This event is part of our Past Programme
TPG staff host regular online portfolio reviews for emerging through to established photographers. Each session reviewer will be allocated on a rotation basis, we are sorry not to be able to offer reviewers on request. Reviews take place between 10.00 and 18.00 on the day, unless otherwise agreed. Proceeds from these sessions support other, free professional development activities in our programme.
These 20-minute, one-to-one sessions take place online and are an opportunity to share practice and receive feedback on a specific project or on your photography work more generally. We recommend that you share 15-20 images in advance that will form the basis of your discussion. You may also wish to share short pieces of writing about your work. Do come prepared with any specific questions you may have about your work – this might be to gain your reviewer's thoughts on presentation formats or their ideas for other work or writing that could inform your practice.
Your assigned reviewer will contact you a week before your session (or within two days, if you book after this time) to arrange a convenient time for your session. Photographers will be asked to send a link to the work they wish to be reviewed ahead of the session.
Places are allocated on a first come, first served basis.
By booking for this event you agree to our Terms & Conditions.
Two bursary places for UK-based photographers facing barriers to participation are available for each review session, also on a first come, first served basis. Please apply by emailing email@example.com by noon on the Friday before the session, briefly stating your reason for applying for a bursary place. All information will be kept confidential and anonymous, and destroyed after processing within GDPR guidelines.
Anna Dannemann is a Senior Curator at The Photographers’ Gallery in London, United Kingdom. She curated numerous exhibitions, including the annual Deutsche Börse Photography Foundation Prize; Helen Levitt: In the Street (2021 with Walter Moser); Simon Fujiwara: Joanne (2016); Charlotte Dumas’ Anima & The Widest Prairies (2015); Viviane Sassen: Analemma (2014); Feminist Avant-Garde (2016, with Gabriele Schor) and Four Saints in Three Acts (2017, with Patricia Almer & John Sears). She has curated numerous international and touring exhibitions as well as public displays, including Radical Imagination – Seven international women photographers (2022) and Christian Thompson: Being Human Human Being (2022). She regularly edits catalogues and writes texts for art publications.
Clare Grafik is Head of Exhibitions at The Photographers’ Gallery. She has worked in a number of public institutions in London including the Institute of Contemporary Arts, Whitechapel Gallery, Hayward Gallery and National Portrait Gallery. She has originated a range of shows at The Photographers’ Gallery including The Photographic Object (2009), Perspectives on Collage (2012) and Double Take: Photography & Drawing (2016) and, more recently, Evelyn Hofer (2023).
Shoair Mavlian is Director of The Photographers’ Gallery and leads the strategic vision and artistic direction of the organisation. She was previously Director of Photoworks, and Assistant Curator, Photography and International Art at Tate Modern, London.
Karen McQuaid is Senior Curator at The Photographers’ Gallery. She has curated numerous exhibitions including Jim Goldberg, Open See (2009); Andy Warhol, Photographs: 1976 – 1987 (2014); Rosângela Rennó, Río-Montevideo(2016); and Shot in Soho (2019) with Julian Rodriguez. She has also curated external exhibitions at The Moscow House of Photography and The National Gallery of Kosovo. She regularly participates in international workshops, writes for photography publications, guest lectures across the UK and edits artists books.
Sam Mercer is an artist, curator and producer. Sam is Producer of the Digital Programme at The Photographers’ Gallery. Sam has curated a number of projects in galleries and online, including Data / Set / Match, a year-long programme of commissions that sought new ways to present, visualise and interrogate scientific image datasets; and Imagin(in)g Networks that investigates ecological, social and political aspects of networks. Sam was assistant curator for the exhibition All I Know Is What’s On The Internet.