APPLY NOW for $28
MARCH 27-31, 2017
AT CHICO HOT SPRINGS
WHAT'S INCLUDED IN THE PRICE?
- Private room for 4 nights
- 3 catered meals daily
- Hot springs entry pass
- All lectures, panel discussions, and reviews
- Priceless connections, insight, and opportunities
- Application fee of $28 counts toward total, if selected.
- Call for applications closes Jan 8th.
- All portfolios will be reviewed, and 45 selected attendees will be notified via email by January 15. Attendees will have one week to secure their spot by paying a 50% deposit.
- Full fee is due by February 15.
- Please read the Terms & Conditions below.
Please check back for future events
TERMS & CONDITIONS
By registering above, you understand that you are entering your photography or illustration portfolio into consideration for a review session on location in Montana. The registration fee of $2,250 covers lectures, meals, and accommodations at Chico Hot Springs Resort, but you are responsible for your travel to and from the seminar.
The Collective Quarterly will review all portfolios and offer invitations based on merit. The Collective Quarterly will provide dinner on Monday (3/27); three meals per day on Tuesday, Wednesday, and Thursday; and breakfast on Friday (3/31).
The $28 application fee is non-refundable but will count toward your total payment if selected. The tuition fee for the workshop is $2,250. If selected, a 50% deposit of $1,097 is due on by January 22, with the remaining $1,125 due on February 15.
All fees are non-refundable. However, in the unlikely event that The Collective Quarterly cancels or reschedules the Event, The Collective Quarterly will make a reasonable effort to notify you and, if necessary, reimburse the full registration fee. The Collective Quarterly is not responsible for reimbursing travel expenses if the Event is canceled.
This is an all-inclusive event (lectures, reviews, lodging, and food). Other workshops may appear to be a little cheaper by leaving attendees on their own for their room & board. Attendees of those events may be able to save a little by taking a barebones approach, but we wanted to put together our own event that takes care of all of those details so folks can focus on the work for a price that isn’t much more than what it costs to spend a week in Montana by itself.
Considering the high caliber of our panel of speakers, we feel it’s a rare and valuable opportunity to have them all in the same place together (compared to the legwork required in setting up solo meetings during a costly trip to New York or LA, with no guarantee of accessing top decision-makers.)
That’s the beauty of this workshop: The speakers will be doing the reviewing. Attendees will get a 25- to 30-minute review session with each speaker over the course of the event.
Lectures will focus on key information attendees need to know about succeeding in the industry today, with a mix of case studies thrown in from speakers’ from their recent work (for example, D.W. Pine will be talking about how TIME magazine covers come together, key realizations he discovered while putting together their edition on the 100 Most Influential Photos of All Time, and how to hustle successfully as a freelancer.)
There will also be Q&A sessions with the panel as a whole, allowing a third avenue to get specific questions answered outside of your six review sessions.
Our speakers will be around for the entire five days, with ample time to chat and connect during the off time around the resort. 45 is a small number of people for an event with six speakers—and we imagine that many of our attendees will want to go to Livingston, Yellowstone National Park, or just shoot around. We’re confident that if you want time and are proactive, you’ll get as much as you want.
We’ll be representing both, but there’s a slight lean toward editorial. In our experience, editorial gives you flexibility when experimenting with style, funding personal projects, and gaining legitimacy in your artistic voice when it comes to more serious endeavors like art books, gallery shows, etc. It also allows for a second or even third life to your work, if know how to leverage the appropriate usage rights.
While commercial work pays more, you also have to give up more of your creative control. That being said, it is of course an essential part of making a living as a visual artist and we’ll be delving into how to combine the two so that you can achieve the best of both worlds by earning a substantial living while also having the freedom to explore and grow as a storyteller.
Exactly. This is your career we’re talking about, and we believe it’s worth investing in. Portfolios get you in the door (so let’s take yours to the next level). But even when you’re in the door, our industry is built on personal relationships (so let us introduce you to the decision-makers you should know). We believe that we can help our audience and creative community find sustainable creative work. And if we succeed, we'll have an even better community to work with.