Some amazing work here.

The photographers share personal favorite photographs on a weekly basis and collaborate on larger projects that are featured as pdf zines. There are additional extra slideshows as well.

We’re more of a critique salon than a collective, per se, but the idea is similar. Some of our members have recently finished a workshop in Catania, Sicily for the St. Agata Festival and the rough edits are now coming out of that intensive.

Thank you for the reply!

Because there is no professional certification for being a photographer, I felt that I needed to show clients that we are hand selected professionals that can be counted on to provide quality work.

We are based mainly in the San Francisco Bay Area, but travel all over the world for shoots.

This way, when a client needs advertising photography, or needs a reliable, quality photojournalist to shoot their project, they come to us knowing we provide the best.

It has been a huge success so far, and Remain In Light has been a very successful partnership for us. Our clients keep coming back to us, so I guess that says a lot!

James Martin
______________________________
http://www.remaininlight.com

http://www.statementimages.co.uk

When collective’s are invite only…as is the case with the humble arts foundation and others…where do they find their talent. Are these mostly photographers who have gained a fair amount of press or are they discovered in a more unexpected way…or a mixture of both?

Just a thought. As a photographer I’m always interested in where (what venues and publications) photographers get “noticed” the most.

http://www.shadocollective.com

Noriyuki Aida
Yasuhiro Ogawa
Eric Rechsteiner
Androniki Christodoulou
David Coll Blanco

We all make different work but it’s great to have a group dialogue, sharing skills and opinions etc.

If you find yourself in Derby, England next month we’re showing as part of the Format Festival. Come and say hello!

Luke

http://www.unseenphotography.co.uk

http://www.burnmagazine.org/

But Dave Harvey is an “old guy”, maybe he just doesn’t know what he is doing…

Other than fostering some amazing young and middle aged photographers.

Ha. I was just being a smart ass. But I think we can all relate to the over abundance of common themes and looks in a lot of the books floating around these days. Most of which look like they came from the discard pile of a Photomat. I know there is some stunning , break-out work to be seen. And I would like to see more of it. My hope is that the young shooters of today break away from what’s currently being offered and create some new and more positive looks at the world.

I don’t really give a shit about what PDN or Rob are looking for. New, old, indifferent, rebellious, ripped-off, re-hashed, avant-garde, punk or just plain stupid. It has has to be good. It has to be kick-ass. It has to be fresh. And it has to have something to say. If that comes from someone who’s 20 or 70, I don’t care. But it better fucking make me believe in photography. Because if I see one more portfolio full of vapid, strung-out, loser ass-fucks with no future or graffiti-ridden desolate landscapes or HDR portraits riddled with Photoshop trickery, I will personally come to your house, eat all your food, drink your beer kick your dog and shit on your lawn.

This is one I joined last year for a touring Polaroid exhibition. While the start was loose, it looks like there will be more in the near future. The start managed to attract the attention of the Niepce Museum.

Agreed, nice.

I never read that “Reasons Love” was complaining about young shooters. Most likely, he or she was a young photographer themselves at one point in their life.

Maybe they were passing on some “reason” and you read it as complaining. Which I did not see as a complaint.

But I am neither young nor old, but a very good photographer who understands the business and I agree with this persons reasons.

I do not believe that photo editors are looking for new. I believe they are looking for people who first and foremost can deliver the goods in a consistent manner and also have a unique approach that helps tell the story. If it also happens to be a new approach or technique that is believable, well ok, but that will still take the back seat to being able to deliver the story or keep the subject in a comfortable place.

What is new to an under thirty shooter may be old hat to an editor who sees everything and has seen the trends come and go several times.

Can I also say, what is this word “emerging” all about? Why do we never read about anyone who has fully emerged?