the volume of the [residential] walls that are out
here, led me to be successful [with] images 7 feet
wide, 8 feet wide, 10 feet wide. So I branched out
to other galleries around the country.
PDN: How many galleries represent you?
B. T.: I have galleries in Dallas and Houston.
I just broke up with a gallery in Aspen.
[I’m with] Emmanuel Fremin Gallery in
Chelsea [New York City], and Chase Edwards
Contemporary in Bridgehampton, New York.
I also sell through two design shops that sell
to decorators. I would say 60 percent of my
fine-art sales are through designers, decorators
and architects that see my work and bring it
PDN: Who are their clients?
B. T.: The majority would be residential, but
also hotels and corporate offices.
PDN: How did you build your relationships with
B. T.: People see work in other peoples’ homes.
I get calls out of the blue from my website, from
all over the world. It’s mainly word of mouth.
PDN: What do you get for a print sold in a gallery?
B. T.: For an average size print, which is 40 x
60, it would retail for $15,000, with larger ones
going into the $20,000-plus range.
PDN: I notice your price for a commissioned
horse portrait is $18,000. How did you come
up with that number?
B. T.: It’s a few thousand dollars more than
what you would pay to buy a print in a gallery.
[That fee is] a commitment on both [sides]—I
know that I have to come through and capture
the personality of the horse, and there’s a
commitment on the part of the person who hires
me [that wouldn’t exist on a spec shoot]. There’s
also another aspect of this: I’m of the Jewish
faith; 18 is chai, which is a lucky number.
PDN: What’s the most challenging aspect
of this niche?
B. T.: Someone with an unsophisticated eye will
say, “Oh, that’s beautiful, it will go great over my
white couch in my living room.” Then it’s “Oh my
god, why is it $22,000? I’ve seen stuff for $600.”
That’s a problem. For a sophisticated eye, it’s
not a problem.
PDN: For other photographers interested in
equine photography, what would be your advice?
B. T.: Go out and photograph. Don’t be frightened
to shoot in the bright light, don’t read the
manuals that say you shouldn’t be shooting
[in mid-day light]. Do it! Don’t be frightened
to make mistakes. Learn from them.
OBi Tuary: STree T PhOTOgraPher
arlene gOTTfried, 66: Photographer
Arlene Gottfried, who captured the humor,
personalities and eccentricities of the
people and neighborhoods of New York
City in the 1970s and 1980s, died at her
home in New York City on August 8. Her art
dealer, Daniel Cooney, confirmed her death
but did not report the cause. Gottfried
began making photos while wandering the
streets of New York City after graduating
from the Fashion Institute of Technology
in the 1970s. She shot assignments for
New York magazine, The New York Times
Magazine, LIFE, Fortune, Village Voice
and other publications. She published five
books of her personal street photography.
OBi Tuary: JOhn g. MOrriS, PhOTO
edi TOr Of CaPa and SMi Th, 100:
The legendary photo editor for LIFE,
The New York Times, National Geographic
and Magnum, died July 28 in Paris at the
age of 100. While working in the London
office of LIFE in 1944, Morris had the
responsibility of editing Robert Capa’s
famous photos of the D-Day invasion of
Normandy. In 1953, Morris became the
first executive editor of Magnum Photos,
and recruited W. Eugene Smith to join the
cooperative. Morris worked closely with
Smith on the famed photographer’s
year-long project about Pittsburgh. Later,
as a photo editor at The New York Times,
Morris convinced editors to publish Eddie
Adams’s photo of a street execution in
Saigon and Nick Ut’s photo of a naked
girl running from burning napalm on the
paper’s front page. He published Get the
Picture, a memoir of his collaborations
with photographers, in 1998.
PhOTOg Bill frakeS Will nOT re Turn
TO univerSi Ty POST fOllOWing
Sex haraSSMen T ChargeS:
The award-winning Sports Illustrated
photographer will not be teaching this
fall at the University of Nebraska-Lincoln
after school administrators concluded he
violated the university’s policy against
sexual harassment and “created a hostile
environment” for a female student. The
university’s Office of Institutional Equity
and Compliance (IEC) concluded in July
that Frakes’s violations were in the form of
“unwanted comments…regarding female
students’ bodies and clothing,” and threats
that he could “negatively influence” the
student’s career. Frakes says he will appeal
nPPa addS an Ti-haraSSMen T
STandard TO COde Of e ThiCS: The
new standard, adopted unanimously July
22 by the National Press Photographers
Association board of directors, states:
“Do not engage in harassing behavior
of colleagues, subordinates or subjects
and maintain the highest standards of
behavior in all professional interactions.”
The standard, adopted because of recent
allegations of sexual harassment by some
NPPA members, covers sexual harassment,
as well as harassment on the basis of race,
religion, gender or national origin.
fOur PhOTOgraPherS Win
inaugural WOMen PhOTOgraPh
gran TS: Néha Hirve, Luján Agusti and
Gabriella Demczuk have each won a
$2,500 grant from the inaugural Women
Photograph + ONA Grants. Additionally,
photojournalist Alex Potter has won
$5,000 to collaborate with the Pulitzer
Center on Crisis Reporting. The prizes,
co-sponsored by Woman Photograph and
gear bag company ONA, are intended
to support new or in-progress projects
from emerging female documentary
photographers. The winners were chosen
from a pool of nearly 500 entries.
JOhanna-Maria fri Tz WinS $5k inge
MOra Th a Ward 2017: Fritz won the prize
for her project “Like a Bird,” which looks
at circus life in Palestine, Afghanistan
and Iran. The award, named after one of
the first female members of Magnum, is
intended as a production grant to support
a long-term documentary project. Isadora
Romero was named the finalist for the
prize. Fritz and Romero were chosen from
among 122 applicants.
The following are excerpted
from news stories posted on
PDNOnline and PDNPulse.
BelOW: An image from Johanna-Maria Fritz’s
project “Like a Bird.” Fritz won the Inge Morath
Award for the series.