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Still, I wanted it to work out, and was thrilled when my work was accepted.

Having an international exhibition on my resumé seemed like a great career move, and I’m enamoured of the British photo community.

I worked on it for weeks, scratching sketches and fiddling in Photoshop. They will wonder at the power of my creativity and the brilliance of my art. I shipped the box off and hoped for the best.) So by the time I headed to Derby last month, I was pretty put out by the whole thing.

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All bluster and little experience, I was hired as the Volunteer Co-ordinator, meant to boss around dozens of older folks who were working for free.

I was hired last minute, as the original VC was poorly-equipped for the position, and subsequently fired.

(Not including travel costs, or return shipping, which I also need to arrange on my own. At last, though, on a Saturday in early March, I caught the train North from London with my friend Hin Chua.

They won’t schedule the DHL pickup, apparently.) I’m sure they’re all nice people, with so much to organize. He told me he’d participated in the 2011 version of Format, and had encountered some problems too.

Foolishly, I chose to overlook the fact that the exhibition to which I was applying, “EXPOSURE,” required me to pay all the production costs for my work, as well as shipping fees in each direction.

(I don’t believe that’s the case with every exhibition they put on.) The forms also claimed there would be a stipend offered, but that was the last I heard of it until I arrived in England.

He chalked it up to biting off more work than they could chew, rather than malicious intent, and said that most of the people he’d spoken to had some issues as well.

Before I got to Derby, I’d been warned several times that it was a less-than-enthralling place.

(What little was left, that is.) I’m not trying to denigrate this Post-Industrial city, which has obviously fallen on hard times, but it is what it is.

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