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John Brian King Ismael CastaĂąeda J. Daniel Hud Jonathan Jacquet Zisis Kardianos Matthew Martin Boris Milas Alex Muriana Michele Vittori Klavdia Balampanidou Michel NguiĂŠ Lena Pogrebnaya
Curator/Editor/Publisher: Isa Gelb www.punkroyaltiger.tumblr.com/ www.flickr.com/photos/isagelb/ www.instagram.com/punkroyaltiger/ Cover & back cover: Michel NguiĂŠguiĂŠ All images and text published in Underdogs are the sole property of the featured photographers. NO image can be reproduced, edited, copied or distributed without the express written permission of its legal owner. NO part of the publication may be reproduced in any form without the written consent of the publisher.
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I’ve been thinking about entry fees that some photo magazines and contests charge on artists’ submissions— not because I intend to do anything similar with Underdogs, but because from time to time I submit my photography to other venues myself. To be honest, I reactively grudge at the thought of having to part with my money for the uncertain opportunity of getting published. (I hope that’s human nature and not just me.) Attempting to go beyond my own instinctive disinclination, I have taken some time to consider the pros and cons of entry fees . First, the pros: Entry fees are a way for publishers to increase revenue and thereby stay in print (or on the web). Such fees might compensate editors for their time reviewing submissions. To the extent people are willing to pay entry fees, they may even validate the status of a publication (i.e., it’s so good, people will pay for the chance to get in). Depending on the taste and priorities of the publisher, entry fees may also reduce the need for advertising revenue, resulting in fewer ads and increased emphasis on the content—a positive outcome in my opinion. An issue I find fascinating, which I believe lies somewhere between a pro and a con (at its worst, I think it’s a con disguised as a pro), is the justification of entry fees based on editorial feedback to the submitting artist. At first, it’s hard to see such feedback as anything less than a positive: instead of a submitting artist receiving a summary “no thanks” from a publication, the artist might receive some constructive criticism on how to make their work publishable in the future. However, I’ve seen examples resembling this one: A well-regarded photo magazine charges a substantial entry fee for submissions—say $50 for a 5-photo series. An amateur photographer, who is inexperienced but has some confidence in her work, and who would be thrilled to be published in the magazine, decides to submit and pay the entry fee. She thinks, “Well, even if my photos don’t get published, at least my work will get looked at by such-and-such prominent photographer, critic, etc., and I’ll learn their thoughts.” The magazine declines to publish the photos. The photographer doesn’t receive an engaged, personal, and thoughtful response from the editor explaining the decision, but rather something resembling a form letter explaining the basic principles of photography. It might be too much to expect an MFA-level “crit” for $50—but the cost of arts education is its own important issue. For the sake of space, I won’t write much on the cons of entry fees, but I’ll raise an issue that ties into charging for editorial feedback: what does it mean to charge at the level of the submitting artist, as opposed to the viewer? Does this practice play to artists’ vanity instead of relying on the social value of the work, and of the publication? Even if it’s all a wash in the end, I believe publications should be conscious of what values they are championing through their practices.
John Koch www.flickr.com/photos/orphotographer/ Isa Gelb www.punkroyaltiger.tumblr.com/ www.instagram.com/punkroyaltiger/
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JOHN BRIAN KING
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JOHN BRIAN KING
Palm Springs, California / USA
HIS CAMERAS Lomography Lomo’Instant Wide and Fujifilm Instax Wide 300 instant film cameras
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ISMAEL CASTAÑEDA
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ISMAEL CASTAÑEDA Toledo / Spain
HIS CAMERAS Olympus OM-2 and Fuji X100F
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J. DANIEL HUD
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J. DANIEL HUD
Tucson, Arizona / USA
HIS CAMERAS Canon 5D and Bronica GS-1
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JONATHAN JACQUET
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JONATHAN JACQUET
Bouillon / Belgium
HIS CAMERAS Olympus Mju II,Yashica T4, Canon AE1P, Ricoh GR2 and Fuji X100T
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ZISIS KARDIANOS
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ZISIS KARDIANOS
Zakynthos / Greece
HIS CAMERAS Fujifilm XT-1 (mainly now) and Canon 5D 30
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MATTHEW MARTIN
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MATTHEW MARTIN Chester / United Kingdom
HIS CAMERA Ricoh GR
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BORIS MILAS
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BORIS MILAS
Perth / Western Australia
HIS CAMERA Mamiya C330 and Hasselblad 500 Cm 42
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ALEX MURIANA
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ALEX MURIANA
Granada, AndalucÃa / Spain
HIS CAMERA Olympus E-330 49
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MICHELE VITTORI
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MICHELE VITTORI Roma / Italy
HIS CAMERAS Sony A7II and Canon Sureshot Supreme
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KLAVDIA BALAMPANIDOU
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KLAVDIA BALAMPANIDOU Nicosia / Cyprus
HER CAMERAS Powershot G15, Nikon 750, Canon AE1 and disposable cameras
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MICHEL NGUIÉ
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MICHEL NGUIÉ Roubaix / France
HIS CAMERAS Canon T80, Yashica T5, Olympus Mju II and Contax T2 66
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LENA POGREBNAYA
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LENA POGREBNAYA Odessa / Ukraine
HER CAMERA Nikon F100 72
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THANKS TO ALL PHOTOGRAPHERS
JOHN BRIAN KING
Palm Springs, California / USA http://johnbrianking.com/ www.instagram.com/jbkphotographer/
ISMAEL CASTAÑEDA Toledo / Spain
www.ismaelcastaneda.com/ www.instagram.com/ismaelcastanneda/
J. DANIEL HUD
BORIS MILAS
www.jdanielhud.com/ www.instagram.com/jdanielhud/
www.borismilas.tumblr.com/ www.instagram.com/asylum_years/
JONATHAN JACQUET
ALEX MURIANA
www.flickr.com/photos/djodjack www.instagram.com/dialekte.be/
https://www.instagram.com/alex.muriana/
Tucson, Arizona / USA
Bouillon / Belgium
ZISIS KARDIANOS Zakynthos / Greece
www.zisiskardianos.com/ www.instagram.com/zisiskardianos/
MATTHEW MARTIN Chester / United Kingdom
www.endlessproof.com/ www.instagram.com/endlessproof/
Perth / Western Australia
Granada, Andalucía / Spain
MICHELE VITTORI Roma / Italy
https://www.michelevittori.com/ https://www.instagram.com/mhlvittori/
KLAVDIA BALAMPANIDOU Nicosia / Cyprus
www.cargocollective.com/Clodiamp/ www.instagram.com/clodia_mp/
MICHEL NGUIÉ Roubaix / France
www.flickr.com/photos/michel-nguie/ www.instagram.com/michelnguie/
LENA POGREBNAYA Odessa / Ukraine
https://www.flickr.com/photos/helenapogrebcarter/ https://www.behance.net/lenapogrebnaya www.instagram.com/lena.pogrebnaya/
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Next issue July 2018
UNDER
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