Commercial Photography

by Olivia Harbour

Becoming a commercial photographer can often look out of reach. The fierce industry seems hugely competitive and can often leave you feeling unmotivated. Lauren Maccabee gave us a talk during one of our lectures and spoke about the realness of commercial photography and gave us tips on how to ‘break in’ to the industry. Some of this advice, which is helpful for all creatives out there, include:

  • Practice! Go out with a friend one day, take a camera and shoot. This enables you to get used to your equipment and help with any fears regarding taking photos in public. 

 

  • Go to networking events and artist talks. The most recent artist talk I attended was in Fabrica in Brighton. Although I was extremely nervous and felt out of my depth, I managed to talk to the artist himself about his practice and local publishers and like-minded creatives. It was incredibly motivating and also gave me precious contacts.

 

  • Don’t be afraid to volunteer or initially do work for free. Although I don’t recommend doing this all the time, it is a good idea when starting to contact model agencies or any commercial events that are taking place to ask if you can come along with a camera for free. Not only does this again help build your confidence, but it also gives you incredible images to put in your portfolio and social media accounts and invaluable experience!

It was great to hear the truth during Lauren’s talk; it was also reassuring to hear that nothing was too out of reach. I, too, will be practising the advice she gave us, and I hope that you reading this does too!

Becoming Businesslike

by Olivia Harbour

Ever thought about starting your own business? It can feel very daunting. At the University of Brighton, Clare Griffiths is the face of an organisation called ‘Beepurple’, which helps give business support to students who want to start up a business or enter the world of freelance.
Through workshops and 1:2:1 sessions, students can seek support on any questions they may have regarding becoming self-employed and starting a business or ask for help when it comes to business ideas and how to sort out the logistics and legal side of becoming self-employed. All of the advice ‘Beepurple’ gives is valuable and perhaps not something we can access after leaving university. As a final year student who had never heard of ‘Beepurple’, I was particularly excited about the prospects and guidance I could receive. Setting up a business and working as a freelance photographer are things that I want to do upon finishing my studies.

Through a confidential meeting, Clare can identify what steps you need to take for your idea to happen. For example, a team of consultants can give specialist advice if and when you need it. This advice could be regarding contracts, product design or marketing advice for free!

As the article AXIOS states, ‘The Pandemic-era Businesses Boom’ recalls the period of rapid growth in small businesses that started to emerge during the global lockdowns. This could be because people were losing their jobs, were off work sick for an extended period, or because they had more time in their day to figure out what they creatively enjoyed. The rise of the stay-at-home economy created new business opportunities in arts, food delivery and many others. As the small business market is now more significant than ever due to the lasting impact of the pandemic, now is the time to contact Clare at ‘Beepurple’. Soak up all the advice whilst you can, so you too can start your own small business or self-employed adventure.

Useful links:

https://www.axios.com/small-business-boom-covid-recession-pandemic-22862f00-3cdc-4550-ba6f-92aee7d3c91a.html

https://www.brighton.ac.uk/careers/start-your-own-business/index.aspx

The Artist as Educator

by Olivia Harbour

For me, learning art at school was never a subject taken seriously by students or what felt like teachers too. Perhaps this was because art has never been a subject that is taken seriously from a young age. One of those subjects that you are told is “easy”, or in my case, when I attended secondary school, teachers told me that it was the “easy option”.

This week we were lucky enough to have Artist Facilitator Lindsey Smith as our guest speaker. Lindsey, who has extensive photography knowledge and works closely with galleries, provides children and young adults with opportunities to work with art externally, away from school or college-based limitations. As the text ‘The Artist as Educator’ says; “The lack of engagement with contemporary art practice in schools in England reported by Downing and Watson may go some way to explaining why many teachers find it difficult to integrate gallery-based and school-based practices,” which supports why Lindsey’s role within the art sector is so vital. Giving children and young adults opportunities to engage in gallery-led projects will provide education around exhibiting and will give confidence to those who want to study art or take art further. It will also help those understand that art is not an “easy option” that there is more to art than blunt pencils and dry felt tips.

As we all know, children and young adults can be a tough crowd; however, Lindsey’s teaching experience incorporates formal and informal learning, including continued professional development for teachers and accredited training and mentoring programmes for young professionals in the cultural sector. This means that all those surrounding Lindsey receive an extraordinary session that motivates the learner.

Useful links:

https://lindseysmith.net/

https://learn-eu-central-1-prod-fleet01-xythos.content.blackboardcdn.com/5d108c67a3df7/878842?X-Blackboard-Expiration=1645131600000&X-Blackboard-

 

 

 

 

 

Capturing Your Audience On Social Media

by Olivia Harbour

Social Media, now more than ever, is one of the most vital components to gaining and growing an audience. The recipe is the same whether you want to grow your audience for your artistic practice or small business.

In the section ‘Effective Social Media – How to capture your audience’ in Navigating the Art World, the first section explains the two types of specific artistic social media pages. They explain that one type is a ‘Visual Diary Approach’. The artist uses their social media platform as an online sketchbook, with feeds usually being personal, naturally attracting an audience that is more likely to invest in their journey and artwork.

In an interview with The British Journal of Photography, Artist Maisie Cousins says, “For me, that’s part of the process, selecting and marrying images together. I approach image-making playfully; I wouldn’t do it

if I didn’t enjoy it. There are no set projects, it’s ongoing, and the images are tangible.
I post when I feel like it with social media accounts like Instagram, whenever I’ve made something. It’s more of a scrapbook. It’s like picture vomiting,” Which is a similar approach to the Visual Diary explained in Navigating the ArtWork.

As someone who uses social media, Instagram, to promote my photography work and small businesses, I, too, would take on the Visual Diary approach like artist Maisie Cousins does. I naturally gravitate toward those who open up on social media. Usually, those who do provide honest and open feedback/opinions, which is valuable when growing and boosting your audience and knowledge.

Linked below are the two very helpful readings! I hope you find them useful too:

https://www.1854.photography/2017/12/a-creative-approach-three-photographers-reflect-on-their-use-of-social-media/

https://learn-eu-central-1-prod-fleet01-xythos.content.blackboardcdn.com

 

‘Your Body Language May Shape Who You Are – Amy Cuddy.

by Olivia Harbour

Amy Cuddy’s research on body language reveals that we can change other people’s perceptions — and perhaps even our body chemistry — simply by changing body positions. Body language is probably the last thing on one’s mind when riddled with anxiety about presenting, but Amy’s talk changed my perception. If you too struggle with even the idea of giving a presentation, I recommend listening to Cuddy’s Ted Talk on body language.

Amy starts the talk by analysing the body language of those in the audience. She describes scenes of people sitting crossed legged, hunched, and overall making themselves look and feel small, which is part of more considerable concern, nonverbal interactions. E.g. a handshake or laughter, both of which we humans would talk about for weeks, especially if a handshake was weak, an easy icebreaker conversation starter. But it is these memorable nonverbal interactions that made me think about the relationship between body language and presenting.

Maybe you are reading this and have an inspiring artist talk coming up where you get twenty minutes to talk about your work, or perhaps you have a practical project tutorial and want to stand out. All of which require notable acts of non-verbal communication, otherwise known as body language. Eye contact, shoulders back, smiling, and taking it slow are all notable acts of body language that will enable you to excel in what you’re presenting and make those around you remember you and your work. Although easier said than done, there are many steps you can put into practice before giving a presentation. Some valuable tips would include; writing out what you are going to say first and breathe. Before body language is even considered, being confident in what you want to communicate is vital to strengthening your presentation. Also, remember to breathe!

 

 

Linked below is the link to Amy Cuddy’s Ted Talk:

https://www.ted.com/talks/amy_cuddy_your_body_language_may_shape_who_you_are

Visual Portfolios

by Olivia Harbour

As a creator within the art sector, a visual portfolio is arguably one of the most important documents to have on hand, if not the most important. A clear and annotated visual portfolio will allow you, the artist, to apply for jobs, residencies, galleries and exhibitions or to show off to those around you with ease. 

 

Comparing the portfolios of artists Zoe Childerley and Martin Seeds gave me a clearer understanding of what is to be expected from a visual portfolio. For example, Zoe’s portfolio displayed a range of photos from many different projects, allowing the audience to gain a complete understanding of who she is as an artist and what her work and exhibitions include. However, Martin’s most recent project and images of his work at an exhibition are at the forefront of his portfolio. Later works follow and, unlike Zoe’s, don’t begin with an Artist Biography.

Both Zoe and Martins portfolios were easy to navigate and provided the reader with enough information to gauge their artistic personality. Each of the portfolios included annotations of the size of their work, the works title and the year the work was made, which is something I will take on and use within my visual portfolio. If I were to only apply to one gallery about one body of work, then I would take Martins approach; however, as I am applying to graduate jobs and internships, Zoe’s more extensive portfolio of different works best suits my needs at the moment. 

If you’re in the process of creating your visual portfolio, I recommend taking a look at Zoe’s and Martins! 

http://www.zoechilderley.co.uk/

https://martinseeds.com/

 

Graduating and Artist Residencies.

by Olivia Harbour

Graduating… Don’t remind me. At times I feel so overwhelmed at the thought of leaving university and becoming well, an adult? I wasn’t looking forward to leaving the creative, safe university space until I got introduced to Artist Residencies. An artist residency provides opportunities for artists, curators and creatives alike to produce work in a city away from the hustle and bustle of everyday life surrounded by like-minded people, which sounds like a path I am interested in exploring once I graduate.

If you’re reading this and in a similar situation to myself, I am pleased to say that we’re in luck, and there are artist residencies aimed at new graduates. Flat Time House Peckham, South London Gallery and Coventry Artspace are three London-based galleries that provide artist residencies to graduates and postgraduates, ranging from research residencies to practical residences covering all art disciplines.

When analysing the three galleries and comparing what they offer, I find myself gravitating towards Coventry Artspace. Not only is their website easy to navigate (which is very important for folks like me with dyslexia), but they also make it clear to see what they provide within the artist residency itself. Having access to a shared studio space for ten months, a two-week gallery space and solo exhibition, technician support, and financial support are just some of Coventry Artspace’s offerings to their graduates. Knowing how well the Artspace Gallery will support you makes the atmosphere surrounding being a creative graduate that little bit easier—pushing the thought of not being in university anymore that little bit more exciting.

Useful Links:

http://flattimeho.org.uk/projects/residencies/

https://www.southlondongallery.org/residencies/past-residencies/

https://coventry-artspace.co.uk/residency/

 

Figuring Out The Importance Of An Artist CV.

by Olivia Harbour

When analysing my current CV, which I have used for my part-time employment since college (2015), I now realise six years on what I would change. Young me made sure to choose the best theme I could find on word, using basic vocabulary with sentences starting with ‘I am…’, ignoring or not focusing on what was important, e.g. Listing work experience in full detail. All things now, I would refine and take the time to expand.

Before attending our professional practice lecture that focused in on artist CV’s and biographies, I hadn’t mainly considered an ‘artist CV’ before or what it means to have an artist CV. Perhaps subconsciously, I naively assumed that it would be along the same vein as my college CV, and that would be it. However, after listening to the lecture and analysing practising artists CV’s, I realised how different they are from my college made CV.

Veronica Baily, a fine art photographer, has a simple CV that clearly states her name, place of birth and year to begin with, which is already highly different to my very wordy CV introduction. Then, with not much in-depth detail, she lists her education and exhibitions with the year they took place. Emily Allchurch, a British artist, also has a simple CV, very similar to Baily’s – no written introductions, just a list of her education, awards and exhibitions with the year in which they took place.

Being aware of what an artist CV is and using Baily and Allchurch as inspiration for my own CV has made the process of creating one clearer. Aesthetically, I appreciate the simplicity of their CVs and how easy it is to read and navigate, which I believe is most important when showcasing what you’ve been part of.
So, no cheesy self-absorbed introductions, and onto a concise roadmap of what it is I’ve been involved in.

 

Useful links to artist CV’s and biographies: 

https://www.emilyallchurch.com/wp-content/uploads/2020/09/EmilyAllchurch-CV-2020.pdf

https://www.veronicabaileystudio.co.uk/2019/11/cv.html

http://www.zoechilderley.co.uk/exhibitionspublications/4527749682

 

Is Blogging Dead?

by Olivia Harbour

When initially thinking about what it means to blog or what blogs are, I’m taken back to 2010 where blogs were their prime at the beginning of my teenage years. Fast fashion halls, make-up reviews and other lifestyle topics were at the forefront of the internet which later transformed into videos, on the popular social media platform YouTube. With the rise of audio and video social media platforms such as Twitter, Pinterest, Instagram and YouTube, meant that the question ‘is blogging dead?’ was raised.

Blogging is widely used within a corporate space in all professions. The act of blogging provides a quick and easy way to portray information about what individuals think is important to their business, research or in Rachel Gillies case, teaching. Gillies, a lecturer who taught in New Zealand at the Dunedin School of Art at Otago Polytechnic, set up a blog for her senior students named “Lunchtime Reflections”. This was created to enhance the student’s artistic discussion and allowed ideas to develop beyond the confines of course material and class projects. (Gillies, 2009)

Instead of assuming that blogs are dead, perhaps it’s time to acknowledge that ‘blogging’ can derive in all forms, not just that of a website. Introducing blogging into the educational arena can rebirth the aim of blogging as you will, reinventing what it means to blog via a website enabling like minded people to interact with specific topics.

Blogs:

https://www.meganellaby.com/

https://www.poppydeyes.com/

https://francishodgson.com/

Bibliography:

Gillies, R., 2009. Students Who Blog. Scope (Art and Design), pp. 153 – 158.Morris, H. C. &. N., 2021.

Kabadayi, O., 2014. Blogging is dead, long live blogging, UK: The Guardian.

Kottke, J. K. J., 2014. The blog is dead, long live the blog, Cambridge : NiemanLab.

Morris, H. C. &. N., 2021. Assessment and emotion in higher education: the allure of blogging. Research in Post – Compulsory Education , 26(2), pp. 148 – 163.