Mini Title Agency

www.minititle.com

+44 230 5984215

Many Photographers they represent and many clients are international so it is important they have all additional information to make contact as easy as possible.

Mini Title has one office localed in London. The Hot House
                                                                         744 Richmond Road
                                                                         London
                                                                         E8 3QW

Clients :

Photographers

Andrea Artemisio

Blommers & Schumm

Jack Davison

Roger Deckker

Carl Kleiner

Suffo Moncloa

Éric Nehr

Chadwick Tyler

Charlotte Wales

Qiu Yang

Illustrator

Tanya Ling

Art Direction & Set Design

Rachel Thomas

Creative Direction

David Lane

 

 Mini Title was founded by Chris McGuigan and launched in June 2011. McGuigans premise is to support a small group of Artists who can move easily between the commercial and artistic sectors.

Mini Title use their Facebook page to advertise jobs such as an office junior. I will research a list of agencies to add to my social network sites to keep an eye out for these opportunities.

Mini Title have 817 followers while following 425. These agencies could be following me looking at my work...

The most popular platform is Instagram to follow Mini Title. However, they still seem fairly selective on who they follow. Again, to be followed by agencies, especially when they only follow a select few, is a great way to have them engaging with my work.

 

 

 

 

 

 

Photographers Style. Class work with Shaun Vincent

Paolo Pellegrin

On looking at Paolo's work and discussing his style, we agreed his style consisted of;
being monochrome, high in contrast, always black and white, retro in style, often blurry-which gives the essence of hurry or movement to the viewer and because of this we deemed him similar to Robert Capa.

Hiroshi Sugimoto

We agreed his style shows the passing of time, that it is meditative and symmetrical.

Brook Shaden

 

We agreed Brooks style is surreal, muted, cross-processed, heavily manipulated, dreamlike and otherworldly.

 

Student Photographers Online Presence (& my own)

 

Chloe Rose Weaver - Farnham Photography Student

 

 

Chloe Weaver is a student in Farnham. Her Instagram account offers links to her twitter account and her Facebook so that she can be followed across many networking platforms. However, there is no sign of any website.

 

Her Instagram account is a mixture of work and personal life quotes. Personally I like reading these quotes, so as long as they are clean, I don't see any problem having them within her Instagram. However, as her career takes off, it might be mindful to create a more professional account, although I do think it is important for you to show a flare in your personality within your online presence.



Chloe's twitter account also provides the information of the other networking sites that you can find her on, along with direct links to make the transition between sites easy. She has listed the type of photography that interests her which allows followers to engage with that aspect of her interests.

 

Chloe also uses every photographic opportunity to upload to her twitter account showing that she is photographically engaged.

 

Chloe's Facebook page is locked for friends only-which is a good thing, as quite often on Facebook, what your friends/family tag you in can be out of your control, so to have the settings controlled is a more professional way to use this network.  However, he has created a like page, where anyone can join and can engage with her work.

 

 

 

Rhianna Hughes is a photography student in Falmouth.

 

Rhianna's twitter account is far from professional. She comes across a little immature and does not have much to say about what interests her. The only reference to her university is when she was accepted into it. She tweets about tampons and sperm and has no regard to having a professional manner or engaging anyone with the her project work.

 

 

Other than the declaration that she has no idea what she is doing, Rhianna's Instagram has a more professional feel to it. There are photographs and a cross over of self portraits which allows a little continuity through platforms. However, none of the platforms are linked to each other and she has no website. All in all, she needs to work on creating a more engaged and professional presence which has a continuous theme so that hopping between platforms has the same aesthetics. The platforms also need to be linked, otherwise people will not search and join/like/tweet on any other platforms.

 

 

Kimberley Jones in a photography student at Falmouth.

Her twitter account has little images on it-one! Her bio just states Meh! and she has no links to any other platform. This is not the way to make the most out of networking and online networks. She also tweets as would be expected from a Facebook status.

 

 

 

 

It has proved difficult find anymore about her, her email address doesn't provide any more information on a Instagram, Facebook or a website. All in all, her web presence is very poor and needs working on.


My Twitter..

 

Although I do use my twitter to document photography projects-I need to do this more. Also, I need to change my profile picture as the one I have is a family photo which does not feel very professional-and could put off potential clients.

 

My website is linked to my twitter, but not visa versa, this is something I need to work on. My website needs a little work also and some new images to be added. Also, I would like to set up google analytics to check the flow of my website.

 

 

Published Works

Invoice & Fee's

When designing this Invoice, I wanted to think about a few points.
Firstly, how long are the clients going to be able to use these images. Also, what part of the world they can use them and how can they use them. It is also important to add if I would like crediting and that the copywriter would always belong to myself allowing me to use the images as stock images.

It is important that it is clear to see what the client is getting-how many images, how they receive them and if any retouching would have been done to them.

Any day, other than the shooting days would be classed as pre/post production and be charged at half of the standard day rate.

Fee's

When pricing for a job, it is job dependant. If the task is an hour in the studio for a portrait then I may ask for a flat fee of £50. The images can be sold separately and copyright can be withheld. If I were assisting then I would charge a day rate, this would be upwards of £100 per day with any travel expenses charged at half of the day rate. For my own photography shoots I would again charge a day rate with the possibility of selling prints on top of this.

Interview with Anton Rodriguez

Message: Hi Anton

My names Rebecca, I am a third year photography student at Canterbury Chirst Church University and am currently working on part of an assignment where I need to contact a photographer and ask a few questions regarding their professional practise.

I have myself been working over the last two years within a tower block in Margate and looking closely at your project at the Barbican-(which is fantastic by the way) and I wondered if I emailed over a few questions if you would be available to reply?

Thank you so much for you time already.

Kind regards

Rebecca Littlechild

(Sent via Anton Rodriguez)

Anton Rodriguez <hello@antonrodriguez.co.uk>	Feb 17

Hi Rebecca,

Thank you, yeah sure feel free to send over some questions.

Kind regards

Anton Rodriguez

antonrodriguez.co.uk

On 17 February 2016 at 11:45, Squarespace <customercare@squarespace.info> wrote:

Email Address: becs.littlechild@gmail.com

Hi Anton

That's brilliant, thank you so very much. 

What do you think of social media as a platform to out put your work? Does your opinion of social media as a platform change from your commercial work to your personal projects?

What style of portfolio do you use for your commercial work and why?

Do you market yourself as a brand, if so, how?

Have you considered contacting galleries to represent you in your personal projects?

What type of camera do you use and does the camera type inform your photography?

How do you meet the people you photograph? (Mainly the Barbican Project)

Do you find being embedded within the community useful for this project and why? Mainly the Barbican Project)

Do you meet with your sitters and discuss the shoot or just arrive on the day? Could you tell me a little bit on how a typical meet/shot would go?

Thank you again for your time Anton, I am currently writing my dissertation around photography in brutal architecture and this will help be a great help. 

Kind regards 

Rebecca 

Anton Rodriguez	Mar 1

Hey Rebecca, sorry for the slow reply, find my answers below.

What do you think of social media as a platform to out put your work? Does your opinion of social media as a platform change from your commercial work to your personal projects?

I think using social media to out put work is great and very important, Its gives your work a wider audience that may have not been seen your work else ware. I use social media for both commercial and personal work, I also gain a lot of new commercials jobs from people seeing my personal work on Instagram,

What style of portfolio do you use for your commercial work and why?

For commercial work I often show my website, instagram and will create a portfolio based on the type of job. I haven’t used a printed portfolio for many years as most of my clients have seen my work previously.

Do you market yourself as a brand, if so, how?

No, I do no marketing other than posting on social media, where I mix my personal lifestyle and commercial imagery.

Have you considered contacting galleries to represent you in your personal projects?

Yes, hopefully with my current project, Barbican Residents, I will be printing a book and doing a few shows.

What type of camera do you use and does the camera type inform your photography?

I Use a DSLR, the camera for me is just the tool. Obviously I use different lenses based on certain jobs but they are all just an extension of my eye and arm.

How do you meet the people you photograph? (Mainly the Barbican Project)

In the Barbican we have a online forum for residents, I put an informal advert online and asked if any residents would like to be part of my current project.

Do you find being embedded within the community useful for this project and why? Mainly the Barbican Project)

Yes, many of the subjections I’ve photographed are creative, or work in the creative industry. Usually we end up chatting for hours before taking any pictures, its nice to speak to like minded individuals and helps the subject feel more relaxed.

Do you meet with your sitters and discuss the shoot or just arrive on the day? Could you tell me a little bit on how a typical meet/shot would go?

I meet them for the first time on the day of the shoot. Usually we will chat beforehand for a good hour or so and talk about the Barbican, their profession and how they’ve found it living in the Barnican, this relaxes the subject and helps them feel more comfortable.

When photographing the subject, I always ask them to sit where they would usually relax, I don’t want the subject to feel awkward. The interview part of the project is done afterwards, I email the resident the questions to answer in their own time.

Anton Rodriguez

antonrodriguez.co.uk

Notes on interview

In reviewing Anton's responses, I find it really interesting that he said he gains commercial work from potential clients seeing his personal work via social networks such as Instagram. This has made me think about how I use my Instagram and how I could use this to my advantage. 

He also shows his Instagram as part of his portfolio along side his website. He said he creates portfolios depending on what type of job it is, however, he has not dealt with printed portfolios for many years. It is good to be mindful that at any point a potential client could ask to see your work and the likelihood is that the internet would be available. I say this for two points, firstly, to ensure that I have work ready, coherent and easily accessible via the net.  But also, in cases such as Instagram, to be mindful what is uploaded as potential clients may have access to this, so it should be kept individual, but professtional at the same time. 

A directory of inspirational Photographers

Mikael Subotzky   http://www.subotzkystudio.com/
Patrick Waterhouse  http://patrickwaterhouse.com/
Sirkka-Liisa Kontinnen  http://www.amber-online.com/people/32
Nadva Kander  http://www.nadavkander.com/
Tim Flach  http://timflach.com/
Tim Kolln  http://timmkoelln.com/
Mitch Feinburg  http://mitch.fr/
Paolo Pellegin http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL535Y9H
Hiroshi Sugimoto http://www.sugimotohiroshi.com/
Thom Atkinson http://thomatkinson.com/
Samuel Bradley http://samuelbradley.com/
Michael Fried http://humctr.jhu.edu/bios/michael-fried/
Lottie Davies http://www.lottiedavies.com/
Penny Klepuszewska http://www.axisweb.org/p/pennyklepuszewska/
Alex Khan https://alexkhan.tv/
Julie Blackman http://julieblackmon.com/
Sandy Skogland http://www.sandyskoglund.com/
Delphine Balley http://www.parisphoto.com/agenda/delphine-balley
Zarin Bhimji www.zarinabhimji.com
Natasha Carvaha http://natashacaruana.com/
Rhiannon Adams http://rhiannonadams.com/
Martin Parr http://www.martinparr.com/
Rob Ball http://www.robball.co.uk/
Paul Strand http://masters-of-photography.com/S/strand/strand.html
Anna Fox http://www.annafox.co.uk/
Simon Norfolk http://www.simonnorfolk.com/
Keith Arnett http://www.keitharnatt.com/
Mark Klett http://www.markklettphotography.com/bio
Byron Wolfe http://www.byronwolfe.com/
Sally Mann http://sallymann.com/
Simon Roberts http://www.simoncroberts.com/work/
Marc Wilson http://www.markwilsonphotography.co.uk/
Todd McLellan http://www.toddmclellan.com/recent
Rafal Milach http://rafalmilach.com/
Klaus Pichler http://kpic.at/
Helga Steppa http://www.re-title.com/artists/helga-steppan.asp
Nick Veasey http://www.nickveasey.com/

Questionnaire

Photographers who enter competitions

Sebastian Palmer

2015

Lens Culture Exposure Awards - 2nd
Creative Review Photo Annual - Finalist
GUP open call - Finalist
The Exposure Award, See.Me – Finalist
Critical Mass, Photolucida – Finalist
The Solas Prize - Shortlisted
International Photography Awards, Lucies – x4 hon. Mentions

2013

International Photography Awards, Lucies – 3rd
International Photography Awards, Lucies – x4 hon. mentions

2012

Sony WPA – 1st International Photography Awards, Lucies – 1st
Foto8 summer show – Finalist
Gomma Mono Vol1 – Shortlisted
International Photography Awards, Lucies – x11 hon. mentions
Masters Cup Colour Photo Awards – Honourable mention


2011

International Photography Awards, Lucies – 1st
International Photography Awards, Lucies – 2nd
Sony WPA – 3rd
International Photography Awards, Lucies – x4 Honourable mentions
PX3 – shortlisted x2

2010

International Photography Awards, Lucies – 3rd
PX3 – 2nd
PX3 – Honourable mention

Lens Culture - Exposure Awards              

               
The Exposure Award is the largest of Lens Cultures awards. It aims to discover and showcase the best photographers from all over the world making this a global competition.
It runs from November to December and has fantastic prizes, not only for financial gain, but it is a great platform to show case your work world wide and to the right people. It also can give you access to festivals, expert reviews and international press exposure.

Creative Review Photo Annual

The winning work will be seen by over 1 million people, including creative professionals across 80 countries, leading to potential clients.
This is a good platform to show case your work from and have exposure increased.  Other than exposure within Creative Review Photo Annual, there are no further prizes of festival reviews, portfolio reviews and no cash prizes either. However, there is a £80 (plus VAT) entry fee per entry of 1-6 images.

GUP

The submission for this competition was free and the prize was for the images to be featured in the tenth year anniversary magazine, middle spread.  This would have been a great opportunity for exposure at no cost.  These smaller competitions are great to keep an eye out for and entering.

Critical Mass

Once the $90 is paid and if you get through to the finalists, then another $200 is needed.  A panel of 200 jurors then decide on a finalist.  The main focus on winning would be the exposure that Critical Mass will supply.  Other awards to be won are..

• Monograph Award – One photographer will be chosen for Photolucida’s prestigious monograph award. A hardbound book of their work will be published, distributed, and shipped to all jurors and photographers in this year’s Critical Mass.
• Artist Residency Award – One photographer will be chosen for a four-week residency at the Robert Rauschenberg Foundation's Captiva Island (Florida) estate.
• Solo Show Award – One photographer will be chosen for an exhibition at Blue Sky Gallery in Portland during Portland Photo Month in April, 2016.
• The Critical Mass Top 50 Exhibition – The CM 2015 Top 50 will be exhibited at FotoFestiwal Lodz

The Solas Prize

• First Prize       $10,000
• Second Prize  $1,000
• Third Prize     $500.
• The winning work will be exhibited in the Solas Awards Exhibition at the Gallery of Photography in December
• Also the winner will be published in Source alongside commissioned essays.
• Three winners will have their work included in the Solas Awards Exhibition
• Three winners will receive a three month Artist’s Residency at Gallery of Photography Ireland 
• Three winners will have a three person exhibition at Fotohof, Salzburg in 2016 including a travel and production bursary.
• Twenty-five artists, including the winners, will be selected for online exhibition.
• Everyone submitting will receive a free one-year digital subscription to Source Magazine.

The fee is $30 for entering up to twelve images.

The fee and the amount of images that can be submitted is very reasonable especially given the potential prizes.


These competitions have proved to be very lucrative.  Not only has Sebastian won money, he has also built connections with people by using these as platforms to have his work internationally viewed.  As an outcome of this, he has had his work published and has contracts with competition runners such as Sony.  However, some, such as the Creative review Annual, appears very expensive with not much to gain other than exposure through one outlet.  Others such as Lens Culture offers a wide range of outputs and advantages for the top 25 applicants for much less of an application fee.  The key really is to research the fees against what the output of the competition is and also to look at the judges and check what part of the industry they work in and what key things they may be looking for in your work.

Maxim Dondyuk

2016
LensCulture Exposure Awards, 3rd Prize Series.
JGS Photography Contest, Forward Thinking Museum, Runner-Up of 4th quarter.

2015
LensCulture Visual Storytelling Award, Finalist.
International Photography Award, British Journal of Photography, Runner Up.
Prix Pictet ‘Disorder’, Finalist.
International Photographer of the Year, Lucie Award (IPA).
Editorial Photographer of the Year, Lucie Award (IPA).
1st place in Editorial: General News category, 13th Annual Lucie Award (IPA).
Grand Prix of the Humanity Photo Award 2015 – UNESCO/CFPA (China).
Winner of the Humanity Photo Award 2015 – UNESCO/CFPA in Documentary category (China).
Finalist of the Istanbul Photo Award, Story News Category.
Direct Look photo contest, 1st Prize in nomination CONFLICT.
Fine Art Photography Award, Professional Fine Art Photographer of the Year.
Fine Art Photography Award, 1st Place Winner in Photojournalism.
7th Pollux Award, Runner Up, Category Documentary and Editorial.
Voies Off, Shortlist.
PX3 Prix de la Photographie Paris, Press War Category, 1st Prize.
Winner of the Prix Photo La Quatrieme Image, 1st Prize.
Winner of the PDN Photo Annual 2015 in documentary category.
Honorable Mentions of the Photographic Museum of Humanity Grant (PHM).

2014
Finalist of the Circle of Life contest , International Photofestival “Vilnius Photo Circle”.
Winner of the Ville de Perpignan Remi Ochlik Award.
Magnum Photos competition ‘30 under 30’ for emerging documentary photographers.

2013
Finalist of the W. Eugene Smith Grant in Humanistic Photography.
Honorable mention of the FotoVisura Grant.
Grand Prix of the Best Photo of the Year at the contest “Photographer of the Year”. (Ukraine)
Shortlist in the Portraiture category of Sony World Photography Awards.

2012
JGS Photography Contest, Forward Thinking Museum, Runner-Up of 4th quarter.
Finalist of the Photostory: Small Stories contest.
Finalist of the Circle of Life contest , International Photofestival “Vilnius Photo Circle”.
Country’s Pick 1st place of the International Photography Awards annual competition (IPA).
Honourable Mention of the International Photography Awards annual competition (IPA).
Finalist for a grant of the 4th edition of the AnthropoGraphia Human Rights Through Visual Storytelling.
Finalist for a grant of The Manuel Rivera-Ortiz Foundation for Documentary Photography & Film.
JGS Photography Contest, Forward Thinking Museum, Runner-Up of 2nd quarter.
Grand Prix of the Photostory of the Year at the contest “The Best Photographer”. (Russia)
Grand Prix Best Global Health Story of the BD’s Hope for a Healthy World Photo Competition.
Finalist of the Lumix Festival for Young Photojournalism.
2nd Prize Picture Story of the Year of the Photographers Giving Back Contest.
Finalist of the Photo Evidence Book Award.
Award of Excellence (Issue Reporting Multimedia Story) Picture of the Year Int’l (POYi).

2011
Finalist of the Pikto International Competition.
Grand Prix of the Circle of Life contest, International Photofestival “Vilnius Photo Circle”.
Grand Prix of the contest “Photo Film”, Chernihiv Photo Fest.
Honorable mention of the Yonhap International Press Photo Awards.

2010
2nd & 3rd Prize Picture Story of the Year of the Photojournalism Development Foundation Award.

JGS Photography Contest

Is a photography contest for over 18 year olds.  It is in its sixth year and previous prizes have been $5000 for first prize with $1000 for second, third and forth place. The website guidelines are currently only stating that no entries are open for 2016 as they are reformatting the competition.

BJP International Photography Award

To enter a single image the fee is £10, or to enter a series of up to 20 images the fee is £35, which appears very reasonable compared to some of the above fees.

Prizes are:

• A two-week London exhibition at TJ Boulting, a gallery in Fitzrovia.
• A four-week WeTransfer showcase, the leading file-sharing service used by 70 million creative individuals around the world.
• International exposure, having their work published in British Journal of Photography, the world’s longest-running and most influential photography magazine, in print since 1854, now reaching over a million creatives every month.
• They will also have their work printed and framed the print space, based in Shoreditch, London.

Prix Pictet

The Prix Pictet award can only be entered if you are nominated by a group of leading experts in the visual arts, including directors and curators of major museums and galleries as well as journalists and critics. Each person is offered between two and five places to nominate.

Prizes

• CHF 100,000
• A commission is awarded to a photographer selected from the Shortlist to undertake a field trip to a region where the Bank is supporting a sustainability project

Editorial Photographer of the Year

These awards are distinctive in that panels of judges consisting only of working picture editors from national and regional newspapers and international photo agencies assess the thousands of entries from professional photographers from throughout the media.  The subjects of past winners images are all famous people who are within the media regularly. Without access to the subjects (famous people) then this completion is pointless to entre.

Prizes

Sports Photographer of the Year Entry will be five pictures - fewer or more will not be considered a valid entry Prize: £500	Royal Photographer of the Year Entry will be five pictures - fewer or more will not be considered a valid entry Prize: £500	News Photographer of the Year Entry will be five pictures - fewer or more will not be considered a valid entry Prize: £500
Arts and Entertainment Photographer of the Year Entry will be five pictures - fewer or more will not be considered a valid entry Prize: £500	Business Photographer of the Year Entry will be five pictures - fewer or more will not be considered a valid entry Prize: £500	Photo Essay ... which tells a story and is accompanied by a brief, but clear, narrative to the story - minimum of 10 pictures; maximum 20 pictures Prize: £500
Regional Photographer of the Year Five pictures must be entered and judges will be looking for skill across a range of subjects such as news sport and features. Pictures must have to have been published by a regional newspaper. Prize: £500	Qatar Airways National Newspaper Photographer of the Year †† Five pictures must be entered and judges will be looking for skill across a range of subjects such as news sport and features. Pictures must have to have been published by a national daily or Sunday newspaper Eligible entrants are staff photographers or freelance contributors commissioned by the paper. Prize: £500	Videojournalist of the Year ** The video must have been shot on a DSLR and reflect the wider role of a photographer during an assignment. The footage can reflect any subject Prize: £500

Prize: £500	Videojournalist of the Year ** The video must have been shot on a DSLR and reflect the wider role of a photographer during an assignment. The footage can reflect any subject Prize: £500
Young Photographers Bursary Entrant to be 25 years old or under by close of entries at midnight December 6th 2015 Entry will be five pictures - fewer or more will not be considered a valid entry Prize: £500 plus a return flight to the value of two hundred and fifty pounds. The assignment must be completed by last day of September 2016

For all categories, you may enter as many times as you like.
From the entries the judges will decide who is the Shutterstock Press Photographer of the Year
The winner of the photographer of the year wins an additional £1,000.

Humanity Photo Award

Winning photos will be incuded in the HPA promotion DVD and publication & winners that attend the ceremony will receive a certificate.

Awards①	Number	Meals②	Accommodation③	Transport Allowance④	Prize Money
G⑤	6	√	√	√	＄2000
D	60	√	√	√	/
S	Some⑥	√	√	√	/
N	100-S⑦	√	√	√ Some⑧	/
P	500	√	/	/	/

^①Five awards will be offered in accordance with the judging criteria: Grand Awards (G), Documentary Awards (D), Jury’s Special Awards (S), Nomination Awards (N) and Performance Awards (P).

Winners will be invited to the ceremony which will be held over 3-6 days.

To win the grand prize would give you $2000 and all winners would have their work shown as part of the promotional package-which is good for a little exposure, but the promotions will be promoting the award, not your name. The break away could be nice, but you could be out of pocket having to pay for transport. However, there is no entry fee, so this does make it appealing.