Eros Hoagland Wins $20,000 Special Grant for Conflict Photographers

Eros Hoagland, one of my favorite conflict photographers and all around awesome guy,  has been awarded $20,000 through The Aftermath Project. Aftermath was created by Sara Terry as a way of exploring the lingering effects of war and help broaden the public’s understanding of the true cost of war. In light of the recent deaths of Chris Hondros and Tim Hetherington, Aftermath announced a special grant for conflict photographers.

When we announced the grant earlier this year, which invited conflict photographers to reflect on the aftermath in their own lives of covering conflict, we weren’t sure what kind of responses we would get – whether any conflict photographers would be willing, or ready, to consider taking on such a personal project. But as an organization committed to creating conversations about the aftermath of conflict – in its many dimensions – we felt the time was right to offer the grant.

So it was particularly gratifying to receive many thoughtful, candid proposals. Our judges were photographers Ashley Gilbertson, Danny Wilcox Frazier, and myself; photo editor Maryanne Golon; and Denise Wolff, an editor at Aperture. We were all overwhelmed by the honesty and articulateness of so many of the applications – we could easily have funded five strong proposals on this subject, if we had had the funding.

Hoagland’s project, “The Green Room,” stood out for his candid discussion of several themes, including emotional disconnect; the consequences of being the son of a war photographer, John Hoagland, who was killed in El Salvador at the age of 34; the impact that choices made by war photographers have on loved ones; the mythology of war photographers; and the desire to foster a public conversation on war, photography, PTDS and our understanding of these topics. We look forward to seeing his project unfold. Read more.

I'm a huge fan of Eros' work. This is a very well-deserved grant and I'm very much looking forward to seeing the project.

Houston Center for Photography Juried Fellowship - Deadline Approaching

The deadline is rapidly approaching for the 2012 Houston Center of Photography Fellowships!

Two distinct fellowships are being offered, the Carol Crow Memorial Fellowship, for an artist residing within a 100 mile radius of Houston (including the Beaumont, Galveston, and College Station areas), and the HCP fellowship for another artist from anywhere in the world, outside the Houston area.

Winners will be awarded $2,500 each and a solo exhibition at HCP in the summer of 2012.

Submit your work by November 4, 2011 to be considered.

For more information on upcoming contests and grants, see my previous post on awards organized by month.

Award-Winning Web Designers from this year's PDN Photo Annual

Every day people ask me if I know of any good web designers for portfolios. I usually point people to the more popular template products (, and a handful of custom designers who seem to always be too busy to take on any new jobs. That's why I love the PDN Photo Annual Website section. It's a chance to check out a bunch of people I might not have heard of otherwise.

This year's winning websites were designed or coded by:

Lewis Carnegie (Austinite!) Jason Sherwin Noah Wall Hatch Design / Jay Meyers, TwinAct RAT / SMAUG (Italy) Canvas Group Aussie based design firm Mike Hartley Martin Fuchs (also winner of best company name): Shut Up I'm Awesome Toben another aussie shop Brian Hoff

A few of the websites were credited being designed or programmed by A Photo Folio. As far as I know, they don't do usually do custom work. If you buy a template from A Photo Folio, you are responsible for doing your own customization to make it look cool, and less like a template. I think the exception to that rule is if you are Dan Winters ;)

Happy clicking.

Faves from the 2011 PDN Photo Annual

It's that time of the year when you dig into the Photo Annual, remember all of the great work shot last year and discover some new gems along the way. But inevitably, a few months later I've forgotten some of these photographers so that's why I like to write it all down. Below are some of my favorites, in no particular order:

Advertising Nadav Kander's portraits for St John Ambulance campaign. Agency: BBH London Emiliano Granado's Converse campaign Jeremy & Claire Weiss's K-Swiss campaign. Agency: Adam&Co

Magazine/Editorial Peter Van Agtmael for The New York Times Magazine. Story: Jeff Bridges Christopher Griffith for Men's Health. Story: Contrasting images of youth and decay Robert Trachtenberg's hilarious nude group portrait of the cast of Jackass 3D inspired by Ritts' iconic supermodel shot Andreas Laszlo Konrath's black and white portrait of a model reading for New York Magazine Nigel Parry's portrait of Leonardo DiCaprio for Esquire. (Full disclosure: any portrait of Leonardo would end up in my best of list) Tierney Gearon's very young cheerleaders for ESPN, The Magazine

Books Nguan's self-published Shibuya Tim Hetherington's Infidel, published by Chris Boot Ltd. Eugene Richard's War is Personal Timothy Archibald explores learning to understand his son's autism in Echolilia/Sometimes I wonder

Photojournalism/Documentary Sarah Elliott's photograph of a Kenyan abortionist's "tools" Jana Romanova portrait from a series on sleeping couples who are expecting babies. Matt Eich's Baptist Town portrait for AARP Bulletin Ashley Gilbertson's "Bedrooms of the Fallen" project Darcy Padilla's amazing 18 year long documentary, "The Julie Project" Ben Lowy's BP Oil spill abstract seascapes for GQ

Personal Tim Gruber/Ackerman Gruber Images image from the series "The Island" Wayne Lawrence portrait series of people at Orchard Beach, aka "The Bronx Riviera" Magdalena Sole image of a baby on a porch, from "Cotton Land -- The Forgotten Mississippi Delta"

New York Photo Festival Awards - Deadline and Tips

6pm EST is the new deadline to enter the New York Photo Festival Awards.

The 2011 edition of The New York Photo Awards features twelve category winners - including best fine art single, fine art series, documentary single, documentary series, advertising single, advertising series and photo book - one of whom will be selected for the Jury's Choice Prize, a $5,000 cash prize for best overall picture or series, presented by Persol.

As a former judge (2009) I'd like to share a few tips for preparing your entry. Of course judging is highly subjective and what each person will respond to is unique, but here are some basics to help you put together a good entry.

  • Know your judges (complete list here). Judging is highly subjective but being aware of the background and current job of each juror will give you some insight into where they are coming from.
  • If entering a single image, make sure you are choosing a truly unique and memorable image that will not elicit groans of "seen that before". There are so many visual cliches (check out Mike Davis' awesome blog post about avoiding cliche). Ask yourself the tough question: Is this really an original image? Am I offering the judges and public something they haven't seen before?
  • If entering a series, make sure your edit is TIGHT. Be ruthless with your editing. Show your edit to a few other people who will be honest with you. Photographers I work with almost always hold on to images they don't need. They have a personal connection to the image, or the moment in which it was made, that keeps them from being able to let it go. The judges are going to have a better impression of your work if they are left wanting to see more.
  • Make sure each image in your series offers something new and interesting to what you are saying. Often there is too much redundancy in people's contest edits. You aren't necessarily telling the whole story when you enter a contest. You are trying to put together an edit that will stand out with the judges and be memorable.

Remember, the judges will be looking at a lot of images. Do them a favor by showing work that is fresh, interesting, poignant, emotional, raw, subtle and unique.  Sounds easy, right?


Blurb's Photography Book Now Contest

Yay for Blurb's Photography Book Now contest. The grand prize is $25,000.  Darius Himes is the lead judge and more will be announced soon I presume.

To enter:

If you have already made your photography book through Blurb, simply follow the Blurb-specific directions on our Entry page. This can be done completely online, no need to send us a physical copy of your book.

If you have self-published your photography book outside of Blurb, you’ll need to send us one physical copy of each book you enter for judging purposes. Here is the PDF entry form.

If you need to make a photography book in order to enter, we recommend starting at Blurb.

The competition closes on Thursday, July 14, 2011 at 3:00 p.m. PDT (22:00 GMT).

Photographers with Cool Print Promos, Keep an Eye on this contest

I'm always looking for inspiration for print promos for photographers, and the For Print Only blog is one of my favorite destinations (along with and the PDN Self-Promo Awards galleries. So I was very excited to see that they are going to announce a FPO contest soon. I can't wait to see the winners, and I hope that you photographers out there who have worked with designers on cool print promos enter.

From FPO

On Monday April 4 we will launch the call for entries for the inaugural FPO Awards, celebrating the best print work from around the world during 2010. It will be open to design professionals, students, printers, and hobbyists as long as the work has been produced in a minimum quantity of 50.

Judges (really amazing group!), categories, and fees will be announced then.


Fotofest 2012 Biennial Deadline is next week

from The FotoFest 2012 Biennial takes place March 16 - April 23, 2012.

The FotoFest 2012 Biennial will be looking at Contemporary Russia.

FotoFest’s own exhibition will focus on Contemporary Russian Photography: Post World War II Avant-garde Photography to the Present. These exhibitions will show work by Russian photographers working in Russia. The theme will be explored through five photography, video and multi-media exhibitions of work by contemporary Russian artists. FotoFest’s Creative Directors are collaborating with two Russian curators on these exhibitions.

In addition to FotoFest’s own exhibitions, numerous Participating Spaces in the Biennial look at work that artists send to FotoFest for consideration. These spaces have the option of 1) following FotoFest’s focus which in 2012, can include work about Contemporary Russia by artists of any nationality, or 2) presenting work unrelated to FotoFest’s theme.

Participating Spaces are the over 100 galleries, non-profit spaces, and commercial venues in the Houston area that choose to exhibit photography during the FotoFest Biennial alongside FotoFest’s own exhibitions. Participating Spaces may take a more varied and open-ended approach to what they will exhibit for the Biennial. Some spaces will follow the Biennial focus, others will not. On average, ten Participating Spaces create exhibitions based on portfolios seen on the FotoFest submission web page. Submissions Process

FotoFest curators will be doing their own studio research in Russia for its own exhibitions, but we are happy to consider submissions sent by Russian photographers for this purpose.

For Participating Spaces, FotoFest shows submissions on a special website to Participating Spaces possible exhibition by them during the Biennial. As stated above, these works can be about Contemporary Russia by artists of any nationality or work unrelated to FotoFest’s Russian Theme.

The submissions guidelines are listed below. FotoFest art staff reviews all submissions which are then shown to the FotoFest Art Board for review. Submissions approved by the Art Board are posted on the submission web page for Participating Spaces to view and select for possible exhibition.

Deadline: Friday, April 1, 2011 (at the FotoFest office)

To have your portfolio reviewed by the FotoFest, please send:

* A CD or DVD containing no more than 25 high quality digital images (JPEG) * A short statement about your work * A current resume or curiculum vitae

Materials will not be returned

Please note:

* The FotoFest staff reviews portfolios on a monthly basis. * Digital images must be sized to 1000 px at their longest dimension. * Digital files that do not follow these specifications will not be considered. * No more than 25 images will be reviewed. Supporting text can be saved on CD/DVD. * Due to the volume of materials that FotoFest receives, submissions will be reviewed in the order in which they are received. * Responses may take up to several months. Please be patient and DO NOT contact FotoFest regarding the status of your portfolio. We appreciate your patience. * FotoFest does not review portfolios sent via email.

Please address work to: FotoFest 2012 Biennial - SUBMISSIONS Attn: Exhibitions 1113 Vine Street, Ste 101 Houston, TX 77002 U.S.A.

Please contact FotoFest Exhibitions Coordinator Jennifer Ward with any questions –

Q&A with Erin Siegal: Tapping Social Networks to Fund Investigative Journalism

In a previous post I talked about how journalists and artists can raise money to cover projects through crowd funding.  Erin Siegal, a photographer, multimedia artist and journalist has been working on a story on corruption in the Guatemalan adoption industry. She used to raise the money necessary to finish the story. Below is a Q&A with her about the process and why she didn't go the traditional route.

You've been working on Finding Fernanda for over two years. Did you start out thinking it would be a photo essay? If so, was your goal to get it published online or in a magazine?

I fell into the world of adoption corruption entirely by accident, and as a result of being a photographer. My sister and I went to Guatemala on vacation in

December 2007. While waiting for our plane in the Guatemala City airport, we were surrounded by Americans leaving with newly adopted children. On a visual level, it was a very striking scene because of the trans-racial element as well as the sheer number of children leaving. I was immediately curious to learn about what was happening. I decided to do a little research to see if there was a story angle I could pitch to my photo agency, Redux Pictures.

Back in the States, I started reading all the English language clips I could find about Guatemalan adoptions. To my surprise, many of the stories focused on issues of corruption like kidnapping, baby-selling, and bribery. There were numerous clips from 2005-2007, and when I watched the six-part Dateline special "To Catch a Baby Broker," my curiosity was piqued. I just didn't understand how the abuses could keep occurring, apparently over and over again. Where was the oversight? Was the US government turning a blind eye to proven child trafficking?

When I thought about how to photograph the story, it seemed like an immense amount of time and reporting was needed. How else could I start to understand corruption that possibly was rooted in organized crime? I'd also been creeping towards a point in my photo work where I wanted to explore multi-faceted, complex human-rights based issues that couldn't be told with just pictures. I wanted to write the text to go with my photographs. The problem was that I didn't know how, or where, to start.

Columbia University offers a Master's degree in journalism with an investigative specialization, the Stabile Center for Investigative Journalism. The Stabile Center takes about 12 students each year. The application requires a pitch for a year-long thesis investigation, so I proposed an examination into the political side of international adoption. Who was calling the shots, and why? What purpose did a lack of oversight serve?

In August 2008, I started as a Stabile fellow and my life became engulfed in adoption fraud. It was a fascinatingly gray subject, with no black or white. A few months after starting my research, I came across the poignant, incredible story of Betsy Emanuel and Mildred Alvarado, the two mothers whose stories are detailed in Finding Fernanda. I was able to spend a month living in Guatemala City generously funded by the Stabile Center in January 2009, and have returned since, paying my own way.

At first, I imagined pitching to Rolling Stone or Harper's. Yet boiling it down to 3,000 words seemed like a disservice. Hundreds of people (including sources who need anonymity for security reasons) talked to me, and I wanted to honor their trust and faith. A book made sense, though I didn't initially set out to write one. The story simply demanded it.

Did you approach any publications, foundations or NGOs about funding the story?

This past January, I immediately started hustling for funding.

The idea of partnering with an NGO crossed my mind, but accepting funding from an advocacy group would obviously damage the credibility of the reporting. The fundraising process hasn't been easy: it's a full-time job to finish reporting and writing a 300-page book in 8 months. Finding the time to apply for grants and awards, learn about marketing/sales, and freelance stories simultaneously is a constant challenge.

In terms of publications, right now I'm working with the New York Times on an adoption-related investigative story. It's a co-bylined feature I'm working on with Ginger Thompson. Since the Times is already one of my photo clients, Ginger and I are angling to have me shoot the story's photos. My photo agency has been getting me work here and there. Unfortunately, there aren't enough hours in the day to be pitching, reporting, writing, and shooting other freelance pieces right now, because of chapter deadlines.

I've also been applying to every grant and foundation I can find! Both the Pulitzer Center for Crisis Reporting and the Fund for Investigative Journalism turned down my original proposals for book support, but I plan to re-apply for the online project component. The Pulitzer Center is so overwhelmed by applicants that they've frozen their program until October to review the backlog of submissions! It's been tough, because I'm up against a crazy amount of laid-off journalists with years and years of experience. I have an ongoing dialogue with a few other grantmakers, and I've come really, really close serious backing- I was one of the finalists for Lowell Bergman's $45,000 Investigative Reporting Project Fellowship at Berkeley, but wasn't selected. I'm currently working on applications for the Alicia Patterson Foundation, among others.

Three funding sources have really come through. The first was Investigative Reporters and Editors (IRE) who awarded me one of two 2010 Freelance Fellowship Awards to support my part-time research assistant, the amazing Fernanda Diaz. Second, the Schuster Institute for Investigative Journalism, an amazing non-profit reporting center, has also kicked me $5,000 towards reporting expenses this spring. The third source had been Kickstarter, which has by far been the fastest and easiest way to fundraise. Finding Fernanda met its Kickstarter target of $3,000 in just six days, and I'm hoping to raise at least $5,000 total by August 20th.

Taking on a project like this requires more than a few leaps of faith. Finding Fernanda is a book both necessary and overdue. It's traditional investigative journalism done in the service of the public good, exposing wrongdoing and holding those in power accountable. The broader appeal lies in the compelling experience of two very different women, one Guatemalan and one American, whose lives accidentally intersect because of one little girl: Fernanda.

What benefits, besides the money raised, have you gotten out of opening your story up to funding through Kickstarter?

Crowd-sourcing has definitely helped raise the profile of the book. People now know why I've been off the radar for so long. Kickstarter also enables more people to become invested (literally!) in your work and your project's success. Finding Fernanda has been on Kickstarter for a little over a week now, and I'm continuing to spread the word through social networking and the occasional email. Folks want to help: I've been offered sources, introductions, and offers for future collaborations. The other amazing thing is all of the encouragement; people out there believe in this project as much as I do. Writing a book-length work is a solitary endeavor, and the support is so warming.  The Kickstarter experience has been incredibly positive.

Are there any potential downsides to tapping your social network for

money to support a project?

In the beginning, it felt really strange, almost like online panhandling. After the first day of being on Kickstarter, I had a moment of absolute terror over soliciting, and considered canceling my project listing all together. Talking about the Kickstarter concept of crowd-sourcing with friends also helped me relax about it. I asked two close friends, one journalist and one photographer, what they thought about the possible sleaze factor. Both independently pointed to the same thing: if the public thinks your project is worth supporting financially, that's a way of understanding your idea's relevance to society at large.

Perspective also kicked in: no one else out there is going to do this work. I'm not making money, let alone breaking even. I'm trying to get by in a media landscape that provides few opportunities and support for long-term investigative/ documentary projects.

Anything else you'd like to share?

I want to say a heartfelt thanks again to not only all of my Kickstarter backers, but to those friends, colleagues, and contacts who helped by reposting, retweeting, and blogging! You are all so wonderful. And of course, Finding Fernanda will be on Kickstarter until August 20, 2010- you can check it out at .

The project's website is also currently housed at I'm always open to ideas, suggestions, and collaborations, and can be reached at Erin (at)

Erin Siegal’s dual passions for photography and the written word led to an education patchworked between New York City’s School of Visual Arts, Harvard University, and Parsons School of Design. She earned a BFA in Photography from Parsons in 2006, and a Master’s degree in Investigative Journalism from Columbia University in 2009, where she was a Fellow at the Toni Stabile Center for Investigative Journalism.  Based in the Bay Area, Erin’s clients have included Human Rights Campaign, the New York Times, Reuters, the Urban Justice Center,, the United Nations, and more. She was an Artist-in-Residence at the School of Visual Arts and the Camera Club of New York, and her work has been shown at the Jen Bekman Gallery.  A 2009-2010 Fellow at the Schuster Institute for Investigative Journalism, Erin is currently working on her first book, which details corrupt practices and child trafficking in international adoption between Guatemala and the United States.

Goodbye magazines, hello crowd funding?

Long gone are the days when photographers could pitch a great story idea to a magazine and get a guarantee or a nice long assignment. It does still happen, especially with unique ideas that are topical, timely or controversial, but it's the exception to the rule. Crowd sourcing, and specifically "crowd funding", could be the new model to getting those stories produced. Photographers, journalists, artists and other creatives are tapping the buying power of their social networks to make their projects a reality. Through web sites like and, photographers pitch their stories to the world, raise money and hit the road.

Journalist Erin Siegal has raised over $3,000 to cover her expenses in Guatemala as she completes a two year long investigative journalism piece on corruption in the adoption industry.

Photographer Zoe Strauss has raised $4,000 to do a series on how the BP oil spill is affecting people in The Gulf.

Stan Engelbrecht and Nic Grobler have raised over $16,000 to turn their project on South Africans and their bikes into a photo book.

The great thing about this is you instantly have a built in network of people who care about your story. All those small donations add up and those people will follow your progress, tweet about it and post about it to Facebook. It's like having hundreds of people doing PR for you.

Another big plus is that once you are done with the story, you can take it to book publishers, magazines, gallerists and art buyers and show them, in a concrete way, just how dedicated you are to your craft. Telling someone you have a great project idea is one thing, showing them is another.

Lastly, putting your ideas together and preparing them for one of these funding sites will force you to really think through your project. You might just find, through a lack donations, that it's not the great idea you originally thought it was.

UPDATE: PDN just posted a very informative interview with Yancey Strickler, co-founder of the crowd-funding Web site Kickstarter. It include tips on why some projects exceed their fundraising goals while others don't bring in any money.

Fabrica F Awards Announced

When I was working at Redux, the very talented Jessica Dimmock won the first F award for her work chronicling heroin addicts in an abandoned apartment in a posh building in New York City.  The award garnered a lot of attention for Jessica (not to mention the cash) and since then she has gone on to do a lot of great storytelling.  This year's winners aren't as undiscovered a talent as she was. Jerome has covered many amazing stories in his years as a photojournalist. Matt, although young, has earned a fair amount of exposure and awards already. Looking forward to seeing more from both of them. F  AWARD

Jérôme Sessini, France

Essay: So far from God, too close to America

“The Jury agreed unanimously that Jérôme Sessini's ongoing exploration of drug-related violence in Mexico at the U.S. border is remarkable for its sustained engagement with an increasingly alarming and dangerous reality, for its attention to concrete particulars, and for its ambition to convey the scope and complexity of the conflict".


Matt Eich, USA

Essay: Carry Me Ohio

In an effort to give a voice to increasingly marginalized communities destroyed by nearly 150 years of unmitigated mining, Matt Eich documents the daily lives of the people in Southeastern Ohio. Once rich in coal, salt, clay and timber, this region has been stripped bare of all natural resources—its people left to fend for themselves with minimal opportunities, horrific housing conditions, and sub-standard schools. As occurs in so many impoverished areas, the fabric holding together these communities is slowly disintegrating, as the people become more and more demoralized, often turning to drugs.  Matt’s ongoing exploration conveys their struggles—further exacerbated and contextualized by the current economic situation—while simultaneously pays homage to their strength and resilience in the face of such adversity”.

The F award is a creation of Fondazione Forma per la Fotografia, created by Contrasto, based in Milan and Fabrica, the Benetton Group’s Research Centre on Communication, based in Treviso.

The winning F project will receive a contribution of euro 20.000, the possibility of publishing a book and of having an exhibition of the selected work. The F25 winner (for photographers under 25), will be awarded a one year scholarship in Fabrica’s Photography Department.

Teru Kuwayama wins $200,000 Grant

Big congrats are owed to Teru for winning a $200,000 grant from the Knight Fellowship. He'll be using social media to bring the story of the war in Afghanistan to the American people in a way that TV brought Vietnam to our living rooms. The Marines recently lifted a ban on social media, so the Marines, along with the independent embedded journalists will be using social media to report on what is happening. Read more at

Watch Teru talk about the Challenge

Knight News Challenge winner Teru Kuwayama on One-Eight from Nieman Journalism Lab on Vimeo.

See more of Teru's work at

50,000 euros Grant and Exhibition

Here is a big grant to cover the Pashtun people from Carmignac Gestion, an independent asset management company. I received a packet by email which I'm happy to forward to anyone interested. There doesn't seem to be a web version online. Has anyone else heard of this? It says it's the second year of the grant but I can't find who won it before. Quite a prize! Here's the press release:

Carmignac Gestion aims to support photojournalism since it demands courage, audacity, freedom and determination.

Each year, a reportage subject that is directly linked to current events is suggested to international, professional photojournalists. An independent jury of experts made up of image and information specialists will select a reportage project to be achieved that will receive 50,000 Euros in support. This grant includes the execution of the reportage and the acquisition by Carmignac Gestion of 4 photographs chosen from the reportage.

Carmignac Gestion will also provide its full backing for the photojournalist to develop, promote and distribute the reportage. An exhibition will be organised within 12 months of the Prize being awarded and a monographic book presenting the award-winner's work will be published.

The proposed subject for the 2010 Carmignac Gestion Photojournalism Award is: Pashtunistan.

The photojournalists will be free to choose how to address this theme, and the angle to cover it from: political, economic, social or cultural.

Deadline for submitting applications : September 30th 2010

Contact: 2e Bureau - Sylvie Grumbach - Marie-Laure Girardon

Tel +33 1 42 33 93 18 Fax +33 1 40 26 43 53

8,000 Euro Multimedia Prize to be given in Perpignan

For the second consecutive year, FRANCE 24, the international news television channel and RFI, the international news radio station, are organizing the FRANCE 24-RFI Web Documentary Award. This award honours the web documentary that sets itself apart from the other entries in terms of choice of subject, originality and innovative use of new multimedia tools. The award will be presented on the 1st of September at the Visa Pour l'Image - Perpignan festival and is accompanied by a cheque for 8,000 euros.

Further information, conditions of entry and the online entry form, can be found at the following addresses:

For any further information:

DEADLINE: 20th July 2010

Aperture Portfolio Prize deadline next week


The purpose of the Aperture Portfolio Prize is to identify trends in contemporary photography and specific artists whom we can help by bringing them to a wider audience. In choosing the first-prize winner and runners-up, we are looking for work that is fresh and that hasn’t been widely seen in major publications or exhibition venues.

First prize is $5,000. The first-prize winner and runners-up are featured in Aperture’s website for approximately one year. Winners are also announced in the foundation’s e-newsletter, which reaches thousands of subscribers in the photography community.

The entry period for the 2010 Aperture Portfolio Prize begins Friday, May 14, 2010, and the deadline is Wednesday, July 14, 2010, at 12:00 noon EST. All entrants will be contacted with final results by November 1, 2010. For more information, see the Guidelines and FAQs pages.