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Our intern extraordinaire: Ashanti

We are really happy to introduce you to Ashanti Johnson, our new intern at Chin-Azzaro! 

A couple months ago, I was making the rounds during our opening and I met a student that had ventured out on her own for the night. Ashanti struck me immediately with her knowledge, confidence (and compliments, who doesn't love hearing those?) Nick and I had coincidentally started talking about taking on an intern to learn the ropes of the studio: marketing, publicity, project timeline planning, general administrative tasks, areas we needed support as our business grew. 

After five minutes of conversation, I hired her on the spot. And to top it off, I found out she and Nick attended the same high school. It was meant to be!

Here's a short and sweet Q&A but please stop in and meet Ashanti during our next opening (which is NOT on a First Friday but rather Thursday, Sept 10th at 6 pm. Jessica Tenbusch and I will have an artist's conversation at 7 pm about her show Lacuna: Life Through Death).

CA: Who are your favorite artists, figures that inspire you? 

AJ: One of my biggest inspirations and favorite artists since I was very young has been Jean- Michel Basquiat. The themes of his art and how they inspire the viewer to see the deep truths of our society when it comes to race, class and knowledge through abstract figures and graffiti really influences a lot of my art. Some of my other favorite artist and inspirations include Frida Kahlo, Kehinde Wiley, Cree Summer and Kara Walker.

CA: What’s your major/minor and favorite classes? 

AJ: I major in graphic design and my favorite classes so far have been my 3D art classes. Although I work mostly in 2D, the classes have helped me see art in a whole new light, now I see art in literally everything.

CA: What do you do to de-stress?

AJ: Write, I've always enjoyed writing poems and short stories it helps me forget about all the stress and worries.

CA: What are your favorite things to do in Ypsi?

AJ: I love going to The Ugly Mug to grab a cup of coffee and visiting the local venues during First Fridays.

CA: What will the name of your gallery be? 

AJ: Artists On The Rise Gallery and Studios.... Or at least something like that , a place for aspiring artists to get mentored and display their art.

CA: The last word?

AJ: s an avid learner I'm so excited to intern with Chin-Azzaro and learn more things about the art world! I am so thankful to be apart of Ypsi's unique and rising art scene and I hope to make my own mark and someday help aspiring artists like myself. :)

 

 

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Dear Artist...

Over the last two months we've received a mound of submissions to exhibit in our humble space. Being the competitive process that it is, I've had to send more "no"s than "yes"es. And yet everyone has been gracious with the feedback regardless of outcome. What I've learned is that artists are itching not only for a place to show, but a place to be seen and possibly sell. I don't claim to be an "expert" at anything, I simply have a platform in which to sell the work. But I'll delve into that later.

I was compelled to write this post because of an email I received over the weekend. After teetering on a photographer whose work I thought was captivating and technically sound, I passed on the opportunity to show her work because she was enjoying editorial success. In her enthusiastic response, she shared that she was recovering from a recent stroke. She had lost some of the peripheral vision in her left eye but was still continuing to "get out there everyday with my little camera!" That truly touched me and made me remember my own anticipation when I was on the other side of the vetting process, how nerve wracking it was, the hope you hold to find out if your work will be seen.

Every one of you has a circumstance that I know nothing about and all I get is a small snippet of your life experience in a digital folder. For that, I am incredibly grateful. "Thank you" to each and every one of you that submitted.

I'm really humbled by this experience and feel I can lend some advice and hopefully help some of you to gain some understanding on how to continue the path. I'd also like to shed some light on how I make the decisions I do and what you should look for in a gallery and dealer. 

Dain Mergenthaler

Dain Mergenthaler

Traditionally, galleries sustained artists with a stipend so they could live and create art until the opening of a show and beyond. There are still a handful of high-caliber galleries that practice this model but most simply don't have the capability to function at this level. We certainly don't. I do not represent artists in an ongoing manner, but I do publicize, market, advocate for, live, breathe, sleep that artist's work during the months leading up to the event and the entirety of the exhibit. (And we do have contracts which allow for us to keep and sell work past the exhibit but relinquish upon the artist's request).  

From my understanding, the few galleries serving this immediate area have shuttered their exhibition programming or moved on. And there are even fewer chances to be highlighted as a solo artist. We are a small operation but we've had big experiences in the past. I've worked with contemporary artists like Julian Stanczak and Jerome Witkin and curated traveling museum exhibitions. I understand the practices to get work seen and I'd like to apply that to this market.

I look for thematic confidence. Meaning, how well do the pieces look together? After all, hanging a retail exhibit is very much about merchandising. For our Virtuous show, Jermaine Dickerson produced new graphite drawings, mixed media paintings and charcoal sketches, but all on the same topic - modern day media coverage and the state of sexism, racism and injustice - based around the comic book genre.

I'm a stickler for presentation so even if your work is on extravagant paper or your sculptures stand seven feet high, I have to consider how that translates in our space — a storefront with a track hanging system and approximately 11 foot ceilings. It is unlikely, but not impossible, for me to hang works on paper with metal clips and nailed to the wall. I don't think this looks professional nor inspires confidence in a buyer, no matter how exceptional a work is. You may think this is snobbery, but I'm trying to strike a balance between the museum guidelines I once adhered to, the gallery presentation of American works I'm used to and the early 20th century architecture of our building with a combination of cement, plaster and drywall surfaces.

We only show solo exhibits right now and that's what I intend indefinitely. Could you imagine an album that only had one or two songs from each artist? This type of compilation dilutes the aesthetic vision of the artist and understanding the intent and curating a good show takes time and exposure to a theme. My father, who is also an artist, once told me that a good painting means you can imagine the whole world in the style of the work, like you opened the front door one day and everything was saturated Gaughin. Since we're familiar with big names like Van Gogh and Picasso, we know what to expect. But with an unknown or contemporary artist, we need time to cleanse the palette, recalibrate and adjust to their vision. I believe solo shows are the only way to do this.

We enter into a contract where I have responsibilities to publicize and market you in the best light, in a way that's honest to your product. There are certain costs I will cover including print materials and signage supporting the opening, food and drink costs and occasionally supplies and/or framing depending on the deal. A dealer should always be able to disclose what pieces have sold and for what amount during the duration of a contract. They should also be able to relinquish your pieces when you request them, if, this was part of your contract as well. 

As the artist you also have responsibilities to deliver the caliber and number of works discussed, on time. They can't be owned by anyone else, unless they're on loan for a show with explicit understanding by all parties. Requests (whether it be for supplies, framing, extensions, what ever it may be) should be asked for in advance when possible. 

In terms of the submission process itself, following directions is of utmost importance. We (curators, dealers, gallerists) sift through dozens of submissions weekly and standardizing the process makes us able to consume images and keep track more easily. I recommend hiring or swapping with a photographer to take the best lit photographs possible against blank, unfussy backgrounds. I've received CVs and resumes in Word, text and jpeg formats but PDF ensures things don't get scrambled and look how you intended them to when you sent them off. 

And as you may have guessed, salability is keyBecause our exhibiting venture is still in its budding stages (our first show and panel discussion was only two weeks ago, selling five out of nine works), we're testing the waters to see what people will buy and whether sales will come via online and phone. But we're hopeful our expertise will drive people to buy in-person over what the internet has offered the last couple decades, much like the craft beer movement is sweeping big grocery store staples. There's nothing like seeing a piece in person (which is why I schedule studio visits when I can), so I'm hoping to capture the group that would normally purchase on Etsy or a reproduction from a site. 

Dennis Jones

Dennis Jones

I'm also keeping in mind what's easily consumable for a first time art buyer, a corporate collection, a longtime collector. Each show will test out a different price point as I'd like most people that enjoy art to be able to add something to their collection while seasoned buyers will be challenged with contemporary art that's not just "decorative" but authentic and well-executed

Finally, it's true. It does come down to what I like — what I find interesting, engaging, challenging. When I look at a submission, I have to believe there is a journey of longevity and collaboration. I'm a proponent for the arts and therefore, a fighter for the artist. 

Even though the submission season has ended, please don't hesitate to ask if you ever have a question.  The images in this post are a few of the artist submissions I've accumulated over the last two months. Enjoy. 

 

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Sold! | Playing Auctioneer at Art Around Town

I just found out that I get to be the auctioneer during the Art Around Town Art Auction on May 3rd! (I've worked the phone lines, calling bidders and intaking their bids, previewed shows and bid on pieces for work). I love auction culture. The competition and buzz of excitement as bids fly back and forth is unnerving, especially when you know a dealer is bidding for someone else. You never know how high something can go for when you present an item. 

For Art Around Town, we want everyone to have a fair chance to buy student pieces. The success of the event not only rests on the dollars raised, but the awareness we bring to the community about this invaluable program. 

Anyone that's ever been interested in attending an auction should definitely not be afraid to. This will be a fun and casual (but hopefully competitive) event. I'll name a starting bid and price increments will go up by $2 to $20 and up depending on the interest in each piece. I'll follow the rhythm of bids and close pieces as soon as we hit a lull of a few seconds. 

For the next two weeks I'll be sharing tips on how to bid and everything auction related. Here's a cheat sheet I created to help you get started. Good luck and I hope to see you on the 3rd!



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"Good Banana, Bad Banana"

A couple months ago I was approached to document a project happening at Washtenaw International Middle Academy in Ypsilanti, Michigan. A passionate and gregarious group of kids had been tapped to create a game as part of the NASA/US Department of Education STEM (Science, Technology, Engineering and Mathematics) Challenge Pilot for astronauts to play in space. Yes, that kind of space.  

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The kids' initial idea was to include a limited set of objects the astronauts have access to during their travels. One of them is a banana. Thus, the idea of "Good Banana, Bad Banana" was born. With a couple tosses of fruit, creative velcro use and ripped t-shirts, they created an ingenious and engaging game to be played in zero gravity. The game was videotaped (see the video here) and I took photos of the process.

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There were definitely challenges along the way...

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But as you may have guessed by now, Team Spaced Out won their division! 

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I was there to watch the kids speak to an impressive panel from NASA and the US Department of Education yesterday via teleconference (along with students from the three other schools that had also won in their respective divisions). I couldn't be more proud of the kids and the staff that nurture and help them to execute their ideas. Congratulations to everyone!

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Graphic Recording: Illustrating Verbal Thoughts

Last week I was approached by a medical start up group at the University of Michigan for my illustration skills. They had a work retreat and wanted it to be recorded real-time on a whiteboard. I had seen some really spectacular examples of graphic recording on youtube but never thought I would get to do it myself. I got my first taste of it yesterday and now I'm hooked! 

Much like mural work I've done in the past, it's challenging and physical. Unlike a mural where I get to take my time to measure, sketch and take my time, illustrating a talk or presentation is very different in that I have to synthesize the information immediately and make it consumable in a visually interesting way. 

Graphic recording and mind mapping for a medical conference at University of Michigan in Ann Arbor

Graphic recording and mind mapping for a medical conference at University of Michigan in Ann Arbor

It took me a little time to get started but the ideas were flying and I got some great illustrative ideas down. See for yourself. 

If you have a work, group or corporate retreat you need graphic recording for, shoot me an email

 

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Chris Johnson of Johnsonese Brokerage: How to Insure Your Art

Today's post was written by our wonderful friend and business insurance guru, Chris Johnson. He's the owner of Johnsonese Brokerage in Chicago and has helped us tremendously over the years. He was kind enough to explain the process of obtaining insurance and also share some inside stories.

What are the general steps to getting art insured?

The biggest step is probably determining the value of the art to be insured. Collectors simply have their collections appraised. For an individual artist the process is a little more challenging because their art inventory is continually changing. So they need good records to document the value of their art. This can be copies of gallery contracts, for example, that list the consigned value of their artworks over time. Or if they sell directly, it can be sales records showing selling prices over time. For more established artists, it can be auction records or appraisal reports for specific works.

The next step is simply to find an insurance agent that understands the business of art. The insurance agent will work with the artist to determine what level of insurance coverage is appropriate for the artist. This is basically the highest dollar value of artworks that you might have at your studio (or elsewhere) at any given time. You also need to be concerned with coverage for your artworks while in-transit. Most art insurance policies have a separate, and usually lower, sub-limit for coverage of art while it is being shipped. The limit should be high enough to cover the highest value of art that you would include in any one shipment. Think of how much you might ship for a gallery show or art fair, not just individual artworks being shipped to buyers.

You also need to think about international coverage. The typical policy provides coverage in the US and Canada. If you will be selling internationally or participating in international art fairs, you should add international coverage.

What are some of the types of clients you insure?

In the Fine Art world, we insure galleries and private dealers, auction houses, corporate and private collections, framers and conservators, and individual artists. We also insure traveling museum exhibits, which I think can be the most fun because we sometimes get to see the exhibits before the general public.

Share an awesome art story disaster with us!

You won’t be surprised to learn that Charles Saatchi is not my client. But I can’t help finding the story of the demise of his Marc Quinn sculpture a little amusing. The sculpture was made from the artist’s own frozen blood, so Saatchi had it kept in a freezer. During maintenance at his house the power was disrupted and the sculpture melted. The darkly amusing part to me is that Saatchi is married to celebrity cook Nigella Lawson. So I can’t help imagining this work of art melting all over some amazing dinner that Nigella had whipped up for a party.

Marc Quinn, Self, 2001, Image: The Art World Daily

But for my real clients, the day to day claims are things like water damage, damage in shipment, damage during installation or packing, and even red wines spills at gallery openings. I did have a gallery client experience a pretty major loss when there was a fire two floors above them. The fire was quickly contained on the higher floor, but about half of my client’s inventory was water damaged. I had another client have sewage back-up literally in their gallery. Most of the work was high enough that the damage was limited, but still expensive.

Who are your favorite artists?

I like and collect a few local artists who aren’t well known. But to have some fun name dropping, probably my favorite living Chicago artists are Karl Wirsum and Theaster Gates. In looking at all of art history, I have eclectic tastes. I like El Greco, Vincent van Gogh, Jackson Pollack, Andy Warhol and Cindy Sherman.

But if I could own any artwork in the world, I might choose Picasso’s Guernica.

Pablo Picasso, Guernica. Paris, June 4, 1937. Oil on canvas, 349.3 x 776.6 cm

Thank you, Chris, for sharing your expertise on taking care of our investments! You don't have to be in Chicago for him to help you. See the full list of licensed states here. To contact him about your own collection or business, call  773.857.0242 or email him at info@johnsonese.com

Johnson is a licensed insurance producer with a background in corporate finance, business planning, technology commercialization, project management and international business. Johnson focuses on serving clients in the arts community, building on his four year experience as director of a contemporary fine art gallery in Chicago. During this time he was also a founding member of a neighborhood gallery association, and he completed a Certificate of Connoisseurship in Fine & Decorative Arts at Northwestern University. In his insurance practice Johnson works closely with art galleries, antique dealers and framers to protect and build their businesses.

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How to Sell Your Art and Other Helpful Tips

Yesterday's post on pricing student or "emerging" art work tackled the difficulty of pricing your works to move. But maybe even more difficult is gaining the exposure and putting your works in the right venue to be seen and sell. When I was talking to Paula Shubatis about the value of large scale oil paintings, I was also considering the proper space for the pieces to be hung. She had a really great idea to have a non-profit sponsor so that she could apply for a permit to exhibit in an alley downtown. I immediately posed the question, "How will that make you money?" Yes, it would gain her intrigue and possibly some press, but I was concerned with how she was going to be rewarded for her efforts. Too many times we think about the work but we don't know how to translate to tangible values. Most of society is already programmed to consume art in small manageable pieces so while seeing a painting in an alley might be exciting, it might not speak to a buyer or get a buyer to come out to the alley to begin with.

Paula answered that it probably wouldn't be a money-making ploy but the alley would complement her painting. Although it would be for a short time, I had to agree. So we started brainstorming on how she could further the visibility of her paintings and who her potential clients were. This is what I suggested researching.

Corporate collections

Although many have been dissolved over the years, corporate art collections were and still are a barometer of a corporations success. The historical, educational and sophistication level of a curator's choices can communicate a vast number of nuances to a client. Some focus on specific topics relevant to the company but most are diverse and worth millions of dollars. I suggested to Paula to research any collections that were still active in the southeast Michigan area and send a professional letter and images to those that collect contemporary.

Art Fairs

From creating enough inventory to sell to the logistics of travel to getting into the fair itself, the career of a professional artist is a tough one when you're traveling cross country to sell your wares. But I know some very successful artists that make a living of this and they love what they do. Research each market, figure your costs (including booth fees, lodging, food, airfare/gas, insurance, shipping if needed) and try out a local one to see if you like the art fair circuit culture.

Representation

The art dealing culture has changed drastically over the last decade. Gone are the days of sending slides and lugging heavy portfolios to the gallery. While it may still stand as the pinnacle of an artist's I've made it moment, getting representation is getting harder and harder each day as galleries downsize and restructure what it is to be in a gallery's stable of artists. Now there are an infinite number of online galleries and stores to sell your work. Besides the ever popular Etsy, there's also Big Cartel, a foolproof store that handles your art sales and monetary transactions safely.

If you are interested in going the traditional route of being represented by a dealer, read the instructions carefully and make sure you include everything they ask for and nothing they do not. Use the best materials you can afford and have friends or colleagues proof all text. Also, do not send unsolicited packages. I used to be an American art dealer (known impressionism, modern and contemporary works) and would receive numerous packets from artists. Had they taken the time to research the website, they would have seen that I generally worked with museums and collectors to sell paintings by deceased and market-established artists. Vet your galleries carefully and save yourself the postage!

If nothing else, having a website is a must. Take clear, well-lit photos of your art work and make sure your site is easily navigable and concise. Include an artists statement and any information that will intrigue your clients. Branding yourself properly is probably the most important tool of all.

Public and Temporary spaces

Like Paula's idea to show in the alley, outdoor spaces garner attention from people that might not normally see art. It's exciting, fresh and enlivens a space if it's installed properly. Remember to consider the logistics of transporting the piece, whether you need electricity, if it's safe from the elements, if you'll need a lock or security overnight and whether you need to insure it for potential loss or damage. All these things considered, public art is also a great excuse to garner publicity...

Publicity

Getting in front of a buyer is difficult without a dealer or gallery. That said, there are many perks to representing yourself, namely not having to pay a share to the middle man. But that means you have to know how to talk about your work and how to publicize it. I always tell students and artists to learn to write a press release. It's one page, has all the relevant information a magazine, newspaper or TV would need to cover your story. But make sure it's newsworthy before you send it. It's also important to make rounds at the art fairs, openings and museum circuit. Learn not only to talk about your work but art and design history in general.

There are tons of details that go into the success of an artist and these are just a few starter tips. Sometimes it's just a matter of knowing the right person, being at the right place at the right time...but I like to believe that forethought, planning and talent matter too. Good luck!

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Emerging Artist: Paula Shubatis + How to Price Student Work

The last couple months have been a wonderful blur. We went on maternity + paternity leave and have spent some much deserved time at home with out little one. It's an amazing adventure and it's bittersweet to return to the real world after a long hibernation. But it feels good to be back. One of the few trips that have led me out of the studio recently was a trip to meet Paula Shubatis, a senior at The University of Michigan Penny W. Stamps School of Art & Design. She was having trouble figuring out how to price her works. When I arrived at her studio, I was in awe of the caliber and scale of her handstretched oil paintings. Not only were they superbly executed, the content of decaying architecture and complementing organic forms required real investigation.

Sous Bois

The following are thoughts from Paula about how she found her way as an artist and painter, what her process is and how she sees her career in the future.

I’ve always been a maker.  Whether it was drawing on the walls, or making my own iteration of the Sistine chapel on the underside my mother’s mahogany coffee table, I’ve felt the constant need to make and do throughout my whole life.  But, it was not until high school that I was able to get a better technical knowledge of making through art classes.  After taking AP art in high school, I knew that I wanted to go to art school.  I came to art school under the false pretenses that I would go into something practical like graphic design, but secretly always knew that I wanted to be a painter.  Experiences with design only affirmed that I was awful at it, and it gave me great anxiety.  Through this rejection of design, I found my love of physicality of craft, in the realms of painting and fiber arts.  Once I found my genuine love and passion for making, I not only knew that I wanted to be a studio artist, but I had to be one, because I wouldn’t know what to do if I wasn’t.  

f. The Dance of the Arcadians

"Foraging a Vernacular Identity" is inspired by my curiosity of the mysteries which lie in the ordinary places which surround me.  I have a strong fascination with how systems of math and science are at play to create the poetry of a space, but could never hope to understand them.  I find myself drawn to painting nature and architecture because of their inherent relationships to math and science.  My paintings are a series of experiments through which I break down shapes, colors and forms of spaces into modular units, and reassemble them to try to figure out how they work.   I like to manipulate different variables like scale, directionality of marks and orientation to play with how the viewer might perceive a space. I often combine different variables of multiple spaces to create one hybridized space.  This process of experimentation and analysis becomes deeply introspective, and I find that I project myself onto spaces which I paint.  I convey my own sense of a fractured reality and disjuncture with the world though a dialogue between degenerate architecture and nature.          

Painting requires one to operate within a very peculiar state of being.  It asks one to be conscious, alert, and responsive at all times, and maintain a dichotomy between an idea, and how that idea actually translates into paint.  Painting asks one to suspend disbelief, and allow one’s self to become immersed in the surface.  Immersing one’s self in a surface demands a full commitment to the surface, and coping with the inevitable possibility of failure.  The surfaces which I grapple with aren’t just fictitious worlds, but they are also my own selfish spaces where I discover and share my most intimate secrets.  It can be very difficult to reveal the truths which I find within my paintings to both the viewer and myself.  It takes just the right mix of self-doubt and brazen confidence to have both the courage and motivation to make new discoveries.  

SnaggletoothPainting will always be something, which I always do, even if I had to dig up cadmium from the earth.  I see painting as a mode of visual communication.  I hope to share this mode of visual communication with others through making and outreach as a teaching artist, and also as a gallery artist.  As long as I have the means to do these things, I will be happy.  While the life and career of a studio artist might be more turbulent than those of other professions, the joy, satisfaction, and fulfillment which it gives me are well worth it.

It's evident that Paula has a clear understanding of her work and how to talk about it, which is a great portion of an artist's ability to sell their work. Her concern of striking a balance between asking too much and too little (since she is after all, a "student artist") is a common one among the art school set. But here I was, staring at eight foot tall works that in any retail setting would go for tens of thousands of dollars or more and yet, I had to tell her something that would appeal to a collector, perhaps visiting the senior show with or without an intent to buy. There are two areas to consider when you're selling your work: practical and sentimental.

The Prodigal Daughter

Practical

How much time did you spend on the piece?

How much did your materials cost?

Is this a special medium/something rarely seen?

What's the market like in your area? (this may be a non-issue if you're selling your work nationwide or on the internet)

Sentimental

How much are you willing to let it go for?

Are you just trying to make a first sale?

If money was not an issue, what would you pay for it?

Once you've considered these factors, you should have a clearer picture in your mind of what you're willing to let a work go for. One issue that Paula brought up was her status as a student and how that may affect a buyer. There are plenty of talented graduates that go on to show and sell work immediately out of college and I don't believe they should be shortchanged just because of their newness in the industry. That said, I encourage young artists to coin themselves "emerging" or "contemporary" to get away from the stigma of a "student artist." Because yes, starving art students should make a dollar but it should be a fair amount that they feel is respectable.

On a side note, I want to address those that don't want to sell. At some point, you'll create a work and think, I'll never produce something this good ever again. This is the best work I've ever done and I can't sell it. But consider this - if you don't sell it, then what's the point? I see "NFS" (not for sale) on pieces at shows and that negates every reason to create work in the first place. If you document it with great photos and remember the process, believe me, you'll create something even better in the future. Better to have a collector enjoy than to hold onto something so precious because you think you won't obtain a higher standard of craft than where you are now. That's silly, isn't it?

e. Ponte d' Chaos

You may be wondering if I gave Paula a concrete set of numbers to work with. And yes, ultimately, I did. For the large ones that stood about 8 feet by 6 feet, I recommended a range of $8,000-10,000. For the smaller ones $4,000-6000. I took into account the number of hours, the polished nature of her work, the content and the overall feeling of her paintings. They're truly monoliths, worthy of a large space such as a corporate lobby or a collector's living room, somewhere with high ceilings. A few of Paula's pieces will be for sale at the Senior Show coming up on April 19th and I'll be anxious to hear the feedback she receives and give any pointers I can to facilitate selling her works.

The next post will be about how to sell the works and get publicity in the local market. Feel free to add to the conversation or post questions. We're all in this together.

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An Incredible Photo that Made Us Stop | How to Protect Your Images

A couple weeks ago N had to deal with a snafu that the local paper here made. They ran a photo that belonged to him and subsequently had to take it down and pay him a nominal fee for usage. (It really was the right thing for them to do, after all). It really angered the both of us because it was blatantly taken and we feel they waited to see if they would be found out. This issue is not going to go away and will only proliferate in the internet age. Our working friends have had their images and design ripped off and there are many degrees of it. Last week we came across a photo from the Herman Miller Facebook page and we were immediately drawn to the flawless execution.

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A time lapse of airplanes taking off from Hannover Airport in Langenhagen, Germany was captured in layered precision. In clicking through to find out more about the photograph by Korean artist, Ho-Yeol Ryu, we saw that it originated from a link at the Tropenmuseum.

The entire image via Tropenmuseum

What caused us concern however, was how big the file is. It literally covered the screen of my 21" screen and then some. I could scroll back and forth, up and down. Now, you may wonder, what is our problem with seeing something so up close and personal? Turns out that Ryu has shown through a few contemporary galleries which means that he may have a great retail and/or auction record. But any time your image is shared at such a large file size, there's potential for your image to be taken, printed and enjoyed without your reaping the benefits of your hard work. Take our blog, for instance. We share plenty of images but our resolution is low to medium quality, generally nothing larger than 5 x 7 inches.

A detail shot of just approximately a third of the photo.

More image to scroll over.

And even more still.

If Ryu were just up and coming and not represented and sold to collectors, I would contact him to alert him of this potentially dangerous occurrence. But with his reputation, I'll assume that those that represent and exhibit his work are aware that of their actions and would not do anything to dilute the value of his works. What should you do to protect your images if you're worried about them being stolen? You can control the avenues in which they're presented and limit or deny internet exposure. Or, you can watermark them. If that inhibits the viewing experience, you can just make them small enough, as we do, so there's no concern over them being shared.

Yes, as visual artists, we want people to see our work. We just don't want it to hang in your living room in a massive frame unless you support us. Thanks.

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A New Partnership : Tribehaus | Photo Studio Group

Sunday we shot our first of many sessions for Tribehaus, owned by entrepreneur extraordinaire Anna Bagozzi. With its eclectic and trendy inventory, Tribehaus is an online presence unlike any other offering women's fashion with plans to expand to menswear. Anna has turned the brand into an empire with her insane marketing skills. Check out her Facebook, Twitter and Tumblr pages.

For model shots, we required a studio space that would allow for flexibility and a seamless or cyc wall, a panel with rounded bottom corner to lend an infinite spatial quality to the images. Not only is it an incredibly brilliant concept, Photo Studio Group, is a community-based resource, offering their space and equipment at a fraction of what it typically costs. We just started our membership and we urge others to visit them as well. It's better than any other scenario we've come across during our years in commercial photography.

Every shoot depends on successful collaboration of the team. We were really lucky to have Amelia modeling. Not only does she have an incredible high fashion look, she was so personable and a breeze to work with.

No shoot is complete until you bring in hair and make up and Taryn Scalise is a master of both. She got us through two complete looks very quickly and was on hand to catch fly aways with the brush and lip stick touch ups between shots.

We can't remember the last time such a production went so seamlessly and we can't wait to do it again. In the meanwhile, support our partners and let us know if you have any questions about buying from, visiting or hiring our friends. See you next week!

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