Tuesday, September 9, 2014

Photoville


12:00 – 1:00 (SUN SEPT 21) PANEL DISCUSSION:
PORTFOLIO REVIEWS, AN INSIDER’S LOOK 

Featuring Manjari Sharma and Ariel Shanberg in conversation with Stephen Mallon

Moderated by Stephen Mallon, artist Manjari Sharma and Ariel Shanberg, (Executive Director of the Woodstock Center of Photography) discuss portfolio reviews on how to get as much out of the review circuit as possible. This is not a common sense discussion, this is a talk from both sides of the table about how much business gets done at the bar and at the event vs your actual review. What’s the biggest thing you learned from a review? What’s the worst promo you’ve seen? What about follow ups? How long does an artist need to wait before reaching out again?

Register here:

While these seminars do not require advanced signup, seating is first come first serve so we highly recommend that you reserve your spot in advance!

This presentation will take place in the Photoville Talk Area – located at the storefront of One Brooklyn Bridge Park at corner of Joralemon Street & Furman Street.

Manjari Sharma is a photographer whose work explores personal mythology, representation, and experience. Manjari was born and raised in Mumbai, India and is based in Brooklyn. Her work has been featured in publications including Los Angeles Times, New York Times Blog, Monocle, Life, CNN, and Wired, amongst others. Her work has been exhibited in solo and group shows in New York, Los Angeles and Spain, amongst others. Manjari was awarded The CENTER’s Curator’s Choice Award 2014 and her work was selected as honorable mention for the Santa Fe Prize in 2012. She is represented by ClampArt, New York and Richard Levy Gallery, New Mexico.

Ariel Shanberg is executive director of Center of Photography at Woodstock, having originally joined the company in 1999. He has curated many exhibitions at CPW, as well as at other venues including Light Factory, and the Philadelphia Photo Arts Center. Shanberg served as a panelist for the New York Photo Festival Awards, the National Endowment for the Arts and Media Alliance’s Media Action Grant, amongst others, and a reviewer at regional & national SPE conferences, FotoFest, Portfolio Review Russia, and Rhubarb Rhubarb. He has contributed essays for various publications, including Aspect: The Chronicle for New Media Art, Contact Sheet, European Photography, and Exposure.
Stephen Mallon is a photographer whose work focuses on construction sites, machinery and engineering. He has been commissioned by and his work featured online and in print for numerous outlets, including New York Magazine, Wired, GQ, Feature Shoot, PDN, The New York Times Magazine, The Wall Street Journal, and Fortune, amongst others. His work has been exhibited widely, including during several photo festivals. Mallon’s work has been honored by Communication Arts, Photo District News, the New York Photo Festival, the Lucie Awards, Woodstock Film Festival, Look 3 Festival and the Bristol Biennial. Stephen is represented by Front Room Gallery in Brooklyn, NY.

directions to photoville
For more events, visit Photoville

Thursday, September 4, 2014

"Land in Sea" Reception at Waterfront Museum on Saturday, Sept. 6th

"Land in Sea"


'Splish' 30x45 2/5



The Waterfront Museum & Barge 100 present
Land in Sea - works by Stephen Mallon - a one-man show
July 26 to October 18, 2014
Artist Reception: Saturday, September 6, 2 - 4 pm. 

The Waterfront Museum is pleased to present Land In Sea, featuring select large scale photographs by artist Stephen Mallon. The show's focus is work from Mallon's two powerful series "Brace for Impact" and "American Reclamation". "Brace for Impact: The Salvage of Flight 1549" features Mallon's sizeable photographs documenting the recovery by maritime contractor Weeks Marine of Flight 1549, the plane piloted by Sully Sullenberger III who successfully emergency-landed in the Hudson River on January 15, 2009 after a collision with a flock of geese resulted in both engines failing and saving all 155 people aboard. The other is “American Reclamation: Next Stop Atlantic”. NYC's MTA joined the artificial reef-building program off the east coast of the U.S. in 2000. Mallon documents the progress of the train cars on their destination out to sea from 2008 to 2011.

Waterfront Museum

The Waterfront Museum was founded in 1986 to provide programs in education and culture aboard an historic vessel and advocate for and expand public waterfront access in a NY Metropolitan area. The museum relocated to Red Hook, Brooklyn in 1994 as a permanent homeport after operating in Liberty State Park in Jersey City & Hoboken, NJ; Piermont, NY; South Street Seaport, NYC. The museum's permanent collection includes a nearly one-century old wooden barge, listed on the National Register of Historic Places.

Hours:
Thursdays 4pm-8pm
Saturdays 1pm-5pm


Thursday, August 21, 2014

JUROR FOR MOTION ART AWARDS 2014

Happy to share that I will be a Juror for the International Motion Art Awards!

International Motion Art Awards 3

The year's best Photography, Illustration, Animation, and Design In Motion.
Call for Entries NOW OPEN through AUGUST 29, 2014.

It's your move! ENTER NOW.

Check out last year's IMAA 2 winners on The Archive
and see them featured on Motion Arts Pro.


Jurors
Craig Cutler, Photographer
Jeremy Dimmock, Founder, Polyester Studio
Matthew Duntemann, Senior Vice President, Nickelodeon
Mitch Gordon
Stephen Mallon, Director of Photography, Mallon Films
Ricardo Munoz, Senior Director, Dieste
Stephen Price, Editor, Stash Media
Brian Palmer and Brad Palmer, Founders, Surround
Kevin Michael Reed, Producer + Director, Kevin Michael Reed Studio
Ted Royer, Chief Creative Officer, Droga 5
Marcel Yunes, Chief Creative Officer, BBDO
Bob Zarorskis, Founder, Polyester Studio

Thursday, July 31, 2014

A Photo Editor interview by Julie Grahme

A Photo Editor interview by Julie Grahme

Stephen Mallon On Perseverance And Transition To Video

The backstory.
Prior to the incident on the Hudson River, Stephen Mallon was “surviving” on royalties from multiple stock agencies. He had been photographing landscapes for licensing and exhibition, and personal work. A book editor at a portfolio review had expressed interest in making a book but Stephen felt he didnʼt have the right content that he envisioned for his first monograph. So he set about focusing on his interests in the recycling industry. He engaged a writer to help with a proposal, and, explaining that he intended to make images for non-commercial use, he gained access for two days to a recycling plant in New Jersey, which led to access to others in other states and to a body of work that would come to be titled “American Reclamation.” This was all self-funded by the bits and pieces he was drawing in from editorial and resale.
The break.
In New Jersey, in 2008, Stephen spotted a barge loaded full of stripped down subway cars and thus discovered the artificial reef project, wherein these erstwhile MTA cars are shipped to various locations off the US coast and dumped in the ocean to create artificial reefs both for sea-life and for tourism, images of which would become “Next Stop Atlantic.” The company concerned was Weeks Marine, and here began a wonderful relationship. Forward to 2009 and Stephen and his wife are out celebrating her birthday when Chesley Burnett “Sully” Sullenberger, III, makes his amazing landing on the freezing Hudson River. Mallon called Weeks Marine and sure enough they were tasked with retrieving the plane; they commissioned Stephen to photograph the project, bringing him in by tug boat to make an incredible photo essay that made national news. As well as all the licensing, the prints are still selling well in the fine art market.
01flight1549
How life changed.


Stephen says although he had his body of work of industrial landscapes he didnʼt have a solid assignment piece that he felt was both beautiful and relevant to fine art and for editorial. He says it took real effort to keep the momentum going so he wasnʼt “just a flash in the pan.” It was at another portfolio review that Stephen met Front Room Gallery, based in Williamsburg, Brooklyn. They offered him a solo show of Flight 1549, and also sold a few prints from “American Reclamation” which led to the suggestion of a solo show of that series, too, in 2010. Now some assignment work began to trickle in, including a trip to Brazil to shoot Petrobas for Fortune Magazine.
“All this time, the 5D Mark II is on the market, and people are talking about video. I equated it a lot to when clients began to ask for digital,” he says. For a while, people would still hire Stephen even when he said “no” to the question of whether he was capturing video, but he knew the time was coming when heʼd need to be able to say “yes.” Heʼd made a “bad” time-lapse around 2008, and only tinkered with the style since. In 2011 Weeks Marine called to say they were delivering a bridge by barge in New York, and was he interested in covering it? Stephen saw the perfect time-lapse project. He scouted the whole route, setting up cameras along the way, in the yard, and on the barge. The film was submitted to festivals, picked up by the Wall Street Journal, and got a lot of attention online. Stephen feels this was the catalyst for his time-lapse future.

The next big step was winning a contract to work for the City of New Yorkʼs Department of Transport – he produced a wonderful time-lapse for the Citibike program.



“I had been dropping my portfolio off at the New York Times pretty much my entire career – 10, maybe 15 years!” says Stephen, when eventually they saw some of his time-lapse work online, and wanted to meet. They loved what he was doing: “Kathy Ryan tried to hire me a couple of times but security at the locations we wanted to shoot in kept on stopping the projects from moving forward.” It wasnʼt until 2013 that she found the right assignment for him: to make a time-lapse over two days and two nights of set changes at the Metropolitan Opera. This video went on to win the Communication Arts photo annual award, and was accepted for the PDN photo annual.

The cost of video production.
“Day rates are pretty much the same for video as for stills – the photographerʼs fee hasnʼt gone up, but Iʼm shooting with seven cameras at a time, I need assistants to set up and monitor them, then thereʼs the cost of post, the editor, and audio licensing. I am busier than I ever have been, itʼs phenomenal, but no, Iʼm not making tons of money. When the budget is there, we put in enough post which covers color correction and rendering. The editorʼs fee is a separate line item, accounting for all the video editing and a couple of revisions. Weʼre always buying hard drives – a terabyte a month! Someone has to pay because we are archiving all these jobs.”
Mallon has been buying camera bodies, one job at a time: he has five digital SLRs and two GoPros so he doesnʼt always need to rent although he does say he could always use one more camera. He is more comfortable shooting live video capture now, and enjoying mixing time-lapse and video in the same piece (he has just finished another job for the DOT, made over 18 months, that mixes time-lapse and regular footage.)
Skills for the future.
“Editing video, the whole aspect of sequence, timing, speed, music, it was a whole new experience for me.” Now heʼs so much more familiar with it all, heʼd like to get a bit more long-form documentary work and is meeting with TV production companies. Heʼs enjoying video but also continues to love shooting stills: “It reminds me how much easier it is to make a photograph than it is to shoot video” he says, laughing.

So far this year Stephen is most proud of a piece made for New Yorkʼs Armory exhibition hall, the result of two years keeping in touch with an ad agency which eventually recommended Mallon to time-lapse the setting up of The Armory Show.
Looking to the future, he believes interactivity is going to be key. In a job heʼs working on now, a public awareness campaign about crossing the road, the conversation turned to how to make a video motion-sensitive, to turn it into an interactive smart-board. He believes he will need to be able to deliver multimedia components, potentially build apps for his clients, teaming up with tech and design professionals.
Stephen Mallon has a solo show this fall 2014 at the Waterfront Museum and a solo show at NYU in early 2015. You can view his work here: stephenmallon.com

Thursday, June 12, 2014

Provincetown Film Festival






Pleased to share the news that A Day and a Night and A Day and A Night  has been accepted into the Provincetown Film Festival!  Here's a little background on the festival and tickets here

History

Founded in 1999, the Provincetown International FilmFestival (PIFF)is one of the country's preeminent film festivals, presenting diverse programming - the only year-round programming in Provincetown - that reflects the town's unique place in American history.Provincetown from above
Its 5-day festival in June presents a wide array of American and international narrative features, documentaries and short films, and makes a particular point to honor and preserve Provincetown's rich and diverse history as an arts colony, Portuguese fishing village, and gay and lesbian mecca-while never forgetting the area's original Native American inhabitants.
Special programs include "Youth and Diversity" and Portuguese film sidebars, retrospective and archival programs,and panel discussions that provide deeper insight into festival selections, the filmmaking process, and the careers of festival attendees and honorees.
The defining honor of the Festival is its "Filmmaker on the Edge Award," honoring outstanding achievement, innovation, and vision in filmmaking and given to a film artist whose admirable body of work pushes the boundaries of the medium. Filmmakers honored with this award represent the breadth and scope of independent filmmaking-as well as the Festival's continued relevance and importance to the industry's leading innovators:New Art Cinema
  • 1999: John Waters
  •  2000: Christine Vachon
  •  2001: Ted Hope & James Schamus
  •  2002: Gus Van Sant
  •  2003: Todd Haynes
  •  2004: Jim Jarmusch
  •  2005: Mary Harron
  •  2006: Greg Araki
  •  2007: Todd Solondz
  •  2008: Quentin Tarantino
  •  2009: Guy Maddin
  •  2010: Kevin Smith
  •  2011: Darren Aronofsky
  • 2012: Roger Corman
The Provincetown International Film Festival (PIFF) is dedicated to showcasing new achievements in independent film and honoring the work of acclaimed and emerging directors, producers and actors. PIFF is equally devoted to expanding the audience for independent film and to serving our Provincetown and Outer Cape community by filling the void for annual film programming and reflecting the community's rich diversity in our selected films and honorees. An integral part of PIFF's mission is to contribute to the economic and creative vitality of America's oldest art colony.