The Meeting Place is an incredibly efficient way to present work to a large number of important decision-makers in the photography world. The international nature of the reviewers is very welcome. 

– Candace Gaudiani
San Francisco, California
2008 Meeting Place Registrant


Registering for the 2010 Meeting Place Portfolio Reviews.
In order to be eligible for possible participation in the Meeting Place, you must fill out a registration form. When the Meeting Place is full, applicants are placed on our Waiting List in the order in which their Meeting Place Registration Forms are received. Receipt of Meeting Place Registration Forms will be confirmed by FotoFest via e-mail or phone.

Meeting Place Waiting List -
For Meeting Place Registrants on the Waiting List, FotoFest will send notification via email or phone, if a space becomes available. Meeting Place spaces may become available as late as January-February before the March Meeting Place.

Discounted WORKSHOP Fees - All Meeting Place registrants are offered discounted fees for the Workshops.

Workshops, Curatorial Forums, Exhibitions, and Evenings with Artists, Open Portfolio Nights were held each session of the 2010 Meeting Place. Workshops were open to all artists and the general public. Curatorial Forums and openings for all FotoFest-sponsored Exhibitions are also open to all Meeting Place participants and the public, free of charge.

The 2010 Meeting Place was held for sixteen days, Friday, March 12 - Thursday, April 1, 2010. There were four, 4-day sessions.

The 2010 Meeting Place Registration Fee was $820. Artists were able to register for one 4-day session. Artists were guaranteed a minimum of four formal reviews a day in addition to informal portfolio meetings.

The 2010 Meeting Place Session Dates were:
  Session 1: March 12 - March 15, 2010
Session 2: March 17 - March 20, 2010
Session 3: March 24 - March 27, 2010
Session 4: March 29 - April 1, 2010

The registration form must be completed and sent to FotoFest by regular mail or fax. NO phone, e-mail, or walk-in registrations are accepted.  FotoFest will confirm receipt of Meeting Place Registration Forms via e-mail or phone after receiving your Registration Form. If you DO NOT receive confirmation via e-mail or phone within 10 days of sending the form, contact us because we may not have received your registration.


Before December 10, 2009 - FotoFest provided a full refund minus a $100 administrative fee

After December 10, 2009
- If FotoFest was able to fill a cancelled spot with someone from the Meeting Place waiting list, FotoFest provided a refund minus a $150 administrative fee .

Meeting Place Registration is NON-TRANSFERABLE. FotoFest will not honor Registrations that are sold or traded amongst individuals. Cancelled Registrations are given to people on the Meeting Place waiting list.

For more information call or e-mail:
Marta Sánchez Philippe or Sarah Craig
FotoFest Meeting Place
713.223.5522 x 13

The best way to stay up to date on Meeting Place news and deadlines is by subscribing to the FotoFest Newsletter


Ignacio Andreu, Creative Editor
C International Photo Magazine, London, UK & Madrid, Spain


Ignacio Andreu is the creative editor of C International Photo Magazine, published twice yearly since 2005 by Ivorypress. C Photo is a 300-page, hardback photography publication that comes in two bilingual versions, English/Chinese and Spanish/Japanese. The aim of the publication is to promote debate and creativity in contemporary photography unlimited by cultural, geographical, or thematic boundaries.

Ignacio Andreu attended the North West School of Arts & Sciences, Seattle, Washington (USA). He earned his BA in Media Critical Studies: Theory and Criticism, and his minor in New Media Communications (NMC) from the University of San Francisco, California (USA). Before coming to C Photo, he had worked in advertising, as an editor, and as a music critic.

Because C International Photo does not include any advertising, Ignacio Andreu is interested in reviewing any type of photography that has not been commissioned for commercial purposes. He is also interested in discovering photographers whose work could potentially be published in future volumes of the magazine.

Burkhard Arnold, Director
In Focus Gallery, Cologne, Germany

Burkhard Arnold is the founder, owner and director of In Focus Gallery. In Focus is a gallery dedicated to international classic and contemporary photography, founded in 1989. The gallery organizes between 4 and 5 exhibitions a year, including documentary, photojournalism, conceptual, and fine art photography with emerging as well as established artists. Burkhard Arnold regularly curates shows for other institutions, galleries and museums. He has reviewed at photo festivals in Arles (Fr), Rhubarb-Rhubarb (Birmingham, GB), Photoszene Cologne (D), Houston 2008 and Nordic Light Event, Norway.

Mr. Arnold is interested in seeing all kinds of work, but with an individual and strong visual language. He is not interested in commercial or stock photography, pure landscapes or flowers or mostly computer or digital generated images.

If the work is not yet ready to be exhibited, he is able to give advice or develop together with the photographer future possibilities to bring the work to an audience, especially to the German photography art market. He can provide the opportunity of promoting and exhibiting photographers’ work at In Focus Gallery or in any other exhibition project he curates.

Helen Cadwallader, Executive Director
Brighton Photo Biennial, Brighton, UK

Helen Cadwallader is Executive Director of Brighton Photo Biennial. Brighton Photo Biennial a leading photographic event based in the UK with international impacts. The Brighton Photo Biennial mission is to collaborate with partner venues and visual arts organizations to show high quality photographic and related artwork to the widest possible audience, bring the best international photography to the UK, exhibit recent and newly commissioned work, and encourage and showcase local talent by working closely with Brighton Photo Fringe. The Biennial includes exhibitions, participatory programmes, publications, conferences, talks, portfolio viewings and outdoor events. Since it’s first instatement in 2003, the Brighton Photo Biennial has quickly developed into a unique and ambitious international photographic event led by an individual curatorial vision focused on photography and lens-based media. Martin Parr is guest curator for BPB 2010 to be staged in October/November.

Prior to taking the post of Executive Director in 2007, Helen worked for 6 years at Arts Council England, the national development agency for the arts in England, in the position of national lead for the strategic development of photography and media, publishing and distribution. She was the first to manage and further develop the BAA Art Programme, commissioning a wide range of visual artists to produce contemporary, critically engaged art in BAA airports including Heathrow which operated from 1994 to 1999. A graduate in History of Art, Design and Film in the Modern Period at University of Northumberland and a post-graduate in Film Studies at University of East Anglia, she has written about contemporary practice and time-based media and is published in a wide range of books and publications including, ‘Sequences: Contemporary Chronophotography and Experimental Digital Art’ (Wallflower, 2009), ‘Locus Solus: site, identity, technology in contemporary art’ (Locus+, 2000), Mute magazine, Hybrid magazine, Women’s Art Magazine and Performance.

Helen Cadwallader is interested in reviewing visually original and critically astute portfolio’s of work suitable for exhibition in gallery or public realm platforms. Against this, all types of photographic genres and styles from documentary, landscape, portraiture, still-life through to constructed imagery, and in any medium are welcomed. She is interested in reviewing a broad range of approaches from conceptual, formal to critically engaged and which reveals an acute level of social, personal or psychological engagement where the use of genre and style clearly serves the practitioners intention and message. She is not interested in reviewing commercial work intended for advertising or stock. Whilst she is particularly interested in developed bodies of work some consideration will be made for discussing unresolved projects and giving advice to their placement and promotion. The Biennial is a curated event, however, Helen is able to refer the work on to the guest curator for consideration and reference for future programmes and to the Brighton Photo Fringe a close partner. However, she cautions photographers that it would be unusual for her reviews to lead to exhibitions or articles. But she can offer advice and guidance.

Dr. Joerg M. Colberg, Editor & Publisher
Conscientious, Northampton, Massachusetts, USA /weblog

Dr. Joerg Colberg is the editor and publisher of Conscientious, a widely read blog dedicated to contemporary fine-art photography, now in its eighth year. Interviews first published on the blog have been re-published in photography magazines in many different countries. Dr. Colberg has also written articles for magazines (such as FOAM) and, most recently, the introduction to Hellen van Meene's monograph “Tout va disparaitre”. In addition, Dr. Colberg has curated photography shows, and has reviewed photographers’ portfolios on different panels over the past years.

Dr. Colberg is most interested in reviewing fully developed bodies of work, with no preference of type of imagery. However, he is not interested in reviewing commercial/editorial or “toy camera” work. Aside from offering criticism and critique of the photography itself, Dr. Colberg is happy to provide advice and direction in terms of promoting work online.

Catherine Evans, Chief Curator
Columbus Museum of Art, Columbus, Ohio, USA

Catherine Evans was named Chief Curator at the Columbus Museum of Art in 2004. Since 1998 she has also served as the museum’s Photography Curator. As Chief Curator, Evans oversaw the second largest acquisition in the Museum’s history, that of the Schiller Collection of American Social Commentary Art 1930-1970. She has directed the development of major international exhibitions such as Renoir’s Women; Edgar Degas: the Last Landscapes (Columbus and Copenhagen) and the recent In Monet’s Garden: The Lure of Giverny (Columbus and Paris).

As the Photography Curator Evans has been with the museum since 1996 and spearheaded the successful acquisition of the Photo League collection, which increased the Museum’s photography holdings by 40 percent. She was the principal author and curator of the exhibition A View from Here: Recent Pictures from Central Europe and the American Midwest, which toured internationally and nationally. Evans has presented several artists with their first one person museum exhibition and curated over 45 photography exhibitions for the Columbus Museum of Art. She has been a portfolio reviewer in Santa Fe, Houston, Portland, and Atlanta. Prior to the Columbus Museum of Art, Evans worked at the Museum of Modern Art in New York (Assistant Curator in the Photography Department, 1981-1990) and before that, at the Canadian Centre for Architecture, in New York and Montreal, Canada (1979-1981). She received her degree from Williams College in Art History and German Literature.

Evans is interested in work that brings something new to the medium and is not derivative, predictable, or clichéd. She is not interested in viewing commercial, stock, fashion, studio nudes, generic travel or advertising work, and graphic depictions of surgical procedures. In addition to offering suggestions and critiques of an artist’s work, Evans sees FotoFest as an opportunity to expand an “image bank” of contemporary work for CMA, which she may tap into for future group and/or one-person exhibitions.

The first art museum chartered in Ohio, the Columbus Museum of Art was established in 1878. Since its earliest history, the collection has been known as a treasure trove of Modernism. It now houses one of the most outstanding collections of late nineteenth and early twentieth-century American and European art. This collection includes extraordinary examples of Impressionism, German Expressionism, and Cubism. The Museum has also developed several in-depth collections connected to this region, and is recognized for having the largest public collection of woodcarvings by Columbus folk artist Elijah Pierce, as well as the largest representation of paintings by Ash Can artist and Columbus native George Bellows. Today a growing interest in contemporary art and photography continues the Museum’s commitment to collecting and exhibiting art of our time.

Missy Finger, Co-Owner
PDNB Gallery, Dallas, Texas

Missy Finger is co-owner of PDNB Gallery. Her partnership at the gallery involves sales, writing, publicity, research, and gallery management. She co-founded the gallery with her husband, Burt Finger, in 1995. Prior to opening the gallery, she and her husband acted as private dealers in photography and collectibles.

PDNB Gallery specializes in exhibiting contemporary works including conceptual, documentary, and social landscape. It also focuses on the 1970’s era of conceptual works and performance art. Additionally exhibited are vintage photographs by early 20th Century Masters. Ms. Finger would like to review work that departs from tradition. Conceptual work is preferred, although documentary is also accepted. She wishes not to view conventional nudes or conventional landscape. During the review process one can expect guidance on projects and, if possible, referrals and venue suggestions.

Jim Fitts, Executive Director
Photographic Resource Center at Boston University, Boston, Massachusetts, USA

Jim currently holds the position of Executive Director of the Photographic Resource Center at Boston University. He lectures widely on industry related topics dealing with photography and marketing. Jim has taught portfolio development for several decades focusing primarily on fashioning photography portfolios for sales and exhibition. Jim has been a fine arts photographer and collector for over 30 years. He has an extensive collection of late 20th century American photographs, as well as photographs by a number of emerging 21st century photographers. Jim has a history of curating exhibitions at a number of institutions including MIT and Massachusetts College of Art and Design.

He held the position of Creative Director for He has served as Vice President, Creative Director for iXL/Scient. He was also Creative Director at HHCC Europe. Jim was a partner and Creative Director at Clarke Goward Fitts. His work has been featured in both Communication Arts Magazine and Art Direction magazine. Jim is also the recipient of the William Gunn Humanitarian Award and the Morton Godine Medal.

He is most interested in reviewing work that has a fine art, editorial, or commercial focus.

Alasdair Foster, Director
Australian Centre for Photography, Sydney, New South Wales, Australia,

Alasdair Foster is director of the Australian Centre for Photography, Sydney, the country’s peak public institution for the exhibition, education and publication of contemporary photo-based art. Established in 1973 it is one of the oldest publicly-funded photo centers in the world and Australia’s longest running contemporary art space.

Alasdair was formerly the founding director of Fotofeis, the award-winning international biennale of photo-based art in Scotland. He has a hybrid background in photography, science, history and film and has worked as an artist, curator, writer and photographer.

Alasdair is a member of the photomedia research cluster at Monash University Department of Theory of Art and Design, and has previously served as President of the Contemporary Art Organizations of Australia and as a Spirit of Youth mentor. He has contributed to a number of books including: BLINK (Phaidon, 2002); Ray Cook – Diary of a Fortunate Man (QCP, 2007); Erwin Olaf (Aperture 2008).

Alasdair is interested in viewing strong, innovative work using photography, digital imaging, video or network media. Work that arises from a lively engagement with contemporary life and youth culture or projects that involved the audience as active participants are especially welcome. He is not interested in formalist or purely aesthetic work or commercial portfolios.

With over 30 years’ experience in photo exhibition making and a broad international perspective, Alasdair can offer critique on creative practice and advice on strategies for the promotion of work of excellence. In exceptional cases he can offer opportunities to exhibit at ACP and/or publish. This will be Alasdair’s eighth FotoFest and every visit has resulted in work discovered in Houston being exhibited at ACP, published in Photofile or, prior to 1998, included in the FotoFeis biennale.

Ashley Givens, Assistant Curator, Photographs
Victoria and Albert Museum, London, U.K.

The Victoria and Albert Museum is the world’s largest museum of fine and decorative arts. The Museum’s photographs collection, the National Collection of the Art of Photography, is over 150 years old and ranges from the historic to the contemporary. Ashley Givens joined the Museum in 2007 as the Assistant Curator of Photographs. She began her career in the Photographs Department of Christie’s in New York. She has since earned an M.A. in Nineteenth Century French art from the Courtauld Institute of Art where she is also working on a Ph.D.

Ashley is interested in seeing all types of creative photography, and in particular those projects with a fresh and well-devised point of view. She is not interested in commercial work for advertising purposes.

Ashley brings to portfolio reviews her knowledge of the history of photography and her experience working in the curatorial department of an international museum.

Elda Harrington, Director
Encuentros Abiertos, Buenos Aires, Argentina;

Elda Harrington is the Director of Encuentros Abiertos (Argentine’s Photofestival) since 1989 and the director of the Argentine School of Photography since 1987. She is also the president of Luz Austral Foundation, which is dedicated to promoting photography in Argentina. Ms. Harrington is an international curator and an independent photographer. Ms. Harrington is interested in reviewing innovative and new media bodies of works. She is not interested in reviewing commercial works. She can provide an opportunity for invitations to exhibit and participate at the Encuentros Abiertos-Festival of Light in Argentina.

Michael Itkoff, Editor
Daylight Magazine, New York, New York, USA

Elda Harrington is the Director of Encuentros Abiertos (Argentine’s Photofestival) since 1989 and the director of the Argentine School of Photography since 1987. She is also the president of Luz Austral Foundation, which is dedicated to promoting photography in Argentina. Ms. Harrington is an international curator and an independent photographer. Ms. Harrington is interested in reviewing innovative and new media bodies of works. She is not interested in reviewing commercial works. She can provide an opportunity for invitations to exhibit and participate at the Encuentros Abiertos-Festival of Light in Argentina.

Ann M. Jastrab, Gallery Director
RayKo Photo Center and Gallery, San Francisco, California
Resident Faculty, Maine Media Workshops, Rockport, Maine;

Ann M. Jastrab is the gallery director at RayKo Photo Center located in the SOMA arts district in San Francisco near SFMOMA and the Yerba Buena Arts Center. Rayko is a community photographic facility with rental darkrooms, digital labs, studio and galleries that has been serving the Bay Area for over 20 years. The Main Gallery presents eight to ten exhibitions yearly with many nationally recognized artists; there is also a section of the gallery called The Marketplace which is reserved for Bay Area artists and displays a wide variety of photographic work.

While being the full time gallery director and curating shows, Ann also leads portfolio classes at RayKo. Ann has also been teaching at the Maine Photographic Workshops (now the Maine Media Workshops) in Rockport, Maine, since 1994. She has been conducting portfolio reviews for several years for The Worskhops as well as RayKo. She is always looking for new artists for the gallery as well as potential teachers, staff and students for The Workshops. She is most interested in seeing fine art photography, alternative processes and historical process work, and also work made with traditional film cameras as well as plastic and pinhole cameras.

Cathy Kimball, Executive Director
San Jose Institute of Contemporary Art, San Jose, California

Cathy Kimball is the Executive Director of the San Jose Institute of Contemporary Art (ICA), responsible for artistic programming and administration. During her 10-year tenure at the ICA she has implemented a number of new programs including an annual “NextNew” presentation focusing on emerging artists working in diverse media, as well as the ICA’s “Night Moves” program, which includes multi-media installations that project in the front windows of the gallery from dusk until dawn. Visible only after dark, this series of installations makes contemporary art immediately available for viewing, and provides a unique forum for new media artist. She has curated several dozen exhibitions during the past 10 years at the ICA including Before After: Lewis deSoto, a solo show of conceptual works – both photography and installation based, Depicting Absence/Implying Presence, which included works by Candida Hofer, James Casebere and Sophie Calle, among many other photographers; Bytes and Pieces: Contemporary Collage with work by Jim Campbell, Lewis deSoto and Anthony Discenza. Photographer Unknown: Unidentified Photographs from the Stephen Wirtz Collection; Nigel Poor: Found, and The Art of Exchange – Stuttgart/San Jose, with photographic works by Hildegard Esslingner, Susan Felter and David Pace.

Ms. Kimball came to the ICA from the San Jose Museum of Art where she served as curator for four years. During her tenure at SJMA, she curated a number of high-profile exhibitions, including Alternating Currents: American Art in the Age of Technology, Selections from the Permanent Collection of the Whitney Museum of American Art, and Surroundings: Responses to the American Landscape, also curated from the Whitney’s permanent collection. Before moving to the West Coast in 1995, Ms. Kimball was the curator at the New Jersey Center for Visual Arts in Summit.

Ms. Kimball is interested in seeing a wide diversity of work. In addition to always being on the look out for talented artists to exhibit at the ICA, Ms. Kimball is familiar with a number of galleries in California that emphasize photography, as well as Museum’s with an interest in collecting photography, and she is always happy to recommend someone she feels merits attention.

Hans-Michael Koetzle, Art critic, Curator, Writer, Editor
Munich, Germany

Hans-Michael Koetzle is working as a freelance art critic, writer, editor and exhibition curator. Mr. Koetzle was editor of Leica World magazine from 1996 to 2007. As an art critic and writer he is contributing to magazines such as Photo International and European Photography. He published important books such as Photo Icons or Das Lexikon der Fotografen (Encyclopedia of Photographers). Mr. Koetzle has been curating photography exhibitions in Germany and abroad such as the retrospective of Magnum Photographer René Burri, shown in Europe and Latin America. Together with Art Director and publisher Horst Moser he recently has established a new publishing house (Moser Verlag, Munich) which is specialized in high quality photo books. The first books (including famous photographers as well as new talents) came out in 2009, and were introduced that year during the Arles Festival in France.

Mr. Koetzle is interested in work that is ready to be published as a book or portfolio. He is interested in every kind of photography as fas as it follows an idea, is based on a concept and shows visual strength. He is not interesed in commercial work or advertising. If the work is not yet ready to be published, Mr. Koetzle is able to give advice or develop together with the photographer future possibilities to bring the work to an audience.

Amanda Maddox. Assistant Curator of Photography
Corcoran Gallery of Art, Washington, DC, USA

Amanda Maddox is the assistant curator of photography and media arts at the Corcoran Gallery of Art. A former curatorial intern at MASS MoCA and photo conservation intern at the Metropolitan Museum of Art, she has worked on a number of exhibitions. Most recently, she organized the Corcoran’s presentation of William Eggleston: Democratic Camera, Photographs and Video, 1961-2008, which originated at the Whitney Museum of American Art. She received an A.B. in English Literature from Brown University and an MPhil in the History of Photography from the University of St Andrews.

She is interested in seeing all types of photography except commercial work.

Martin McNamara, Director
Gallery 339, Philadelphia, Pennsylvania, USA

Martin McNamara is director and part owner of Gallery 339, Philadelphia's only art gallery devoted to photography. The gallery opened with its first exhibition in April 2005 and since that time has presented over 30 exhibitions featuring work by artists from throughout the world. Exhibitions have included “World Stage,” a survey of work by Tina Barney, "Philadelphia Masters", which presented some of the city's most influential artists of the past forty years, and Yale MFA Photography 2008 and 2009. The focus of the gallery is contemporary photography, exhibiting a mix of emerging and established artists. McNamara is a founding board member of the Philadelphia Photo Arts Center and participated as a portfolio reviewer for Fotofest in 2008.

Mr. McNamara is not partial to one specific area of photography.

Ute Noll, Founder
On Photography & Illustrations, Stuttgart, Germany

Ute Noll is known for publishing and exhibiting cutting-edge, fine art, documentary and emerging photography. She has been working in the field for many years. From 1999 to 2007 she had been the picture editor of the weekend supplement of one of the major German newspapers Frankfurter Rundschau.

In 2006 she started her agency ON PHOTOGRAPHY & ILLUSTRATION and in 2007 she opened the UNO ARTSpace in Stuttgart, where she regularly shows international photo exhibitions and occasionally holds lectures and workshops and coaches photographers. In July 2008 her UNO ART SPACE showed a one person show with Nick Kline a FotoFest discovery from 2003 and in November 2008 a one person show with Cynthia Greig, a FotoFest discovery from 2003/2005.

Every month Ute Noll contributes articles about photographers, emerging talents, exhibitions and photo festivals in the German magazine Photographie as well as other publications. Since 2004, Ms. Noll has been a team-curator and jury member of the annual international photo festival Darmstadter Tage. The festival has shown FotoFest discoveries like Lili Almog, EJ Major, Nathalie Latham and Dona Schwartz over the years. In 2010 the festival also awards the 5000 Euro international "Merck-Award of the Darmstädter Tage der Fotografie" for the 3rd time. Check for information and deadline:

Ms. Noll also works as a part time lecturer for picture editing at two of the major German photo schools such as the University of Applied Arts and Design in Dortmund and the University of Applied Sciences in Bielefeld.

She has been a member of several international juries over the years and is regularly invited to international photo-festivals around the world.

Recently Ms. Noll was invited to be the guest editor of issue 15 of the Spanish documentary magazine OJODEPEZ and created her issue “I want to be happy” with 8 projects of 8 international photographers. She also showed the accompanying exhibition at her UNO ART SPACE gallery in Stuttgart

Ms. Noll wants to see mainly independent projects which explore a theme visually and which show a personal vision. She is looking for cutting edge, fine art, conceptual, staged and documentary approaches. Surprising approaches is a preference. She does not want to look at nude, landscape or commercial stock photography. Please look at the web site for the type of work she has published and shown previously.

Alison Nordström, Curator of Photographs
George Eastman House International Museum of Photography and Film, Rochester, New York

Alison Nordström is Curator of Photographs at George Eastman House, the oldest and largest museum of photography in the United States. She was the Founding Director and Senior Curator of the Southeast Museum of Photography in Daytona Beach, Florida from 1991 to 2002. There, she curated over 100 exhibitions of photography including the popular biennial series Fresh Work, and major surveys of landscape, portraiture, travel photographs and journalism. At George Eastman House, she has initiated the contemporary biennial Vital Signs, and has curated Paris: Photographs by Eugene Atget and Christopher Rauschenberg, Why Look at Animals?, Know War, and Found: Photographs by Gerald Slota. She writes and lectures extensively on contemporary photography. Dr. Nordström holds a BA in English Literature, an MLS with museum emphasis, and a PhD in Cultural and Visual Studies.

Dr. Nordström's interests are wide: photo essays, book dummies, (especially unpublished first books), work with political content, work smaller than 8X10, work from outside the USA, and work in progress. She is not interested in nudes, infrared, polacolor transfers, and commercial work except photojournalism.

Her reviews are good sources for critique. She can edit, publish, exhibit, acquire, befriend, encourage, question, and recommend.

Stephen Perloff, Editor
The Photo Review, The Photograph Collector, Focus Magazine
Langhorne, Pennsylvania, USA

Stephen Perloff is the founder and editor of The Photo Review, a critical journal of international scope publishing since 1976, editor of The Photograph Collector, the leading source of information on the photography art market, and editor of Focus Magazine. He has taught photography and the history of photography at numerous Philadelphia-area colleges and universities and has been the recipient of two grants from the Pennsylvania Council on the Arts for arts criticism. He was the recipient of the Sol Mednick Award for 2000 from the Mid-Atlantic region of the Society for Photographic Education and the first annual Vanguard Award from the Philadelphia Center for the Photographic Image in 2007.

His own photographs have appeared in numerous exhibitions and reside in many museum and private collections. He has been widely praised for his writing about the photography art market. His articles have been reproduced in dozens of other journals from American Photo to The Art Newspaper and he has been called on as an expert to comment on the state of the photography market for publications such as The New York Times and The Wall Street Journal.

He has curated more than a score of exhibitions at various museums and college and art center galleries, including "Philadelphia Past and Present;" the acclaimed series "Photography: Contemporary Prospect;" "Camera Work: A Centennial Celebration," which traveled nationally; an exhibition of environmentally concerned photographs, "Paradise Paved;" "Radical Vision: The Revolution in American Photography, 1945–1980;" "Andrea Baldeck: The Heart of the Matter;" and "Saving Face," an exhibition of portraits. He was also the curator for the 2009 Woodmere Art Museum Photography Triennial.

Mr. Perloff is most interested in reviewing fully developed and consistent bodies of work in all media and genres. Aside from offering constructive criticism and honest critique of the photography itself, Mr. Perloff, through his many contacts in the museum, gallery, and publishing worlds can also often provide advice and direction in terms of promoting projects. In the past he has published artists met at FotoFest and included their work in one of the exhibitions he curated. He plans to publish his "discoveries" of FotoFest on The Photo Review website and is looking for outstanding portfolios for The Photo Review journal and for Focus.

David Raymond, Collector
New York, New York, USA and Buenos Aires, Argentina

David Raymond’s work spans the worlds of film, photography, art and interactive media.

He tends to involve himself in the production of films that have a socially conscious message to share, from his first finished feature, The Big Bad Swim, which won awards and recognition at festivals around the globe to Severed Ways; The Norse Discovery of America, which premiered at the 2007 Los Angeles Independent Film Festival.

He recently formed a production company in Buenos Aires, Ayni Media to develop and produce features films by Argentine directors, produce South American television programming and produce commercials.

Presently he is in the process of launching, Global Auction Network, a web and television venture to broadcast auctions live from global auction houses and create auction related content.

In the art world, Mr. Raymond is renowned for his collection of vintage photography from the 1920´s-1940´s as well as contemporary photography. In the March 2005 issue of Art and Antiques, he was selected as one of the top one hundred collectors in the United States. He was a dealer in the art and photography world for over twenty years. In the 1998-99 edition of the “Art Market Guide”, he was chosen as one of the top ten private art dealers in the United States. In 2007, he was chosen as the artistic director for Magnum Photos at Paris Photo. Raymond was a portfolio reviewer and lecturer at last year’s Festival de la Luz in Buenos Aires. His most recent collecting habits were profiled in the April/May 2008 issue of Worth Magazine.

He co-organized the first contemporary art fair in San Francisco at the Hotel Triton in January 1995, which received national and international press coverage. Thirty-five galleries from North America participated in the event.

David presently serves on the board of Performa, which produces New York’s prestigious performance art biennial.

He is interested in the full spectrum of photography from reportage to staged imagery (I don’t want to limit what is shown to me). If I had to categorize what type of imagery I am drawn to most, I would say, Surreal.

He will be able to offer advice on direction of the work and if he is extremely impressed with what he sees, will be willing to make contacts at galleries and museums for the photographers.

Arianna Rinaldo, Freelance Photo Editor and Curator,
Milan, Italy

Arianna Rinaldo is a freelance professional working with photography at a wide range. She is currently consultant photo editor at D-La Repubblica delle Donne, the weekend supplement of Italy’s daily La Repubblica. ( Since 2008, she is editor in chief of Ojodepez, the Spanish documentary photography magazine published quarterly by La Fabrica, Madrid. (

Arianna’s relationship with photography started in 1998 in New York, when she became Archive Director at Magnum Photos. Back in Italy in 2001, she worked as picture editor for Colors, the magazine supported by Benetton, where she commissioned a variety of international photographers to produce documentary and research projects according to the editorial guidelines of the magazine.

Based in Milan since 2004, Arianna has been a freelance curator for exhibits and book projects, as well as photo consultant. She has been collaborating with major publishing houses for special projects, offering editorial consulting and research. She has been on several portfolio review panels worldwide and was part of the World Press Photo jury in 2009.

Arianna is open to see a variety of work. Her main interest is documentary photography and social reportage with an innovative style suitable for either publication or exhibition. Not too excited to look at fashion pictures, but any type of work that tells a story is welcome.

Inka Schube, Senior Curator of Photography and Media Arts
Sprengel Museum Hannover, Hannover, Germany

Inka Schube, born in 1961 in Burg near Magdeburg, has been curator for photography and media art at the Sprengel Museum Hannover since 2001. She lives in Hannover and Berlin.

Schube completed her studies in classical archaeology, cultural theory and art history at Humboldt University in Berlin with a dissertation on the response to abstract painting in art-historical discourse in the former GDR. In 1990 she founded the Galerie in der Brotfabrik. The projects she carried out there included exhibitions featuring Boris Mikhailov, Nan Goldin, Peter Greenaway and Indian bazaar photography, as well as “Heimat”, an exhibition project conceived in 1994 in connection with the war in former Yugoslavia, which, after opening in the Galerie in der Brotfabrik, was also shown at other venues, including the Photo Biennale Rotterdam.

In 1997 she was awarded an Alfried Krupp von Bohlen und Halbach Foundation scholarship for museum practice and photography. From 1998 to 2001 she was a member of various project groups affiliated to the NGBK in Berlin. In 2000 she curated the exhibition “Here and Now” for the Photo Biennial Rotterdam. Since 2001 she has been director of the department for photography and media art at the Sprengel Museum Hannover.

She has developed projects on the work of – for instance - Nomeda and Gediminas Urbonas, Thierry Geoffroy Colonel, Max Baumann, Sophie Calle, Elisabeth Neudörfl, Zoltán Jókay, Helga Paris, Martha Rosler, Shirana Shahbazi, Heidi Specker, Ana Torfs, Maria Sewcz, Wolfgang Tillmans, Thomas Ruff, Hans-Peter Feldmann and Helen Levitt. She works in comprehensive cooperation’s realizing projects like “Boris Mikhailov. Marquette Braunschweig” (together with Stefan Schmidtke, Festival Theaterformen and the Foundation of Lower Saxony, 2008, published by Steidl 2009).

Matthew Shaul, Head of Programming and Operations
University of Hertfordshire Galleries, London, United Kingdom

Matthew Shaul is director of two contemporary art galleries located in two different towns (Hatfield and St Albans) 5 miles north of London. The galleries have been in operation for 12 years, and are a department of the Faculty for the Creative and Cultural Industries, University of Hertfordshire. As senior curator at UH Galleries he leads a predominantly lens based media program. Mr. Shaul has developed career exhibition and publishing opportunities with emergent artists from all over the world. Since 2002 he has developed many projects as major traveling exhibitions and developed partnerships with other galleries throughout the UK and Europe. Since 2005 ambitious historical projects have become an important part of the program. Mr. Shaul has worked on solo exhibition projects and on group shows with numerous of lens based artists including: Faisal Abdu'allah, David Shrigley, Sergio Prego, Erasmus, Eve Sussmann, Annelies Oberdanner, Jason Oddy, Simon Lee and Alfredo Jaar. He has written extensively and published/edited exhibition catalogues for the majority of these artists.

Mr. Shaul is mainly interested in documentary, photo-journalism, photo-installation and contemporary art photography. He is also very interested in all forms of contemporary (and historical) portraiture and self portraiture. He is not interested in seeing commercial photography, fashion photography, or wildlife photography, unless it falls into the categories above. He can assist photographers in developing projects and touring exhibitions with UK and international partners. He can help produce ambitious exhibition catalogues and work collaboratively with artists to assemble public funding packages to facilitate projects. Funding packages are usually developed with a range of financial inputs and contributions from trusts, foundations and government sources in the artist’s home country.

Daniel Strong, Director and Curator
Faulconer Gallery, Grinnell College, Grinnell, Iowa


Daniel Strong is Associate Director and Curator of Exhibitions at the Faulconer Gallery, Grinnell College, in Grinnell, Iowa. He has served in this position since shortly before the completion and dedication of the Bucksbaum Center for the Arts, which houses the Faulconer Gallery on the liberal arts college's campus, in 1999. In the prior decade he worked in the museums of the University of Rochester, Williams College, Smith College, and Amherst College. At the Faulconer Gallery he has curated solo and group exhibitions and authored catalogs of photography from Sweden, Denmark, Germany and the Netherlands in addition to the United States. His focus is fine art photography suitable for museum exhibition and acquisition rather than commercial work for hire. As a curator he has acquired and shown "street" and studio photography, "found" and staged, documentary, still life and landscape (urban, suburban, rural), but is not interested in reviewing work whose primary purpose is to shock or offend.

Antonio Vela, Director
Centro de Fotografía Isla de Tenerife, Santa Cruz de Tenerife, Canary Islands

Since 1970, Antonio Vela has participated in several national and international exhibitions. Vela has conducted workshops on different aspects of photography, and he has also written about photography.

In 1989, Vela began a program for the recovery, conservation, and diffusion of the photographic patrimony of the Tenerife Government. He has curated and organized several exhibitions with Canary Island and International artists. He has participated as a juror in different national and international competitions. In 1993, Vela began directing the International Festival of Photography in Tenerife, FOTONOVIEMBRE. Since 1996, he has been the Director and curator of the Centro de Fotografia del Cabildo de Tenerife (Center for Photography of Tenerife).

The Center for Photography of Tenerife was funded in 1989. It has organized more than 350 photo exhibitions in its own building. It counts with a conservation department, an acclimatized archive, and a research library. It is located in the Tenerife Espacio de Arte (Tenerife’s Space of Art) a building designed by the architects Herzog & De Meuron.

Since 1991, the Center sponsors every two years the international photo festival, FOTONOVIEMBRE. The festival organizes several photo exhibitions with local and foreign artists, in collaboration with several institutions.

Vela prefers to look at innovative projects by emerging photographers. He is interested in a broad range of work, from urban and natural landscape, to daily life, documentary and conceptual work. He does not whish to look at commercial work. Vela can offer his professional advice, and in some cases the opportunity of an exhibition in Spain, and in the Canary Islands.

Ricardo Viera, Director/Curator
Lehigh University Art Galleries, Bethlehem, Pennsylvania

Ricardo Viera is a professor of art and Director/Curator of the Lehigh University Art Galleries/Museum Operation where he has established a visual laboratory program with the LUAG work/study collection and a nationally recognized collection of Latin American photography and video. Professor Viera teaches courses in museum and curatorial studies, independent topics in the history of photography, public art, visual thinking strategies and multimedia/new media workshops.

He has organized, curated, co-curated and served as consultant to important exhibitions nationally and internationally. LUAG presents 20 exhibitions a year, among them 5 to then that feature the work of emerging and mid-career artists.

He has been a reviewer and consultant curator for FotoFest since the 1990’s. In October, 2006 he was invited to China as a reviewer fro Meeting Place of the first FotoFest Beijing.

Professor Viera is interested in all kinds of creative endeavors in traditional, digital and new media.

Rhonda Wilson, Creative Director
Rhubarb-Rhubarb, Birmingham, West Midlands, UK

Beginning life as a magazine journalist, Wilson has worked as a graphic designer and writer, photographer and author. She has pioneered professional development for photographers and image makers since 1991, and in 1993 set up Seeing The Light, now Rhubarb-Rhubarb – The UK’s Photographic Portfolio Festival and all year round mentoring programme, linking with some of the world’s most esteemed gallerists and publishers.

She lead a team which produced the people and the city, the exhibition and publication, which profiled Birmingham’s bid for the capital of culture 2008, working with Brian Griffin and Tom Merilion.

Wilson has curated shows for New Art Gallery Walsall, Les Rencontres d’Arles, Lianzhou Festival - china, and most recently, in February 2009, won the rights to premiere and curate Obama’s People, by Nadav Kander, currently showing at Birmingham Museum and Art Gallery in the UK.

She would like to see bold series of work, either finished or in progress, about issues which the makers feel strongly about on a personal level. More, she is highly interested in looking at work by producers who are being creative later in their lives. She doesn’t wish to see innane nudity or works depicting derelict factories.

Wilson can advise on matters regarding personal fulfillment, the power of belief and the growing of confidence in a diminishing financial climate. Plus, the usual links to potential sources of opportunity.

Susan A. Zadeh, Publisher, Photography Director and Editor in Chief
EYEMAZING, Amsterdam, the Netherlands

Susan Zadeh is the publisher, director and editor in chief of EYEMAZING, a magazine dedicated to international contemporary photography. EYEMAZING is a 196-page, high quality, large-format quarterly publication, and winner of the 2008 Lucie Award for best photography magazine. Each issue features the portfolios of established and emerging photographers and photography-based artists from all over the world along with interviews, articles on key photography festivals and events and reviews of the latest photography publications. EYEMAZING is a portfolio-style magazine addressing all types of international contemporary photography. Its high production values and unique approach make EYEMAZING more than simply a magazine: it is a gallery-on-paper, and a highly collectible cutting-edge photography bookazine. EYEMAZING has a large international circulation; its audience includes collectors, critics, curators, gallerists and art and photography professionals.

Ms. Zadeh welcomes cutting-edge photography, autonomous, conceptual and artistic work. All styles and approaches will be considered, from traditional photographic practices to staged photography and digitally-processed imagery. Every genre, from portrait photography, street photography, architectural photography, conceptual to landscape and still life, will be accepted for review. Work produced strictly for commercial purposes such as advertising or stock, will not be considered.

Ms. Zadeh will offer portfolio critiques and in some cases, invite outstanding photographers to publish a body of work, accompanied by an in-depth written feature, in EYEMAZING.