CLOSED | Call for Entry: Online Group Exhibition - "Back to the Future: Historic Processes in the Modern World" November 2018
We are excited to announce that our 2nd online group exhibition, Back to the Future: Historic Processes in the Modern World, will be curated by Analog Forever writer and curator Niniane Kelley! We are currently seeking submissions in response to the following prompt.
Niniane Kelley writes: For this exhibition we are looking all the way back to the first decades of photo history for our inspiration, the days when making potions was a vital part of your photographic magic. We invite you to submit two images made with an historic photographic process*, the best of which will be showcased in an online show by Analog Forever writer and curator Niniane Kelley, which will go live on our website November 19, 2018. Please follow the directions below to complete your submission. Good luck!
*This show is open to processes that were developed PRIOR to 1874 (which marks the first commercial availability of gelatin silver paper). Your final image should be in one of these processes, but your negatives may be produced with contemporary film or digital techniques.
The deadline for submissions is October 31st, 2018.
1) Only .jpg files will be accepted.
2) Images must be 1500px on the shortest side at 72dpi.
3) No photo-shopped borders or watermarks.
4) Only two images may be submitted.
1) The subject line of your email should state: "Submission: Online Group Exhibition Back to the Future - Your Name Here"
2) Please ATTACH your images to the email. Do not embed them. Do not attach a google drive or dropbox link.
3) Please do not send PDF or Text Files. Please put all information into the body of the email.
Specific information needed for each Submission:
1) Your name as you would like it to appear.
2) The Camera and Process used to create your images.
3) Titles for each of your photograph(s). Write out each title exactly as you would like it to appear.
4) Email Address in the text of the email.
5) The Website Address you would like your images linked to.
Send your submission to firstname.lastname@example.org by October 31st, 2018!
Note: Do to the large amount of submissions we receive you may not receive a response. Though we try our best to respond to everyone, we do not guarantee a response. Thank you for understanding.
By submitting photos for publication in Analog Forever Magazine you are stipulating to us that you own copyright to these photographs or have permission from the copyright holder to submit these photographs. You are granting Analog Forever Magazine a non-exclusive license to use the photograph in its submitted form, subject to re-sizing to fit the magazine format, for publication on the Analog Forever Magazine website for as long as the website exists. You also grant Analog Forever Magazine permission to use these photographs on social media accounts connected to Analog Forever Magazine including but not limited to Facebook, Twitter, and Instagram. Should you, for any reason, wish your photographs to be removed from the website, we will make every effort to do so. However, please note also that third parties such as educational institutions, search engines or individuals may download, save, store or archive this (or any other) website with or without our knowledge. Analog Forever Magazine will have no control over such downloading and subsequent use and therefore cannot accept responsibility for any such use.
About the Curator
Niniane Kelley is a fine art photographer living and working in San Francisco and Lake County, California. A native of the Bay Area, she is a San Jose State University graduate, earning a BFA in Photography in 2008.
Drawn to photography for both the immediacy of the image making process and the intrinsic alchemy of the darkroom ritual, she crafts the majority of her imagery using traditional 19th century processes which give each piece its own unique character.
After generating an extensive portfolio working with the human form, she emerged from the sequestered studio environment and began to focus on the quiet beauty of the North State rural landscape. Embracing photography’s implied narrative structure, much of her current work functions as a form of autobiography, chronicling her frequent, unencumbered explorations of Northern California’s pastoral and largely unpopulated interior.
But never one to cease experimentation, she is also simultaneously developing new complimentary bodies of work using Polaroid and plastic cameras to bring fresh perspective to both her figure and landscape work.
In addition to producing photographic images, Kelley is also extensively involved in alternative processes education and research. Often teaching workshops in the Bay Area and surrounding environs, she most recently worked as a photographer and manager at San Francisco’s tintype portrait studio, Photobooth.