Dgmma

Source for the Educated Photographer get home from the airport after events, he says, (He emphasizes the crucial role of Alys Kenny, 30, SLPS co-director from 2004-09, who founded the nonprofit and improved production values, among other things.)

Those 750 or so $10 admissions in New York last fall were an anomaly—there'd never been a straight admission fee before. 'Your raspberry couscous and your bottle of Knot Grigio, that was your admission," he says. In Santa Fe, the $5 "Suggested Donation" jar was having a quiet night. Future events will likely carry $15 submission and $5 to $10 admission fees. And SLPS is seeking major sponsorship.

In the meantime, Kelbaugh spends at least 70 percent of his time on SLPS, and turns down paying photo jobs several times a year because of it

But running a decade-old and increasingly visible event frequented by art directors and photo editors must bring highprofile assignments? Not so, he insists. "There's no direct correlation between running SLPS and my getting photo jobs, I may get interviews, I get to know people, but I've never gotten a job from running Slideluck."

It's a labor of love: He's bringing photography to life, straight to the people, mixing it all up. "You can look at photographs in a gallery or online, but experiencing it with a roomful of people, and building a nairative with its own peaks and valleys, is so much more satisfying," he says. "It gives photography almost a performance element. It's the collective experience of seeing photos together."

Adds Kelbaugh, "Someone in New Orleans just said Slideluck felt like a primal thing that goes back to cave drawings—sitting around a fire together, looking at pictures on the wall." Q

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