Every year, as people around the globe weigh the pros and cons of entering Critical Mass, the question of money comes up. Critical Mass has a two-tiered entry fee - $75 US ($90 International) to enter and $200 if you make the Finalist round. In fact, last year at about this time, the same question was addressed on this blog. Click the link and scroll down for insights from Photolucda founder, former board chair, and Critical Mass entrant Chris Rauschenberg (yes, he can now enter as he retired from the Photolucida board in June 2010 and hasn't been a Critical Mass juror since 2009) about why Critical Mass was created.
But still, where does all that money go?
Photolucida is a 501c3 non-profit (or not-for-profit). As a federally-recognized non-profit, in exchange for not paying taxes we ensure that all of the income the organization takes in is used to further the mission. This means no one person or group of persons is making money from our programs. Instead, Critical Mass income goes towards: - A portion of staff salaries and overhead to ensure we have basic facilities/equipment to run the program.
- Payment to a programmer to manage the registration system, the online juror voting system and CD production.
- Costs associated with the Critical Mass Top 50 traveling exhibition.
- Expenses to produce the Book Award monograph (design, production, and printer fees).
- Shipping of the CD's and monograph(s) to all jurors and entrants (typically 700+ people). This is why we charge a bit more for international entrants as the expense of shipping the books has gone up exponentially in the last several years.
But, that's still soooo much money, how does one justify that expense?
The primary goal of Critical Mass is to create connections in the photographic community. This could mean immediate successes like offers to exhibit work, book deals, editorial jobs, etc. But the more likely scenario, is that people will see your work and remember you in the future. Maybe they remember the project the next time they see you at a portfolio review. Maybe they recall an image you took when hiring for an editorial job six months later.
We can't promise any one result, we just know that things do happen for most of our Finalists and Top 50. How do we know? They tell us.
Kirk Crippens recently shared:
"Critical Mass 2010 provided a platform for my project Foreclosure, USA to be seen, which in turn helped some doors open more easily. Personally, it was a validation of the work and served to encourage me to pour energy into my follow up series, The Dealership Wreck. In the months following Critical Mass 2010, I've had numerous exhibitions, features, lectures and events with the Foreclosure, USA series (and already a few from it’s follow up The Dealership Wreck)."
Rachel Barrett had a similar experience, saying:
"It's hard when things are slow or without a big ta da to see how much impact there will be in the long run. I would say that at the reviews pretty much everyone commented on knowing my work from Critical Mass and that being a big component. I'm now represented with Jennifer Schwartz Gallery, am currently participating in a group show at the Jen Bekman Gallery, publishing with Fraction Magazine in July, and will be publishing in Orion Magazine later this summer."
From Helen K. Garber, a past Critical Mass Juror:
"I gave up a position as judge to submit a new series of work in 2010. And since there is no better way to introduce photo-based work to such a large influential group of jurors, I paid my entry fee and submitted another new series to the 2011 contest....."
In his Lenscratch interview, Critical Mass 2009 Top 50 Photographer, Caleb Cole discusses his experience with Critical Mass.
Sol Neelman emailed almost two months after Critical Mass 2010 Top 50 were announced to let us know he just received an invite to publish his work in a Critical Mass juror's publication. This is after he received a book deal with another CM juror who initially saw his work in Critical Mass.
Finally, one of my personal favorites was from Isa Leshko. She wrote:
"Just wanted to share with you a positive outcome from my involvement with Critical Mass. I was offered representation and a solo show with the Corden/Potts Gallery in San Francisco! They saw my work on CM and interestingly, they contacted me the day the top 50 list was announced. Today everything was finalized, so I am able to announce the news.
Although I am of course disappointed I did not make the Top 50 list, I am very happy to have been a finalist. I'm not sure this opportunity would have presented itself had it not been for CM."
Ok, so it costs money to make Critical Mass happen and people seem to benefit from the program...how does one decide if it's worth it?
In the end, each photographer has to assess whether Critical Mass makes sense for them given where they are in their career, how far along in a specific project they are, the state of their financial affairs, and I'm sure a lot of other personal factors. We can't make that call for you. If you feel like you have a solid body of work, a decent idea of what you're doing with the project and a corresponding statement, and are ready to share it with a larger community than just yourself...now might be the time.
Good luck!
Feel free to email with any additional questions: registration (at) photolucida.org
