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http://www.photoworkshop.com/double_exposure/publish/article_958.shtml educational & inspirational Creating a cohesive body of artwork and getting it exhibited, promoted, and sold is hard work. It takes dedication, time, money, and long-term persistence.
The Inspiration Several years ago, I started a series of subway photographs entitled Metallic Metropolis; it is an ongoing project now called "On The Platform." It came from a need to immortalize some aspect of New York after Sept. 11, 2001; to create something that embodied the themes of deconstruction and re-creation that were evident around me. Using long exposures at night on deserted subway platforms, and then perfecting the final images on the computer, I explore the role of photographic architect. The "assemblage" idea came from something I saw on my lightbox years before. Two images, shot on assignment, were lying adjacent to each other and seemed to merge, forming a single cohesive image. It was strangely captivating and that unusual perspective became the launch pad for this ongoing series of photographs.
The Creation Process Straddling the divide between film and digital processes was a challenge. Even though I would have to convert everything into digital files, I decided to use film rather than digital, and 35mm rather than a larger format so I could travel light and work more quickly in the low-light levels I'd encounter. I scouted subway locations and revisited with an assistant at night to shoot on a tripod with Fuji 800 ASA color negative film. When getting film developed, I ordered 4x6 prints so I could lay out the assemblages manually. I also ordered low-resolution scans burned to CD so I could recreate the manual assemblages on the computer and make test prints.
Going Solo I showed 10 of these test prints to Ingrid Fox, the curator at Pfizer, Inc. in New York City. My artwork is in Pfizer's corporate art collection and they conduct three to four solo photography exhibits a year from work by artists represented in their collection. I was invited for a solo exhibition in their 19th floor Gallery. Fox said this about the series: "Landscape and cityscape are themes that a conservative corporate collection embraces — consequently, we try to find artists taking a fresh approach to this tradition. Daryl-Ann Saunders has done this brilliantly in her approach to cityscape in which she elevates the mundane." To prepare for this opportunity, I had much to do. I decided to tailor the exhibit prints for the specific space, which is within a large elevator lobby, so first I measured the individual wall spaces. I wanted to use Fujifilm’s Fujiflex Crystal Archive paper to create the large-scale prints. Super glossy and saturated, it complements the metallic look of the subway subject matter and it is an archival photographic paper that is compatible with digital color printing technology. I presented my work to Fujifilm, requested film and paper sponsorship for the exhibit and they agreed.
Technical Details I scanned 35mm negatives on a Polaroid SprintScan 4000 film scanner at the largest size possible (approximately 20x30 inches at 180 ppi, or 80 mg RGB files) for printing at 200 dpi on a Durst Lambda digital C-print machine. Image assembly and Photoshop adjustment layers sometimes expanded the files to 400 mb or more, so having adequate RAM and empty hard drive space on my computer were vital. Images were flattened and then burned to CD for output. I worked with an independent graphics professional for the exhibit printing and the exhibit prints were superb. However, because of getting inadequate information from the pro, numerous mistakes occurred initially, which required time-consuming and stressful file corrections. I learned it is always best to consult with others immediately if you run into problems during a challenging project. Since then, I’ve been working with Jay Tanen at Duggal Visual Solutions in New York City for my exhibition digital C-prints and I recommend their work with confidence. For the exhibit, 10 exhibition prints were made in three sizes, 27''h x 37''w, 17½''h x 50''w and the widest panoramic type prints measured 25''h x 70''w. City Frame, a well regarded New York exhibition framer, used 8-ply mats with 3.5'' of mat border space all around each print and frames of black maple wood. The four "panoramic" prints were mounted to plexi for flatness and, for added support, those frames were slightly wider than the other six. All 10 pieces were fronted with clear UV plexi rather than glass. Fox commented, "They are elegant works that continue to delight the viewer with new discoveries. The body of work is particularly strong – the pieces almost speak to one another."
Pfizer’s Gallery is not a public access space, so media promotion was not a viable option. However, Pfizer designed and printed a compelling photo invitation using my image “Gate 80” on the front and sent it to my mailing list. That, with my subsequent e-mail follow-up, delivered a tremendous turnout at the opening reception. The exhibit, originally slated for two months, stayed in place for four, and a number of framed prints were sold.
Safe-T Second Don Burmeister, director of Safe-T-Gallery in Brooklyn, saw the Pfizer exhibit and contacted me to have a solo exhibit at his gallery. “When I first saw the work it was in a rather difficult space, but the photos were very strong and the presentation very professional," he noted. "I spent several minutes looking at the work before I realized that it would make a good fit in my gallery. I had been thinking of doing a show about the New York Subway (2004 is the 100th anniversary) so the work was topical.” I accepted this opportunity. Press releases, e-mails and photo postcard invitations were sent out to the gallery mailing list as well as to my own. Promoting the opening of an exhibit is one thing, but maintaining ongoing interest is another. To do this, I arranged a speaker event in which Shoshana Rothaizer, a licensed NYC tour guide, gave an entertaining talk with visual aids about the history of the NYC subway system. This offered something educational and fun to the community, plus drew a wider audience and enhanced listings in various publications, including Photograph, Photo District News, the New York Times weekend section, and others. And once again, artwork sold.
This full circle: artwork creation, exhibition, promotion, and sales, is a challenging one, and I learned many things from the experience. Most importantly, you have to be excited about your work or you won’t have the drive to go the distance when the process becomes difficult. Enthusiasm is a very persuasive, positive force. It helps you get through obstacles and continue to present your work with vigor. Also, being open minded cannot be underestimated; serendipity plays its part in everything and you must be receptive to unpredictable opportunities. Lastly, one has to be proactive and help the exhibition space help you. I look forward to showing this work in other venues (such as galleries, corporate and public spaces).
Daryl-Ann Saunders, a Photoworkshop.com member, began her career as a self-taught photographer, then went on to study at The School of Visual Arts and The International Center of Photography in New York. She currently photographs for commercial markets and for her own fine art exhibition work. Depending on client or purpose, she uses digital, film, and alternative processes. Commercial clients include NY Life Insurance, Showtime Networks, Forbes, Business Week, Money Magazine and others. Her fine art work is widely exhibited, published and held in corporate and private collections. You can see her work at her website, DASaunders.com, and send inquiries or comments to her e-mail address, das@DASaunders.com. All photos copyright Daryl-Ann Saunders. © Copyright 2002 by Photoworkshop.com |
