Part 2

Publication proposal

  • indicate how you will resolve the final project
  • outline how you will engage with a public audience
  • negotiate with a gallery to exhibit your work

Sources of funding:

I have advertised on the OCA Forum for people in other disciplines who would like to become involved by presenting their response to the work.  Two students, one studying  music and  the other creative writing , have responded and said they would like to be involved.  The musician has given me an idea of possible costs involved but he creative writing student has not.

My next step is to apply for Arts Council England funding but the process is exceedingly frustrating in that I was on the website over an hour yesterday without ever reaching the application form.  I wanted to do this because when I was in Ireland to see the PhotoIreland exhibitions, I saw 2 exhibitions where funding was generated by ACIreland because there were 2 artists involved.

The message in the course material by David Drake about being realistic rather than aspirational in the application is valuable.  Drake maintains that the applications are assessed by administrators who are not subject specialists and who simply tick boxes.  That is also useful to know.

Key info is that they assess to what extent the project will benefit the career of the artist.  There are 2 artists involved: photographer and musician.

The Photographer’s Gallery is also involved as a Regional Development agent as well as Photoworks Brighton.  I am thinking about approaching TPG but last time I tried to contact Photoworks about work, I felt that they were quite dismissive.

Partnership funding

I saw this in the ACE material too and saw that partnership  can involve many enterprises: framing, loans of material or machinery, and well as discounted services.

You need to show that you can get at least 10% of the funding from other sources. “Getting support from a range of sources … will make the application more attractive because :

  • it demonstrates that you’re not relying solely on them for financial support.
  • working with other orgs increases awareness of your project, its marketability and potential future developments.
  • showing that other organisations are behind your project will promote confidence and this will persuade others to support it too.

If your idea is conceptually sound & is relevant to the organisation be determined!


Foundations, awards, grants.


What about The Koestler Trust?

I looked up prison project funding and got the Edge Fund  under Other Funders, which highlights several funding opportunities:

AB Charitable Trust
ABCT supports registered charities working where human dignity is imperilled and where there are opportunities for human dignity to be affirmed. Applications are particularly welcomed from charities working to support: refugees and asylum seekers, prisoners, older people and people with mental health problems. Tend not to support groups with an income less than £150,000 or greater than £1,500,000. Under OCA???

Allen Lane Foundation
Supports asylum-seekers and refugees (but not groups working with a single nationality), Gay, lesbian, bi-sexual or transgender people, Gypsies and Travellers, Migrant workers, Offenders and ex-offenders, Older people, People experiencing mental health problems and People experiencing violence or abuse.Your organisation does not need to be a registered charity – the Foundation also funds other organisations which are not charities but which seek funding for a charitable project.  Am I one?

** Barry Amiel and Norman Melburn Trust
The general objectives of the Trust are to advance public education, learning and knowledge in all aspects of the philosophy of Marxism, the history of socialism, and the working- class movement. Funds a variety of projects which include conferences, seminars, publications, research, archiving, translations, art and culture projects and documentaries. The Trust funds both national and international projects.

BIG Lottery: Awards for All
Awards for All gives groups an easy way to get small Lottery grants of between £300 and £10,000. Fund projects which address the issues, needs and aspirations of local communities and people. Community projects aimed at developing skills, improving health, revitalising the local environment and enabling people to become more active citizens. Decision in 8 weeks. You can apply at any time.

Calouste Gulbenkian Foundation
Fund in the areas of cultural understanding (to help improve people’s perceptions of each other by providing opportunities through culture and between cultures), fulfilling potential (to assist the most disadvantaged in society to fulfil their potential by building connections and developing opportunities) and environment (to help in the development of a society which benefits from a more sustainable relationship with the natural world and understands the value of its resources.) They only accept proposals from not-for-profit organisations based in the UK or Republic of Ireland. If you are not a registered charity or a Community Interest Company, you must be able to demonstrate not-for-profit status and that your constituting document does not allow for any surplus to be distributed to members.

Co-operative Membership Community Fund
Between £100 and £2,000 are awarded to community, voluntary, or self-help groups. To be successful, a group must carry out positive work in the community and a project must: address a community issue; provide a good long-term benefit to the community; support co-operative values and principles ideally be innovative in its approach.

Garfield Weston
Supports a wide range of charitable projects, except animal welfare. Last year areas funded, in order of amounts given, were: arts, education, health, religion (cathedrals etc), welfare (homeless, elderly, disabled, offenders etc), youth (Not in Employment, Education or Training etc), community, environment (conservation, recycling etc). Half funds went to national organisations.

Hilden Charitable Trust
Funding is available to charities in the UK and non-governmental organisations in the developing world. In the UK, the Fund supports projects concerned with: homelessness; asylum seekers and refugees; community-based initiatives for young people aged 16-25 and penal/prison reform. In the developing world, the Fund supports projects concerned with: community development; education; and health.

Odin Charitable Trust
In addition to supporting a wide range of charitable organisations, the Trustees have resolved to give preference to charities which further the arts; provide care for people who are disabled and disadvantaged, supporting hospices, the homeless, prisoner’s families, refugees, gypsies and ‘tribal groups’ and furthering research into false memories and dyslexia.

Grants are awarded to organisations that provide opportunities to take part in the arts in
educational and community settings, especially for people or groups with limited access to the arts.
These all cover offenders or ex-offenders / social inclusion projects but most of them are inviting applications from organisations – could I call myself part of the OCA charitable organisation?
What is the impact of their investment?
*  My proposal to make the quilt which will be auctioned to include their name?
*  How will it help my career? Who knows???
*  How will the audiences enjoy and benefit from the work the sponsors produce? Ethical values?
How many people are likely to visit the exhibition?
Report on the project afterwards.

Crowd funding

  •  from within my own network
  • – help authors publish their books
  •  US based

Photography: – photographers propose projects they would like to investigate & would-be newsreaders support stories they would like to see published.   Pledges are made on the understanding that a person will receive a book in return.

Support ‘in kind’:

  •  Reduced printing & / framing costs
  • Discount on digital projector hire.
  • Publicity

Completing a proposal:

Crowdfunding video could be an innovative idea for Assignment 4

See also Fox & Caruana Behind the image

Working out the budget:

Location. ✔️

Does it include expenses?


my daily rate as a practitioner, travel, accommodation & meal costs

hiring specialist equipment

consumables i.s. film stock


assistants ( musician / creative writer

mounting & framing

professional video editing

book design and production costs

website design & other marketing costs

professional consultation: publicist & portfolio reviews

private viewing costs


What are you really worth? (P. 37)

  •  Usage: This reflects how your photographs will be used: short term or long term licensing?  Worldwide or regional? Thumbnail or billboard? The Association of Photographers’ Usage calculator is absolutely impossible to use.  You can’t start at 1 and work logically through to the end, in my opinion, because it seems that you have to know what to charge before you have started calculating it???
  • How good are you?  That depends on which image of mine I am looking at.  Fair pay – you are worth what people are prepared to pay for your work – in my opinion.
  • What are your photographs worth?  See above.
  • Stock exchange:  Are the photographs you are going to take already on stock websites?  What would it cost the client to buy them all up?  Should your daily rate reflect this price?  This means you have to know which stock agencies exist & how much they are charging.  Good thought.
  • Spreading the cost: the work you do for your client may only take a day but you also have to calculate the days spent doing your books, networking and marketing which will not be paid days.
  • Running costs: insurance, equipment maintenance, vehicle running costs & costs of running a studio.
  • Gear: rapid depreciation of equipment & shorter lifespan of DSLRs compared to high-end analogue cameras.  Look at the cost of daily hire rates.
  • Editing and file processing: the time it takes to process images is difficult to explain to clients.  Charge a fee per image based on the time it takes you to process the file.  Negotiate in advance the number of images you’ll process from the shoot.  Don’t undersell.
  • Plus extras or all in? Do you want to charge your client for your basic service – i.e. for showing up and pressing the shutter release, plus a list of all the extras: file handling, cost of equipment and a cost of the specific usage of the images? Or is it easier to calculate a rougher, more instinctive overall figure?
  • What’s your minimum wage? Based on the cost of the equipment, what would you get out of bed for? Don’t stray beneath this line.
  • Hidden benefits: Weigh up the benefits of getting the experience by doing a shoot against being exploited by someone else.

All this will be useful for Assignment 2.

Match funding and support in kind (P.40)

No single organisation will take kindly to asking to pay up all the costs of an event.  Arts Council England demands that at least 10% comes from a different source.

Support in kind reflects the deals and discounts that you have secured because that all contributes to the cost of the exercise.

Support in kind:

  •  anyone who might assist in the making of the work: assistants, models location fees waived.
  • help with marketing & making a website.
  • discounts offered in printing & framing.
  • discount on venue.
  • volunteers for gallery invigilation.
  • your fee as an artist – set a fee for your production time & a proportion of this is given in kind.

Although not all the above is relevant to your publication proposal, within the document you need to show that you have considered all the support in kind.

Your idea and its relevance:

You should be ok with pitching your ideas to your tutor & peers.  Your ability to articulate the concept of your project may make or break your chances of having somebody throw money your way.

Assume that the person reading your proposal knows nothing about your project

The course material suggests looking up this link    A huge exclamation mark comes up!

When communicating your concept:

  •  Does your proposal follow on from previous work? Yes: book published.
  • What principles, theories & concepts does your work address? : A prison is a Foucauldian principle of heterotopia in which there is a world within a world where prisoners are kept separate and silent.  because of this separation, the public does not know what goes on inside the prison walls and so the information which comes out is driven by the mass media.  The stories I heard about life in jail through correspondence with a friend who was jailed for a crime he had committed 35years previously, did not match those told by the media.  My investigations showed that this was not an isolated case, that the voices of many prisoners had not been heard but were out there.  They also showed that there are photographic artists, like Edmund Clark and Jennifer Wicks,  who are working with prisoners to show a different side of the mediated stories.  The predominant colour in my work is white to be a foil to that darkness presented in the media.
  • Has the subject area or particular creative strategy been used before?  If so, how is your project different? Although the subject area has been used before by Clark and Wicks, mine is different because I am using the actual letters from a prisoner which show that different side to life in prison.  The aesthetic I am using has not been used before to my knowledge.
  • What work have you done to date and how can the reader view it?  I have finished a BoW but I am now extending it.  The original can be seen here, and my current work is here.
  • What are your expectations for the project?  I am hoping that those who view it will see that prison experience in the UK is not all about drugs, violence to self and others, and corrupt officials.  There are rehabilitation programmes,  therapeutic practices and a personal development which many prisons offer successfully.
  • Is the tone of your writing professional? It needs to install some excitement in the reader and it needs to convince them of my enthusiasm.  I need to convince them of the urgency, relevance and originality of my idea.


Engaging with the audience and audience outreach. (P. 43)

Who will be consuming the work? It is a critical consideration that the work will be seen by as many as possible.

  •  developing audiences that reflect the demographic, social and cultural diversity of the UK.
  • demonstrating how you intend to engage with marginalised audiences through workshops, collaborative projects or through a particular aspect of the idea or strategy of the work.
  • how will your imagery attract a potential customer or service user & how your photography might reach out to new customers.
  • the proposal how you will engage with specialist audiences: the venue “The Cells” is in a deprived area of Plymouth; I will give a ‘meet the artist ‘ day in which I will talk about the project & issues involved.
  • collaborating with other organisations and institutions.  ASK Jennifer Wicks!!

Read the article by Doug Borwick on audience outreach:

Borwick has difficulty with the historical paternalistic inferences with the term outreach.

Outreach isthe principal activity of audience engagement. While audience engagement is a different thing from community engagement, it is a valuable and important focus for arts organizations”(1) All the following are quotes from the same source:

  • Artists Meet Audiences–These are the opportunities, before or after arts events, in which the public is able to interact with artists. Often these involve a brief presentation and a Q&A session. While sometimes derided as artist “petting zoos,” they can have the very real (and important) effect of humanizing the artist and artistic process. (But let’s not kid ourselves that all artists are equally adept at making that happen.)
  • New Population Centers–Taking art to places where there is not the opportunity to experience the genre. Originally, this involved going to smaller cities, towns, and rural areas. Today, while that is still true, this may also mean taking art to populations traditionally under-served by a particular art form.
  • Relatable Cultural Idioms (Familiar/popular forms and styles)–In an effort to be meaningful to more people, arts organizations undertake work outside their principal cultural idiom that has greater resonance with people they hope to reach. This recognizes that the works on which focus has traditionally been placed often is not meaningful to those unfamiliar with the “language” of the art. The difficulty is ensuring that the chosen forms and styles are presented with understanding and integrity. The presenter mustbelieve in what they are doing to make this a successful approach. (They also must have appropriate skills!)

Creative strategy and timeline:(P.44)

“When I’m working, I estimate how long I think the project will take me and then double it.” (Val Williams curator and writer.)

Outline exactly what you need to complete the project & for putting together the exhibition.

Justify all your choices.

Some funders won’t provide funds for work in progress.

Timeline for the project :

  1.  Work backwards to calculate how much time you need to complete each stage of the process.
  2. Be conservative and allow yourself more time to complete a task than you think you need & create buffer zones to absorb any unforeseen hitches with models, materials, suppliers & technical hitches.
  3. Plan your campaign: allow time close to the deadline to concentrate on marketing.

 Opportunities for photographers.

Consider the relevance of your work to the group exhibition in question.

Group exhibitions:

The RA has mixed discipline open entry exhibitions where anyone is eligible to enter.Curator-led exhibitions.  These will have a list of practitioners they want to include.

Many are on a particular theme.

Research the jury if you want to see what the ‘hidden agenda’ is.

Degree show:

A good way to experiment exhibiting work.

Free Range. com: run a festival of art & design degree shows over the summer – some quieter works will be drowned by those that make a lower splash.


Networking opportunities.

Look out for degree shows & comment on how the photography is displayed; did some work have a bigger presence? were some works lost?  how well was the work labelled? what environment would be suitable for your work?  The Cells, Plymouth.

Artist residencies:

These can help fund a new body of working help individuals to develop their practice beyond the discipline of an institutional structure like the OCA.


Competitions and awards:

Being selected for an award can provide exposure, cash or equipment; content for the CV, future opps,

Preparing text for the submission:

  •  prepare the submission carefully: find out about the jury & what their particular interests are.
  • Abide by the rules: stick to the word count, file or font size.
  • Read the small print: some companies want you to release your rights to the image. Only enter if you are happy for that to happen.

Research the competition: is it right for you? Is it worth the time and effort?

Start compiling a list of competitions and awards for photography.  Note the key details & reflect on which is suitable for your work.  Keep updating the list.

Photography competitions and awards


Getting rejected:

  •  I am in a fiercely competitive sector and rejection is the plat du jour!


      *  You need passion, talent and determination and a focus on your purely creative activities.  Think about what you do in more objective & business-like terms.

  •  If your ambition is to contribute to and have an impact on the art world, there are the opportunities to do so.
  • Be creative about collaborating with orgs and seek opportunities to have your work commissioned.  What is my work about?  What other organisations also deal with this subject?
  • Weigh up opps vs exploitation.
  • Be professional & business-like.