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T he final ‘course’ of the Community Table is now live. A quick refresher—I work with Heather Elder and Brite Productions to transcribe and edit the posts. It is an invaluable experience to sit down with art buyers and have candid discussions about issues important to them. I’m grateful to be a part of it and to publish the intro here on POP with links to the full posts on both the Heather Elder Represents and Brite Productions blogs.

The first question starts below. Please click through to the Brite Productions Blog or Heather Elder Represents blog to read what the art producers have to say about the value of the pay-to-play portfolio shows, the evergreen topic of email marketing, and pro-bono work.


For those of you just joining us, welcome to Community Table  NYC  – the latest series of blog posts sharing conversations held directly with our community leaders about top of mind industry issues. Community Table was formed from the collective efforts of Matt Nycz and Kate Chase of Brite Productions and Heather Elder and Lauranne Lospalluto of Heather Elder Represents with the idea that there is nothing more powerful in our industry than education.

As a reminder, each Conversation Starter was directed to one person with a general discussion ensuing.  Not surprisingly, many of the answers were similar to those of our LA colleagues.   Therefore, rather than sharing the entire conversation, we included the original question and then the quotes and notes that were most relevant.  Please note, often times the person leading the conversation spoke most often. The first question in the Main Course portion of our series was addressed to Hilary Jackson of  Saatchi & Saatchi.


CONVERSATION STARTER #7: The Power of Pay to Play Events

There is a rise in the “pay to play” events where photographers pay a fee or pay into a program that allows them direct access to creatives and/or art producers.  The organizers sometimes offer compensation to the reviewers in an effort to elevate the seriousness of the event and show a respect for the reviewer’s time.  Have you participated in these events in the past?  If so, do you see this as a positive trend and if not, why?  What is it about these types of events that are most successful and what do you feel could be improved upon? 

“I’m new to New York so I’ve had a very positive experience with this because it allowed me to meet with a lot of photographers I hadn’t met before because I was primarily a West Coast art producer. I’ve been doing a lot of FotoWorks and was paid $100 for 3 hours. For every terrible photographer you meet, you meet someone you think you might be able to use for something. It could be someone you would never have come in contact with or ignored on email or promo and actually had a face-to-face with them. And I thought it was a good event. The more you can face-to-face with an art buyer or producer I think it’s a win/win. And it’s a good way for artists to connect and get feedback on their portfolio, especially those with no rep.” Hilary Jackson, Saatchi & Saatchi


To read the full post, please visit the Brite Productions blog or the Heather Elder Represents blog.

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