The print will be shown at Jadite Galleries in Hell’s Kitchen with an opening reception on April 5, 2018.
I will be returning to the Afar region of Ethiopia this December to further develop the series. It is my hope that these images will bring awareness to the critical needs of these nomadic tribes.
Please see the Barbara May Foundation regarding ways you can join this rally. For large USA based donations, contact me for the 501C3 organization that directly funds this organization and its highly effective projects.
For more information, please refer to the Afar Pastoralist Development Association.
“Selam” and “Construction Worker, Addis Ababa” were honored at the International Photography Awards “One World” contest with Honorable Mentions.
I am especially happy when images from Ethiopia get this kind of notice as the people there are so incredibly beautiful, inside and out.
Wow! We just found out that one of my images made the Top Ten Photos list for Mercy Corps!
I remember this day so well…
I asked the camel milk producers if they could sing a bit so I could record it, and I received a full blown concert and performance. Such joy, such camaraderie. I learn so much from them!
We just found out that my image “Selam” was a winner in the 2013 Bioethics Art Competition. It is a true honor for this image to be selected for this award by the judges our of so many entries from around the world.
More importantly, we are happy that the beauty of the Ethiopia spirit is celebrated here.
“Selam” will be going to Hong Kong! I was just notified that this image was included as a winner in the photography category for the Bioethics Art Competition.
I am especially happy that not much else is needed in the frame of this picture – the Ethiopian spirit is so commanding in and of itself.
Once again, I will be able to stand in the middle of a room, look around and marvel at the intensity of many beautiful Ethiopian eyes all at once.
Ten images from my “Market Workers” series will be shown at PushDot Studio. Join me for an opening reception this Friday, August 2 from 6-9pm as we raise a glass of cheer to those who might just be the hardest workers on earth.
All images were printed at PushDot Studio. A very special thank you goes to Laura Domela, who, with her painter’s hand and master photographer’s skill, made the images sing with her magical post processing work.
One hundred forty-four subjects were photographed for this series, and each printed image is mounted on black sintra then framed without glass so that there is nothing between viewer and subject.
It has been exceptionally difficult to select which images are printed, as I dearly love each and every one. In time, I hope to have all of them printed and floating about the world in celebration of the Ethiopian spirit.
Out of 2200 images from 47 different countries, “Abera” was chosen as a finalist for the Portrait selections of the 4th Edition of the Julia Margaret Cameron Award.
Out of over 10,000 entries, three of my images have been awarded Honorable Mention Awards in the 2012 International Photography Awards in the following categories:
“Abera” Fine Art/Portrait, People/Children, People/Portrait
“Bekele” Fine art/Portrait, People/Portrait
“Lena” Fine Art/Portrait, People/Children, People/Portrait
See the list of talented finalists here.
In the last several years, I have been asked to perform portfolios reviews, consult one-on-one with individual photographers, and judge various photography competitions. In each case, I feel honored to provide this service.
And while I try to make some adjustments for each situation, I can’t help but uphold a standard of criteria when I look at photographic work. Sometimes this upsets people greatly, and they defend their work ferociously, even within an entry level photography classroom. This is fine. Others express gratitude for an honest assessment and helping them move into another phase of the development of their work.
I don’t pretend to know everything about photography. I am only one person, with one opinion. However, there are several themes that do seem apparent to me: Photography has no rules, never tells the entire truth, is bastardized frequently, and love is in the eye of the beholder. I have seen weak work garner stellar awards, and strong work pushed aside.
The truth seems to be that there is more to the picture than the picture.
This month, I am in the process of pre-screening 756 of this year’s Critical Mass entries. Each entry includes ten images and an artist’s statement. I am halfway finished, and after viewing 387 entries, I am starting to see a pattern regarding how I “judged” the entries. And often, very often, I wish that the artist is sitting right here next to me so I could ask them some questions.
Here are some of those questions. I hope this helps when editing your entries for any competition. As I reflect upon these questions, I realize many things about my own work and how I can alter my approach.
What were you thinking when you came up with this concept? Did you clearly state this in your artist statement?
If you’ve seen it before, are these images similar?
Does your work look strikingly like (blatantly derivative of) someone else’s work that you admire?
What are you really trying to tell your audience?
Do all photos form a song?
Do any of the images feel insincere?
Who is more prominently in focus: your content or your self?
How are these photos surprising?
Is your artist statement descriptive, and not overbearing or self-righteous?
How is your point of view different from others we have seen?
Did you take risks with the subject matter, execution of imagery, post processing?
Does one weak image take the others down?
Even though you captured important subject matter (cancer, crime, death), are the images interesting and different?
Have you gone too far just to be considered “different”?
Is the group of images cohesive?
Is the group of images repetitive?
Have you told anyone to blankly stare into the lens?
Are you trying too hard to solicit emotions from the viewer?
Were you engaged with your subject matter? How so?
Are you trying to please someone?
Have you taken a photo of a photo (or painting, or design) and if so, how have you made this your own image?
Do the images tell us something without having to read the artist statement?
Again, there are no right and wrong answers when creating a body of photographic work. It is yours, and should reflect your voice. But if we present the portfolio to others, especially within a competition, there seems to be another layer of pondering that might be useful in presenting something that is unique and therefore more aptly noticed.