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Workbook's Communication Arts 2015 Photo Winners

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


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 —>

(Read more)

Workbook Latest Additions: July 19th-25th

Posted by Workbook on 07/20/2015 — Filed under:  FeaturesGalleriesHeadlineLatest Additions
Martin Laksman
Martin is an illustrator based in Buenos Aires, Argentina. He graduated from the University of Buenos Aires in graphic design, where he now teaches illustration. For over a decade, he's worked as both an illustrator and graphic designer for the local market and abroad for a wide range of clients, which include Popular Mechanics, Wired, Car & Driver, Fast Company, Fox, Disney, ESPN, Shado, and Gawker Media, and others. Influenced by popular culture: music, movies, art, and series fuel his everyday work with a strong passion for simplicity.

Andy Mahr
Andy Mahr received his BFA in Graphic Design from Colorado State University and a degree in Advertising Art Direction from The Portfolio Center. After working as an art director and creative director for the next thirteen years, he made the full transition to photography eight years ago and has never looked back.
His background as an art director allows him to see the ad business from a completely different view and to appreciate what creatives and clients go through to bring their ideas to fruition. He developed his own unique and distinctive style, look, and aesthetic that made the rise to his current success status very rapid. Andy loves photography and every aspect of the process he uses to create outstanding award-winning images.

Jeff Rogers
Jeff Rogers is a multidisciplinary designer and illustrator specializing in custom lettering of all shapes and sizes. Stocking his Brooklyn studio with paintbrushes, pens, markers, and a couple of humongous computers, he creates unique and joyful work for a wide range of smart clients.

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.

Richard Borge for The Wall Street Journal

Posted by Workbook on 07/16/2015 — Filed under:  FeaturesHeadlineIllustration
Here is an illustration by Richard Borge for the Wall Street Journal with art directed by Joel Cadman. The article was about “mom and pop shops” getting squeezed out of New York.

Chris Whetzel: Arizona's First Hell's Angel

Posted by Workbook on 07/15/2015 — Filed under:  FeaturesGalleriesHeadlineIllustration
Illustrator Chris Whetzel recently illustrated the New Times cover on bike gang leader Chino Mora, and he presents the full creative process that lead to the eye-catching cover you see below. Take it away Chris:

"I was happy to work with the New Times on a profile cover. This article focused on Chino Mora, who led Arizona’s Dirty Dozen bike club way back in the 70s (which eventually became patched over as Hell’s Angels in the 90s). The image focuses on a sweet custom Harley he rode; this bike also earned him the nickname “The Red Dragon.”

Initial roughs, in which my art direction was “bad-a$$.” No complaints from me. My inspiration was those awesome Ghost Rider comics of the 80s-90s (flaming wheels, low vantage points, speed, vroom vroom!).

Unfortunately, I went a bit too far. It happens :) A better rough submitted after discussion of the first round:

Final sketch:

Thanks for reading!
Enjoy the Day,
Chris Whetzel