't cost you anything in most cases. So getting curated into a photography magazine online or an exhibition online or being featured in a photo blawg is a great way to get a lot of people to look at it. Um, it's also people that are specifically seeking out work because they're regular readers or viewers of that particular log. Um, in an exhibition. A lot of times there's always gonna be cost to produce the work and ship and frame your pieces. And that's just something that doesn't exist online. Online venues, Air also a really great resource for people whose work is not a scale gallery salable so a little bit and we're challenging work. Um, where where a traditional gallery probably wouldn think that they could sell the work and therefore it would it make a lot of sense for them financially. To do an exhibition of it online is a great place to get that work out there and especially get in front of people who were interested in the specific topic that you're photographing . So if showing your work online is something that you're interested in and you might be not thinking, where do I start? Where are all of these photo blocks and publications and online magazine? There are a ton, and there are more and more coming out every day. So when you are going out there and approaching these different places, you want to look at their submission policy online, and you want to maybe have a curator friend introduce you. If you think if they think you're work might be a great fit for a particular magazine, a lot of them have different themes, different type of work that they'd like to show, and some are more selective or a lot or more selective than others. So the best thing to do is to start and create a list of all the potential, uh, photo blog's or magazines that you think you would like your work to be shown in some magazines like CNN photos. Time LIGHTBOX The New York Times Lens Blawg They often pay for their features, which is wonderful and not typical of any other online venues. But they also don't want they want to be the first ones to show your work. They don't want your work to have been all over the Internet. First, it's fine to have your work published on your website. Beyond that, they're not gonna be interested in publishing your work if it's already been published in a lot of different places. So if they're on your list, they might be the people that you want to approach bursts. And if they aren't interested, then you can go to maybe your next year of of online venues. Teoh approach them. Um, then this list Here, you see a Fraction magazine Fraction shows four photographers each month. Um, feature shoot has a huge audience. They show a lot more work. They typically feature a different photographer, a different body of work each day, or at least several times a week. Um, behold is the photo block for Slate magazine online. They have a lot of prestige. Also, a lot of photographers that they're showing lens sqrat shows a different photographer each day, a big audience, a big photographer audience. So you want to consider a lot of different variables. Who are you wanting to get the work in front of? Is it a general audience where a news outlets like CNN or time might be the right, um, the right fit where you're really trying to get it outside of just a photo community? But to the general public, especially if it's a topic that you think is, um, it's timely. They do show fine art, but they typically try to time it around a current event that is related in some way. Um, are you trying? Teoh brought in your exposure among the photography community? Are you trying Teoh Get your work in front of photography collectors? That might have a completely They might read a completely different photo publication than then Ah, regular photographer would. So these are all these factors that you want to consider when you're creating your wish list of online venues and when you start ranking them so that you can figure out which ones to approach first and then go down the list from there 4. Online Competitions: in addition to online magazines that you might submit to, there are a lot of online photography competitions, which have some really great benefits. I'm going to specifically highlight three different online opportunities where you can enter competitions online and, ah, winners get exposure there. One is actually a print magazine photo district news. They do a ton of competitions, though, and typically the winners get shown in the magazine. They also get extended features online. So here you can see that their upcoming contests has to do with food. They have another one in the works about travel. And then when you scroll down here, you can see the winner galleries from competitions for the past several different issues of the magazine, which comes out monthly. So this is a chance Teoh to get highlighted both in print and online. Another big competition that happens annually for photographers for Fine art photographers is called critical Mass and Critical. Mass is a program that is run by a photo Lucida, which is a photography organization in Portland, Oregon, and every year they have this competition where you can submit 10 images and a statement about the work, and they have hundreds of curate Er's and different put photo professionals from around the world that jury the competition. So as opposed to submitting to a competition where there's one juror who sees your work. In this case, there are hundreds and so just even entering, if you can make the top 200. So there's a pre screening jury panel that selects it down to 200 submissions, and then from there, if you make it Teoh the top 200. There are literally hundreds of photography professionals who will look at your work and rank it in a few different categories. So not only are they looking at it, but they're really they're giving some thought. And sometimes they even provide a better written feedback about the work you'll see here that beyond that top 50 entrance are selected. And those people, um, are part of a traveling exhibition of the top 50 selected. They also select one person out of those 50 to get a monograph. So you got a book. The War. There's also a solo exhibition award, and then this year it looks like a residency award. So it's a really interesting competition on a lot of photography professionals. Look, Teoh, find out who the top 200 the top two in the top 50 are just to get some some new work, uh, for their different publications and different curatorial ventures. The last one I want to talk about his lens culture blends. Culture is very international, so they tend to get submissions from all over the world. The winners are often part of travelling exhibitions, which travel all over the world. They do a great job. They do individual stories about photographers just year long as part of the Blawg feature of this magazine, which is all online. It's on a print publication, but they also do these competitions, and you'll see down here this scroll where they are highlighting some of the latest entries from there current, um, their current competition on street photography. They have all different types of competitions. It's Portrait Street, emerging photography, um, storytelling. And what's also really wonderful about lens culture is recently they've added this feature where anyone who submits Teoh one of their competitions is eligible to get their work reviewed, so they have a panel of voter professionals who look at each competition each submission and write a couple of paragraphs of feedback about what the strengths were what they thought could be improved to make the submission stronger. So even though in these competitions you're paying Teoh enter, and that's definitely not something to ignore, you want to make sure you're not shelling out money all year round on tons of competitions if you're not getting the response you want. But for this one, it's really wonderful, because even if you aren't selected, you still are getting, ah, a review of your work. You're getting some feedback on maybe why you weren't selected or different things that you could do to make your submission stronger next time. 5. Should You Sell Your Work Online?: a lot of photographers struggle with trying to figure out whether or not they should sell their own photography online, whether it's through their websites, where they specifically have a add to cart button at the bottom of their of their images, or maybe just at the back of their website, they have their pricing and or, uh, email for more information about purchasing prints or whether they should try to sell their work through 1/3 party site like Teesta or UM Art Net or, Uh, Saatchi online. There are a lot of different ones, and they're all sort of have unique structures of the way they pay the artists and who's responsible for shipping. And they all have completely different sized audiences, different types of audiences. If you are going to go that route you want, do your research and figure out if it's even worth your time. What kind of traffic do they get? What kind of sales do they typically yet is the type of work that you make the work that their audiences most interested in buying, um, or whether to not put your work up for sale officially online anywhere, um, and just have a place for enquiries on your website where people can contact you if they're if they're interested. The advantage of selling your work online is especially if you have a large audience yourself. It's a great way Teoh to get revenue. Um, you have to think about if you don't have a big audience. People aren't are most likely not going to just stumble upon your website and want to purchase something. The disadvantage of having on add depart. Buy it now. Option on your website is it could be really off putting Teoh gallerist. So if a gallery is going to represent you, they definitely don't want you to sell your work directly. They want the sales to go through the gallery. So if gallery representation is on your radar is something that you're really going afterward, You might want Teoh not sell your work online in order to kind of keep that door open. If you are interested in selling your art online, here's a great infographic that Jim Andrews sent me. Um, you can find it. I'll post the link in the discussion section of this course, so selling your art online, it talks here about, um the trends for selling art online, that people are buying art more and more and are over the Web and are more and more willing to spend larger dollars on artwork that they've seen on the Internet and not in person. So that's really encouraging. Galleries are also showing that they're attracting new clients over the Internet. It talks about the importance of using Social Media Teoh to get your work out there. And, of course, we talked about that in an earlier session. How you can use Social Media to highlight your photography and to drive traffic back to your website. It has tips here about, um, different things you can do to boost your online sales. Uh, set up an Internet presence we talked about in an earlier session about your website. What should be on it, um, pages on your Web site, specifically addressing how the sales process works, doing some search engine optimization, which there tons of tutorials online to figure out how to best do that, Um, and having the right shopping cart software that's easy to use. Um, down here there are a lot of links for additional resource is, and I think this is just a great visual representation of the different things to think about when you're creating a plan to sell your work online. 6. Description of Class Project: for your class project. I want you to create a sample submission for a hypothetical online competition. Most online competitions will require you to submit a set of images. So for this one, I would like you to pull together a 10 image at it. So think about images that are strong individually but are also really cohesive until a stronger story. When there altogether 10 images that you have a really good sense of your aesthetic and your personal style and tell a story about a single topic or are all part of a single theme . If you want to create a short project statement to go along with the submission, that would be great. Ah, lot of online competitions will ask you to submit some sort of statement along with your images, but for this project, it's not required. So what we're looking for is a 10 image at it. You can either create, um, a link for people to go online and see your 10 images. Or you can create a slide with all 10 images together, or I upload them as a set