Jonathan Blaustein is an artist, writer, and educator based in Taos, NM. His work has been exhibited widely, and resides in several important public collections. Jonathan writes about photography for the New York Times Lens blog, and the influential photo industry blog A Photo Editor. He plans to write an article about his experience at Medium for APE, highlighting his favorite work. He will also be forwarding any appropriate projects to his editors at the NY Times.


Jonathan is willing to look at all types of photography, but is most interested in viewing fine art photographs and photojournalism based work. He’s taught photography for almost a decade, and is happy to offer critical feedback, if appropriate, both positive and negative.



David Bram is the editor, founder, and curator of Fraction Magazine, an online venue dedicated to fine art, contemporary photography. Fraction Magazine brings together diverse bodies of work by established and emerging artists from around the globe. Fraction Magazine was founded in 2008, is published on a monthly basis, and has shown portfolios from more than 250 photographers.

David Bram has been reviewing portfolios at various national events including Review LA, Review Santa Fe, PhotoNOLA, Atlanta Celebrates Photography, PhotoLucida and Fotofest. He was a juror for Review Santa Fe in 2010 as well as a juror for Critical Mass for the past four years.  He was a reviewer at Fotofest Moscow in August 2011, a curator at the Lishui Photography Festival in China in November 2011. In September 2010, Mr. Bram was the recipient of the Griffin Museum of Photography’s Rising Star Award.



Carol Lee Brosseau received her BA in Art History from Baylor University, followed by graduate study at the Sotheby’s Institute of Art in New York.  She has held positions in many areas of the art world, including auction houses, art advisors, and private dealers. In 2005, Carol Lee moved to San Diego and was the Director of Joseph Bellows Gallery for five years, curating almost 40 photographic exhibitions, and having the privilege of working with wonderful photographers, and photographs spanning the history of the medium. In 2010, she moved to Los Angeles and has focused on helping private collectors build and manage photography collections.



Claire C. Carter is Assistant Curator at the Scottsdale Museum of Contemporary Art [SMoCA] where she has curated more than 15 exhibitions. She is currently organizing Covert Operations: Investigating the Known Unknowns, which includes artists Thomas Demand, Harun Farocki, Trevor Paglen and Taryn Simon. Covert Operations is expected to have an accompanying catalogue co-published by Radius Books. Ms. Carter will be an essayist for 2012 Medium lecturer David Taylor’s upcoming monograph, 276 Views of the U.S./Mexico Border.


She is interested in reviewing photography-based contemporary art, and can provide critical feedback from aesthetic, conceptual and historical perspectives, relating to both complete and in-progress bodies of work. She is happy to discuss the museum and curatorial process and the various stages of preparing an exhibition or book. She prefers to not review commercial artwork.


Ms. Carter has been a reviewer for Fotofest, Houston; Photolucida, Portland; Review LA, Santa Monica; Rhubarb Rhubarb, Birmingham, UK; and the Society for Photographic Education.



Diana Gaston is the Associate Curator for the Fidelity Investments Corporate Art Collection, based in Boston. She is responsible for developing the collection in all of the regions where the company has a business presence, including New England, New York, North Carolina, Chicago, California, New Mexico, Canada, and Japan. She also writes exhibition reviews for various journals and contributes the occasional catalogue essay.



Hamidah Glasgow is the Executive Director and Curator at The Center for Fine Art Photography in Ft. Collins, Colorado. The Center hosts approximately 17 exhibitions annually and features the work of emerging and established artists from around the world.


Solo and group opportunities are available.


Hamidah is interested in seeing work that is original, non traditional, intentional and informed. She is also interested in seeing works in progress. Hamidah is not interested in seeing work that is commercial in nature, traditional nudes, and traditional landscapes.



Jolene Hanson is Director and Curator of The G2 Gallery in Venice, California, a green art space in the Los Angeles area with a dedicated focus on contemporary nature and wildlife photography. Since opening its doors in 2008, Jolene has been responsible for creating and managing all of the gallery’s exhibitions, including critically acclaimed shows of some of the world’s most celebrated nature photographers – Robert Glenn Ketchum, Daniel Beltrá, Clyde Butcher and more.  Jolene developed her keen eye for photography during her academic and professional training in the art world, earning degrees in both photography from Endicott College and art education from the University of Vermont.

Jolene also provides consultations for existing collections, as well as special curation of artwork in both business and residential settings. She travels various exhibitions and manages the G2’s participation in the Los Angeles Art Show, working with organizers, spokespeople, artists and other professionals to maintain a positive and expanding gallery presence.



Karen Hellman is an assistant curator in the Department of Photographs at the J. Paul Getty Museum in Los Angeles. She was the curator of In Focus: Picturing Landscape in 2012, with an accompanying publication, Landscape in Photographs and At the Window: The Photographers View, view at the Getty October 1, 2013 – January 5, 2013, also with an accompanying publication, The Window in Photographs. She received her PhD in Art History, with a focus on the History of Photography, particularly nineteenth-century photography, from The Graduate Center, CUNY, in 2010. She wrote her dissertation on the early French daguerreotypist Antoine Claudet. Her area of specialty is nineteenth-century photography, particularly the three decades immediately following the invention of the medium in Europe and America.



Michael Itkoff, Cofounder, Daylight Books + Daylight Digital, has spent time at the Annie Leibowitz Studio, Aperture Foundation, and Rizzoli International Publications. His monograph, ‘Street Portraits’, was published by Charta Editions in 2009. Michael received his BA from Sarah Lawrence College and his MFA from ICP/Bard College. He is currently an Associate Professor at the School of Visual Arts in their Master of Photographic Studies Program.

Michael is interested in viewing and discussing bodies of work developed around a critical engagement with the medium of photography and its ability to reflect upon the world at large. At the moment Daylight is seeking well-rounded portfolios to develop into book-length monographs or digital editions.



Ann M. Jastrab is the gallery director at RayKo Photo Center located in the SOMA arts district in San Francisco. RayKo Gallery serves to advance public appreciation of photography and create opportunities for regional, national and international artists to create and present their work. RayKo Gallery offers over 1600 square feet of exhibition space and presents eight to ten exhibitions yearly with many nationally recognized artists. Ann Jastrab, MFA has curated many exhibitions for RayKo as well as juried exhibitions for the San Francisco Arts Commission, the Academy of Art in San Francisco, Artspan, SFAI, the Center for Fine Art Photography, and other national and international venues outside of San Francisco. She has reviewed portfolios at the Seoul International Photography Festival in Korea, Fotofest, Photolucida, GuatePhoto, Review Santa Fe, Review LA, PhotoAlliance (Our World), SPE, Fotovision, Lishui International Photography Festival in China, and Click646 as well as being a juror for Critical Mass. She has taught courses at the Maine Media Workshops (formerly the Maine Photographic Workshops) in Rockport, Maine since 1994.


Ann is always looking for new artists for the gallery, both for solo shows and group shows. She is most interested in seeing documentary projects, fine art photography, alternative processes/historical process work, and also work made with traditional film cameras as well as plastic and pinhole cameras. Ann is not interested in seeing work that is obviously digitally manipulated.



Stefan Kirkeby is the Owner and Director of Smith Anderson North in San Anselmo, CA. Stefan’s background as a fine art photographer, museum curator, and gallery owner offers a valuable perspective to advise photographers on every stage of their career. Established in 2004, Smith Anderson North maintains a busy exhibition schedule, showing both emerging artists and established masters of the medium. The gallery also produces limited-edition copper-plate photogravure editions and artist books and works through a new initiative called “The Lab,” offering custom printing of works across a wide range of media.


Stefan is looking for work that can be considered for exhibition. He is interested in all genres of photography, from experimental to traditional, specifically with artists who are exploring the boundaries of the medium.



Maren Levinson is the founder Redeye, an artist’s agency that represents photographers, illustrators, art directors, and set designers. Before starting Redeye, Maren was a photo editor at Mother Jones Magazine, the founding photo editor at Dwell Magazine, the photo director for the San Francisco issue of Big, as well as a consultant for startups, Chow and GOOD Magazines.

Maren has always believed an artist benefits from a multi-faceted career, built around their passions instead of around trends. As an agent, she works with creatives, producers and photo editors all over the globe on voice-driven work.

In addition to the Medium Festival Eye to Eye Portfolio Reviews, Maren has been a reviewer at Houston Fotofest, Review Santa Fe, PhotoLucida, MOPLA, and Review LA on numerous occasions. She feels that the more work you see the more you know about photography.



Ron Miriello is the founder and director of Miriello Grafico in San Diego, and is a founding member of the San Diego Chapter of the American Institute of Graphic Arts. He is also an author, public speaker and fine artist with a passion for global themes and technology combined with old world artisan ingenuity. Miriello Grafico has provided award winning identity and branding for start-up companies, major corporations worldwide and community organizations in San Diego. Ron is a contributing author to several books on design and design thinking, and has been interviewing and photographing craftsmen of everyday objects in Italy for a book, Italy By Hand, about handcrafted products in a world of global mass production.

His artistic achievements have included an AIGA National Fellow Award in 2008; a Linnie Cooper Foundation Grant for Education in 2010; and most recently a sculpture exhibition of his work called The 100 Worlds Project.

Ron is primarily interested in reviewing work that bridges commercial and fine art, in addition to both experimental and personal work. No heavy egos, please.

His website is:



Chuck Mobley is the executive director of SF Camerawork and editor of SF Camerawork Publications. He has written for Art on Paper, Contemporary, and Sculpture magazines as well as SFMOMA’s Open Space blog and Berkeley Art Museum’s Blook blog, and contributed essays to the monographs Signal Fires: El cine de Jem Cohen (Punto de Vista, 2010) and Oliver Herring: TASK (University Galleries of Illinois State University, 2012). More recently he edited Gerald Slota: Story which was named one of the “Top 10 Photo Books of 2012″ by The New York Times.


Chuck has curated numerous exhibitions including An Autobiography of the San Francisco Bay Area, Parts 1 & 2; Jennifer Karady, In Country: Soldiers’ Stories from Iraq and Afghanistan; Jason Lazarus THTK (San Francisco); and Dinh Q. Lê: Mot Coi Di Ve. (Photo credit: Roger Sayre, One hour pinhole camera exposure, from the SF Camerawork exhibition I feel I am I free but I know I am not, 2009.)



Chantel Paul is the Assistant Curator at the Museum of Photographic Arts (MOPA).
She has curated a number of recent exhibitions at MOPA including Unusual Suspects: The Paintings and Photograph of Holly Roberts, and Eyes of a Nation: A Century of American Photography, among others. Ms. Paul co-curated the exhibition Streetwise: Masters of 60s Photography which included an exhibition catalog. She is currently curating the Museum’s 2013 installment of the California Invitational exhibition.

Prior to her work at MOPA, Ms. Paul served as the Director for the Morrison Hotel
Gallery in La Jolla, CA. She has worked with artists and archives 
ranging from Herman Leonard, Henry Diltz, Jim Marshall, and Autumn DeWilde,
 among others. As Director of the Morrison Hotel Gallery, she helped 
coordinate exhibitions with the Southeast
 Museum of Photography and the Brooklyn Museum of Art.

As a portfolio reviewer, Ms. Paul offers guidance for 
professional development, critical feedback, and insight into the museum 
exhibition process. She is interested in work that pushes boundaries and explores the medium through well-executed ideas.



Jennifer Schwartz is the owner of Jennifer Schwartz Gallery and the creator/director of Crusade for Art, a non-profit organization focused on cultivating demand for art, specifically fine art photography.  Jennifer believes in empowering photographers to be innovative and create audiences for their work.

Jennifer regularly participates in portfolio reviews such as PhotoNOLA, PhotoLucida, Atlanta Celebrates Photography, FotoFest and others.  She was invited as a curator to the Lishui Photo Festival in Lishui, China in 2011 and travels around the country giving talks, guest-lecturing at universities, leading workshops and hosting photographic retreats through a program she co-developed, Flash Powder Projects.  In the Spring of 2013, she traveled around the country in a 1977 VW bus, engaging audiences with photography.

Jennifer is interested in reviewing developed and innovative collections with cohesive and strong concepts.  She is not interested in seeing overly-processed photographs.  Aside from offering critiques of the photography itself, she may be able to offer opportunities to artists to show work with the Jennifer Schwartz Gallery or be featured in special projects through Crusade for Art.



Rebecca Senf curates exhibitions from the Center for Creative Photography’s holdings for a dedicated gallery at the Phoenix Art Museum. Senf studied History of Photography at the University of Arizona, and spent ten years in Massachusetts where she earned a Ph.D. in Art History at Boston University. She has been an invited reviewer for Photolucida’s Portfolio Review, Photo Alliance’s Our World Portfolio Review, Houston FotoFest, Review Santa Fe, and Critical Mass.

Senf can best comment on photography that is created as personal expression (i.e. landscapes, figure studies, still lives, portraits, auto-biographical work, abstracts, etc. in color, black-and-white, alternative processes, digital or film based – not as helpful with commercial work or photojournalism). Special interests are panoramas and work related to Mexico and US/Mexico borderlands. She can comment on every step of the art making process from idea to object making, from editing to exhibition presentation, and from sequencing to publication. Senf’s primary role as a reviewer is to provide feedback from the museum curatorial perspective, but acquisitions and exhibitions are possible. 



Steve Thomas received his BA in studio arts from the University of California, Riverside and an MFA in photography from Mills College in Oakland, California. He taught photography at a number of Southern California colleges during the 1990s and held the position of Curator of Collections at UCR/California Museum of Photography from 1995 through 2006. Currently, he is the Curator of Exhibitions at Museum of History and Art, Ontario.

Steve’s artistic aesthetic is influenced by the works of his key mentors: Joe Deal, Catherine Wagner and Jay DeFeo. Seeing the unseen and interpreting that which has been affected by the human hand is his driving force. Steve’s critical strengths are in viewing formal landscape compositions and social narratives. However, he looks forward to providing feedback on non-traditional and experimental photography, including alternative processed and non-silver photographic artwork.



Katherine Ware is Curator of Photography at the New Mexico Museum of Art in Santa Fe. The museum serves as the state art collection and is located on Santa Fe’s historic plaza. While exhibitions and acquisitions often reflect a state or regional focus, the curators are interested in contextualizing New Mexico art broadly and in exploring a variety of issues that are relevant to the state and its residents (landscape, identity, cultural crossroads, etc.). Ms. Ware previously served as Curator of Photographs at the Philadelphia Museum of Art, as Assistant Curator in the Department of Photographs at the J. Paul Getty Museum, and has worked with the photography collection at the Oakland Museum of California.  She is a frequent juror and reviewer of contemporary photographs and has written essays and books on the art of the twentieth and twenty-first centuries. She has a particular interest in well-crafted, thoughtful work that pushes the boundaries of the medium.  She is most engaged by work that, in additional to being well-made and visually compelling, expresses an idea and displays the artist’s personal style.  She is less interested in work that emphasizes the medium’s descriptive aspect.



Bryan Yedinak is the Director of Modernbook Gallery (since 1999) and and co-publisher of Modernbook Editions (since 2005). He has curated over one hundred gallery exhibitions and founded a publishing company, Modernbook Editions. Yedinak has published ten fine art photographic publications including: Bella Figura by Brigitte Carnochan; Hong Kong Yesterday by Fan Ho; Alice’s Adventures in Wonderland by Maggie Taylor; The Mind’s Eye a 50 year retrospective by Jerry Uelsmann, Entropic Kingdom, Photographs by Tom Chambers, and currently working on Almost Fiction, photographs by Jamie Baldridge

In addition, he has been a co-instructor for “Creating a Photography Exhibition: From Concept to Opening” with Stanford Continuing Studies since 2005.” He received a Bachelor of Fine Art from California State University, Long Beach.

The Modernbook gallery website is: