A few days ago, BEF (Bazar Espacio Fotográfico) #07 (NOV 25) took place in Mexico City. It’s an event where established and emerging photographers gather to showcase their work in the form of prints, zines, photobooks, talks, or even merchandise (like those cool notebooks with an original Polaroid on the cover).
This time I stayed longer. I spent around four hours speaking with photographers and getting to know their work more closely. There’s so much talent in Mexico when it comes to getting behind a camera, and I’ll be recommending them little by little.
However, as time went on, I began to notice some patterns I’d like to put up for discussion in case any of my Substack friends have experience with events like this and can help clarify or debunk my impressions.
Photography is for photographers
It’s curious. Do photography fans who aren’t photographers even exist? I don’t know a single one.
This doesn’t happen in other arts like literature, where you find voracious readers who don’t have an ounce of desire to become writers. Same with music: the most hardcore fans of any artist aren’t dying to produce their own music.
I bring this up because at events like BEF, only photographers attend (amateurs, enthusiasts, professionals) to see the work of other photographers with similar characteristics. Sure, there’s the occasional curious person, but that’s more the exception than the rule.
Does photography really only get appreciated by other photographers?
On Substack, and pretty much any social network, the people who follow my posts, curiously enough, also love photography.
Lots of curiosity, few sales
While I was there, I saw curious people asking about some high-quality images, photobooks, or even postcards. They rarely turned into monetary transactions.
100+ dollars for a photo (or many rolls)
The Mexican economy is complex. The average worker has barely enough salary to get by month to month. Expecting them to buy prints valued at 100+ USD is a pipe dream. The film shooter will say: with that money I can buy plenty of rolls. The digital shooter will say: with that money I already have a budget for a new lens, a memory card, a tripod, or anything else.
And it’s not that the work isn’t worth it. As I said before, Mexican talent is exquisite. There are truly striking photographs that make you want to take them home. However, there’s a certain gap between the cost of the works and the local economy, and until that gap closes, it’ll be tough for exhibitors to sell as much as they’d like.
In my case, I went with some budget to help my colleagues and show my support by acquiring some material. I left with a photobook, a high-quality paper print, and a really cool tote bag with a cool picture printed on it.
I would’ve wanted more images, but you can’t buy everything from everyone either.
What am I even doing?
I won’t deny it. Seeing the work of photographers with decades of experience made me wonder, “What am I even doing? These guys make real photographs.” The material I reviewed looked artistic, with impeccable light, imposing portraits, cinematic landscapes, and not just from Mexico, but from around the world. These guys have traveled, won awards, and dedicated their lives to photographing and creating their artistic signature.
Even weirder was when several of them asked me if I was a photographer. I said yes, but I didn’t quite feel it, because for me it’s a hobby I take very seriously, but I don’t make a living from it; I don’t do professional work. I go out to the street and do my thing. I’ve never set foot in a studio (though I’d like to), and I haven’t done portraits of random people (just the family members who’ll put up with it, haha).
On second thought, maybe not
However, when I took my Uber back home, I looked at my Lightroom again, went through the photos, and said, “Hey, this isn’t that bad.”
Then I reflected: my photography is personal. I take photos mainly for myself, to document what I like during the different stages of my life. I liked what I saw, yes, but my tastes are rawer, darker, more day-to-day documentary.
My thing is streets and black and white. Comparing my type of photography that’s “not so artistic” with clearly artistic proposals is nonsense.
The impostor syndrome left after a half-hour ride home. All good.
What could work better
Beyond my personal trip, there are things about the event I think could work better.
One aspect I suspect doesn’t help with sales either is the matter of supply. There’s so much! If you tried to look carefully at each of the images, you’d spend at least three straight days. There comes a point where it becomes overwhelming. It’s easy to become a victim of analysis paralysis, meaning there are so many options that choosing becomes an uphill battle.
Another key aspect would be price clarity. It’s like nobody wants to have their prices too visible so no one feels they’re “selling too cheap”. Sometimes you just want to look and do your reasoning between quality and price, and asking ends up opening conversations if you’re not careful (I confess I’m a victim of this, haha).
At the end of the day
I love BEF. It inspires me to keep photographing. I love getting to know the national talent, both established and emerging. And I love feeling there’s a community that enjoys and loves photography.
Personally, I truly enjoy this event. I’ve attended four of the seven editions, and each time I spend more time talking and exchanging opinions. Maybe I’ll try to coordinate some interviews in the coming months with the photographers who at least already know my name to share their experiences here on FILM RICK.
I don’t know how profitable it turns out economically for attendees. Since the place has limited dimensions (basically it’s a long rectangle you can walk around in one lap), I assume the cost is reasonable for exhibitors. So we’ll have to see how much longer it keeps going. It started, if I’m not mistaken, in late 2024 or even this same 2025. It happens approximately every month or two.
What I want to make clear is that, despite the impostor syndrome lapse, I left delighted. The passion with which the exhibitors speak is contagious. It makes you want to get out of there as soon as possible and make a ton of photographs.
However, I can’t stop thinking that:
- The audience for photography is other photographers.
- Art is subjective, yes, and what’s expensive for some isn’t as much for others. However, the Mexican economy complicates it to acquire exquisite work at prices that feel high, and it’s not because it’s not valued, but because no matter how much you want to, it’s not affordable.
Your turn
Do you attend photography events in your city?
Have you noticed any of these aspects?
Have you been an exhibitor?