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July Instagrams

Posted by Workbook on 07/29/2015 — Filed under:  FeaturesHeadlineInstagramPhotography
Neil Da Costa Instagram

NeilDaCosta

VW Bus Femi Corazon

Femi Corazon

Saverio Truglia

Saverio Truglia

Andrew Reilly surfboard

Andrew Reilly

joe keller

Joe Keller

Brian Kuhlman Old Bug

Brian Kuhlmann

Jonathan Chapman

Jonathan Chapman

Cheyenne Ellis

Cheyenne Ellis

LAX

Chris Crisman

Twins

Jared Leeds

Ferris wheel

Tosca Radigonda

Il St Louis

Colette DeBarros

Workbook's CA Photo Annual Winners

Posted by Workbook on 07/28/2015 — Filed under:  Award WinnersContests - EventsFeaturesGalleriesHeadline

SEVEN WORKBOOK PHOTOGRAPHERS WERE ACKNOWLEDGED WITH CA AWARDS OF EXCELLENCE IN THE PORTRAIT CATEGORY.


LeBron James


Billy Idol


Fernando DeCillis 2015 CA WInner


Benedict Cumberbatch


John Malkovich


Chad Holder 2015 CA award winner


Ann Frank




Workbook Latest Additions: July 26th-August 1st

Posted by Workbook on 07/28/2015 — Filed under:  FeaturesGalleriesHeadlineLatest Additions
Steve Belkowitz
Steve's opportunistic sense of humor plus easy style are a big reason his clients love him. Based in a downtown Philadelphia loft, he shoots extensive motion stills worldwide.

Pierre Fortin
Pierre is an independent Illustrator/fine artist living in Ontario. With a career that spans over 20 years Pierre has designed and created for a wide range of nationally and internationally recognized corporations, magazines and publishers. His work has been featured in Catapult Magazine, American Illustration and Communication Arts. Pierre’s work varies from mural creation for Universal Studios to being commissioned by Sports Illustrated,The Atlantic Monthly, Forbes, BusinessWeek and Time magazine. He has also created designs of sculptures and props for the Beijing Cube Water Park, which won a WWA Industry Innovation Award. Pierre has also collaborated in the design of the Dollywood Mystery Mine, in Pigeon Forge, Tennessee, which won the Theme Park Insider Award for Best New Attraction of the year.

Chris Lake
After beginning his career in Chicago in 2001, Chris is now based in Florida where he specializes in creating storytelling editorial portraits for a wide variety of commercial clients. Chris enjoys assignments that call for capturing authenticity and natural expression from real people. When he’s not working on his photography, you might find Chris heading to his favorite fishing spot in his '85 Turbodiesel, windows down with Bob Dylan on the radio.

Stephen Sherman
Stephen is an award-winning Boston-based photographer who is known for his sense of color, technical mastery and thoughtful responsiveness to his subjects.
Stephen studied photography at Boston University and M.I.T.'s Creative Photo Lab with Lee Lockwood, Carl Chiarenza, Jonathan Greene and Tod Papageorge. Starting as an editorial photographer, Stephen worked for TimeNewsweek, the New York TimesWall Street Journal and many other publications. Today, Stephen does lifestyle, portraiture and conceptual work for a range of clients including Mullen Advertising, Hill Holiday, Digitas, and Pentagram. Among his awards: AR 100, Boston Creative Club, Society for Technical Communications and the Financial World annual reports competition.



John Emerson

Workbook's Communication Arts 2015 Photo Winners

Posted by Workbook on 07/27/2015 — Filed under:  FeaturesHeadline

WORKBOOK'S COMM ARTS  2015 PHOTO ANNUAL WINNERS FELL INTO ROUGHLY FOUR CATEGORIES.  FIRST UP: LANDSCAPE AND MAN'S ATTEMPT TO TAME IT.



Andy Anderson 2015 CA WInner


Richard Schultz 2015 CA Winner


Matt Hawthorne 2015 CA Winner


Charles Harris 2015 CA Winner


Wild Horses


Paolo Marchesi 2015 CA Winner





July InFocus: Latest & Greatest

Posted by Workbook on 07/27/2015 — Filed under:  FeaturesGalleries

July Editor's Picks

Posted by Workbook on 07/27/2015 — Filed under:  Editor's PicksFeaturesGalleries






The Voorhes Andrew Reilly Photography
Laurindo Feliciano Anthony Freda
Kollected Studio Harold Lee Miller

Kristyna Archer: Still Life Extraordinaire

Posted by Workbook on 07/23/2015 — Filed under:  FeaturesGalleriesHeadline


Photographer Kristyna Archer has produced a wide variety of explosively colorful, eye-catching still life projects as of late, and we spoke with her about the methods behind the beautiful motionless madness she's created. You can see more of Kristyna's work on her website and Workbook portfolio.

What initially attracted you to shooting still life? Do you have any particular mentors or photographers who've inspired your style?
I actually had a lot of clients who were very attracted to my point of view of conceptual narrative work and started asking to see more of what I would do or how would I treat my vision in a still life way. Also, many saw how in the past I would create a main conceptual portrait image with a supplementary still life image that would bring the whole story to life and responded very positively to that unique approach. What was very strange was I had multiple separate clients take interest and ask that same question, so you can't help but listen to what the universe is telling you. It became this exploratory time where I just played in the studio all day with themes or objects I admired in my style and voice. I've always had a graphic, bold, quirky eye for the way I see things styled, so it became that, just without models. Also, my frame of mind has always been very concept-based, and with still life you’re implying a human element, just often out of frame. I wouldn't say there were mentors, but I've always loved Laura Letinsky's sensibility and [her] creating beauty in the imperfections.




Do you initially plan a wide variety of potential looks (i.e., where and how each object will be positioned) prior to shooting, or is it more of a freestyle/in the moment process?
I work very fluidly and in a freestyle manner. I will have in my mind the materials, theme, or color palette and allow it to evolve on set once I see everything lit in camera.




Two things that really stand out about your still life images are the frequent use of bright colors and the often very direct contrasts between these colors for each shot. How do you find the right balance between colors for each shot, and do you have a favorite color or combination of colors to use?
I think this is more of a "you can't teach vision" type of answer, if that makes sense. The balance and my use of colors is so innate in my process and so intuitive that when I see it, I know immediately whether it works or it doesn't. But I do think I have an inkling in terms of editing and pushing my work cooler than warmer. I don't know why, but I've always been more attracted to cool tones.




What’s been the most challenging prop or object to capture the way you envisioned? How did you eventually pull it off?
This I don't know. It becomes challenging when what’s in your head doesn't quite line up to what’s on paper, but this happens often when an image in your head isn't exactly what you think in the real world. Yet I always work through it and allow it to develop as it should, until it feels right, whether it’s a different angle or playing with the lighting, simplifying the composition, or shooting through something, etc. I suppose the answer would be: my mind is the biggest challenge, as in if something is distracting my brain from my intuitive process. For example, if I'm under a lot of stress or sleep deprived, then that becomes the issue and the challenge of focus and finding the way to make the still life scenario work.






How to Create an Award Winner: A Follow-up

Posted by Workbook on 07/20/2015 — Filed under:  Advertising CampaignsAward WinnersFeaturesHeadlinePhotographybehind the scenes

Tim Hawley for Samsonite


In our initial post about this series created by Tim Hawley for Samsonite, we noted we would follow up with him to learn more about how he came up with pricing for this very complicated project. The fact the images were unflattened was further complicated because there were so many media requests, as well as an additional request for expanded usage in major international markets.

Initially, the pricing was based on two-year usage in U.S. and Canada for print, web, POS, and outdoor. Once the client saw how valuable the images were to the brand and its identity, the client requested expanded usage internationally to include Asia, Europe, Australia, and New Zealand. Additionally, they wanted to look at the difference between two-year, five-year, and unlimited time spans, as well as the option for ability to deconstruct the layered files and use some parts for digital video. This added numerous layers of complexity to the issue of pricing.

Obviously, expanding previously agreed upon usage is an opportunity for a photographer to charge more for the job. In determining the final price for additional usage, Tim began by estimating the additional value of  time, geography, and media for the three ads compared to the market they had already paid for. He also asked himself what the additional time, geography, and media was worth for the fifteen or so photos used to create each ad. That’s a big difference, but as Tim said, “I decided the answer was to charge a fair price for the three ads and make sure the client understood they were getting fifteen photos for that price. I took into consideration the client already paid for the production and original usage and did not plan on additional costs. I was also aware of how much providing this art would save the offices in those markets where it is to be used because those offices and agencies would not have to go through the process of creating their own ads for that market. This led to a well-researched result that was balanced and equitable for both of us.”

Interestingly, when we asked Tim about the issue of handing over unflattened files for this set of complex imagery he felt confident his copyright was protected. He told us working with sophisticated clients and agencies like Samsonite and Connelly Partners all but guarantees each party is protected. He did express another concern, though. “I am more concerned about the consistency with which the files are handled. With so many layers of elements (up to fifteen per image) and multiple adjustment layers, it could be easy to miss something when deconstructing them. I try to keep the layered files I deliver as simple and compact as possible so the client has the versatility without the confusion. It’s all about thinking ahead and servicing the client’s needs.”

It’s also noteworthy to add that the alignment of creative vision on the part of the photographer, art director, and client, the available budget, and the resulting industry recognition (CA Photo Award of Excellence) that occurred on this project are not something which happens every day.

Tim Hawley for Samsonite Luggage

Tim Hawley for Samsonite Luggage

Workbook Illustrators Editorialize for the Sunday LA Times

Posted by Workbook on 07/20/2015 — Filed under:  FeaturesGalleriesHeadlineIllustration
Michael Glenwood for the LA Times

Michael Glenwood's illustration appeared in the Arts and Books Section for an article called "Profit Motive."  The article points out how increasingly, museums are becoming commercialized and why this is troubling.

Sam Ward for LA Times

Sam Ward created an illustration for the article "Art House Desert," which appeared on the Op Ed page. Why is attendance at art house theatres in Los Angeles lagging behind Iowa City and Bloomington? Traffic is one big reason, among others.

Peter and Maria Hoey for the LA Times

Peter and Maria Hoey appeared in the Sports Section for the "Field of Schemes" article. In baseball, hitters face multiple challenges, and this article deals with surge of, up until now, the uncommon use of the exaggerated defense shift. This article traces the history of the move and the effects it is having on the game today.

Rebecca Handler: Psych Beauty

Posted by Workbook on 07/20/2015 — Filed under:  FeaturesGalleriesHeadlineMotion
Rebecca Handler just did a photography series called Psych Beauty, a psychedelic beauty collaboration between herself and painter Akira Beard. This series was part of an art event at Ruby Bird Studio in Brooklyn. Akira did the elaborate face paint, while Rebecca painted with light, gels, and color powder.
The work was presented last week at Ruby Bird, a photo studio in Greenpoint. The event included a green screen room, a face painter, colored lights, and fog, and even a signature absinthe drink provided by a local distillery. More info and event pictures are included in the press release link below.

The press release for the show is here:
Yay LA Article —> http://www.yaylamag.com/the-groovy-collaboration-of-psych-beauty/




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