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Jonathan Chapman for McDonald's: Europe in Motion

Posted by Workbook on 03/26/2015 — Filed under:  FeaturesGalleriesHeadlineMotionPhotography
Jonathan Chapman has already traveled around the world shooting for McDonald's, which he chronicled here, and now he's released a follow up post documenting his time spent in Europe. Traveling by trains, planes and automobiles to cities including Barcelona, Munich and London to shoot for one of the world's most recognizable brands is no simple campaign, but Jonathan, as always, was up to the task and produced some outstanding results. Check em' out below and see what Jonathan had to say about the experience here.

McDonald's | Europe in Motion from Jonathan Chapman / JCP on Vimeo.

Shooting Out West: A Personal Project by George Kamper

Posted by Workbook on 03/26/2015 — Filed under:  FeaturesGalleriesHeadlinePersonal WorkPhotography

Growing up in Brooklyn, New York and working in the heart of New York City at the age of 14, left me with a comfort zone being around people, the streets of NY and the intense pace of life in the city. I began my career working for my Mom at Nathan’s Famous on 43rd and Broadway in New York City. Traveling into the city after school and on weekends by bus and subway and walking up and down 42nd street to get to the bus terminal (prior to 42nd St. being sanitized) was eye opening for a 14 year old.  I’ve always loved observing and there was no better place to watch and document the world go by than New York City. I remember “borrowing” my Dad’s Argus camera and returning it to its place before he’d get home.

I’ve had a fascination with the West for years and have been seeking and creating opportunities to create personal work in that environment.
The West inspires me. I’ve lived in cities my entire life, so it’s a huge visual treat to be in such beautiful open territory. I suppose it’s a combination of the color palette, the light and the vast openness. I admire the life of cowboys and the connection they have with their horses. It’s kind of like the connection I have with my Harley on a road trip.
Shooting this type of personal project allows me to capture an inspired authenticity in the moment, I don’t project myself into the scene or direct. It’s inspiring to forget about everything else and become the lens for a few moments.

The Tanque Verde Ranch Personal Project came together when I found out that EQ Magazine, where I am the photography director, had been invited to come out to Arizona to attend a press junket for a couple of days along with several other editors. I reached out to our Editor and requested to go along for the ride and they accepted. I was fortunate to have most of my expenses covered by the gracious folks at Tanque Verde, and I picked up my incidental travel and meal expenses.
Since I now had a dual role of producing images for the magazine as well as for myself, I decided to shoot my personal work early in the mornings before the group gathered for their first scheduled event.

I approach my personal work and client work a little differently in that I take the “fly on the wall” approach to personal work and impose myself very little, versus directing and controlling my commercial work to guarantee the client comes away with what they need. Both approaches have treated me well, and I’m hoping more clients can appreciate the “Let’s get out there and see what transpires” approach.

The Tanque Verde shoot took on it’s own life at EQ, as the editor and publisher decided to run a featured multi page gallery of my personal images in the magazine and the EQ Website. They also had a separate story that included images I shot for the editorial.
Tanque Verde Gallery below (Assignment Images)

Letter from the Editor

I also had the opportunity to shoot Equestrian Polo Star and Model Nic Roldan for the Cover and Inside Story of this season’s Equestrian Quarterly.

To see more from George Kamper, take a look at his Workbook Portfolio

Sports Stylist Cindy Whitehead and Dusters California: Girls is NOT a 4 Letter Word

Posted by Workbook on 03/26/2015 — Filed under:  FeaturesGalleriesHeadlineMotionPhotographyProduction

Stylist Cindy Whitehead merged her two loves, fashion and skateboarding while working on this video for skateboard company Dusters California and her new Girl is NOT a 4 Letter Word skateboard collab. The idea was to give a nod to 1970's skateboarding and rock & roll. Cindy dressed the room to reflect what a teenage girls bedroom would look like - but made sure to keep with the strong pro female message Dusters wanted to send, with female rockers as the icons on the wall not the typical males. She dressed the female skaters, who skating a backyard skate spot and pool, in 70's style tube socks, denim cutoffs and broken in Vans sneakers. The neon bikini moment in the video was created to send a strong message to the action sports industry that female athletes don't wish to be portrayed as "the girl in the neon bikini" any longer when there are so many powerful female role models out there.

Director:: Nano Nobrega
Camera: Socrates Leal
Production: Ryan Ashburn
Production Assistant: Brida Brando
Stylist: Cindy Whitehead
Hair & Make-up: Donna Gast
Skaters: Beverly Flood & Cassie Oseguera
Photography: Ian Logan & Ryan Ashburn

Heather Elder: One Emailer a Month

Posted by Workbook on 03/25/2015 — Filed under:  FeaturesHeadlinePhotography
The good folks over at Heather Elder Represents have a new strategy for email blasts which you can check out below. if you're interested, just go to and sign up. To see more from Heather Elder, you can also check out her Blog, Rep Website and Workbook Portfolio.

Here's what Heather had to say:

For the last few years, email blasts have been a hot button issue for sure. Every now and then the heated debate starts up all over again. There aren’t many topics in our industry that can incite such road rage, but the email blast one does every time.

I never fully entered into the debate because I never had a solution. I understood both sides and the few times I did engage in side conversations, I would always try to remind people the importance of being able to actually know who clicked on the e-promo. Without that information, we cannot be as targeted or relevant in our marketing. And, without it we no longer know if what we are doing is even working. It used to be that we knew who was looking at the work because portfolios were requested, but not now. Now, we need to rely on the email blast data to learn anything specific about who is interested. An email blasts is the ONLY marketing tool that offers that kind of specific data.

On the other side, I would hear stories of overflowing in boxes, emails at all hours, photos that weren’t at all relevant to what the person needed. Many use words such as torture, annoying and irrelevant. One art producer friend asked me to imagine sitting at my desk trying to get work done and waiting for an important fedex to arrive. She said to then imagine that the doorbell was ringing every five minutes and I had to stop what I was doing and answer the door each time because I needed that fedex. Well, instead it was the mailman and all he had was junk mail for me and I had no where to put it all. Exasperating.

Over the years, things have gotten so extreme that recipients have hosted websites that shame photographers and reps that send the e-promos and belittle the process. Of course the irony of them bashing any form of marketing given our business is not lost on many of us. These types of sites always come with derogatory URLs and comments that are equivalent to cyber bullying. Not a very productive way to start a conversation or look for a solution.

Then one day, the same art producer friend called me to vent some more about e-promos. At first, the conversation was the same. The mailman metaphor, the overflowing mailbox, the understandable annoyance. But then she said something that I hadn’t heard before. She said, “You know Heather, agencies are starting to block email blasts from the provider’s servers.”

I had never heard that before. And, I knew then, that I no longer could avoid the conversation because I didn’t have a solution. I had to have a solution.

Well, a solution we have! An experiment of sorts. And, it is called OneEmailerAMonth. It is a site dedicated to showcasing the e-promos from our photographers. You can easily scroll through the collection, search by specialty or even by photographer. You can even link to their websites if you want to go deeper.

What is different though with this experiment, is that we will be throwing out all of our old lists and starting over. Our very last blast will be to be an invitation to participate. And, then no more email blasts (for a while anyway!)

My theory is this. We know art producers, clients and creatives all want some sort of e-promos. They just want to be in control of which ones they get and how often. They want transparency and control and do not want to show up on some random list they cannot easily unsubscribe from. By choosing to receive our promos, we are giving them just that. Rather than sending 8 per month, we will be sending just one. ONE that they have asked to receive.

I fully suspect that our numbers will be way down for a few months while we build a following. However, if the average open rate on a regular emailer yields us 10-15%, we know now that the numbers of followers we need are actually not that hard to achieve.

Now, if we determine after a few months that it is actually hurting us to not be sending out our e-promos to our original contacts, then we will have learned a valuable lesson and will start over. But at the very least, we will have tried something different and started a productive conversation that we hope will help start find real solutions for an entire industry.

The first 50 agency friends to sign up will receive a fun camera tote (sorry photographers, we will think of something to send you soon!).

Fernando Ceja for JC Penney

Posted by Workbook on 03/25/2015 — Filed under:  FeaturesPhotography

Client: JCPenney
Art Director: Courtney Cox
Stylist: Carolyn Kramer from Onset Management
Hair & Makeup: Loren Wohlfeld from the Kim Dawson Agency
Model: Britt Mcgee from The Campbell Agency
Digital Tech: Kate Petty
Retouchers: Dale Zavala and Andrea Canafax
Location: Crossfit214

To see more from Fernando Ceja, take a look at his Workbook Portfolio.

Adolfo Valle for the Boston Globe

Posted by Workbook on 03/24/2015 — Filed under:  FeaturesHeadlineIllustration
Adolfo Valle provided the illustration below for an article by Joyce Carol Oates, "Complicit in Racism," in the Boston Globe. The article, which can be read in its entirety here, features the author's description of an example of racial profiling that too often goes unnoticed in American society, by police on the New Jersey Turnpike.

Workbook Latest Additions: March 22nd-March 28th

Posted by Workbook on 03/24/2015 — Filed under:  FeaturesGalleriesHeadlineLatest Additions
Bill Butcher
Bill Butcher graduated from Maidstone College of Art and lives in London. He works as a freelance artist/illustrator for clients both in the UK and abroad. Some of his clients include the Financial Times, the Economist, Phaidon Books, Moet Hennessey, and the Wall Street Journal. His aim has always been to strive to make the idea the focus of the illustration in order to tell the story. Bill has also been commissioned for both public and private portraits and has also exhibited his work in both group and solo exhibitions.

James Yang
Since graduating from Virginia Commonwealth University in l983, James Yang has won over 200 awards for excellence in illustration. His work has appeared in some of the most prestigious trade publications in the United States. He has also designed a sculpture titled Clockman, which is part of a permanent exhibit at the Smithsonian National Museum of American History. As well as being a lecturer, in 2004 his first authored and illustrated children book, Joey and Jet, was released to critical acclaim. He is currently an executive board member for ICON9, the Illustration Conference, which will be held in Austin, Texas in 2016.

Steve Dininno
Steve Dininno graduated with honors from the School of Visual Arts in 1982 and was immediately hired by Newsday. Dininno's ability to interpret cerebral subject matter and conceive powerful, thought-provoking visual solutions never failed to impress the assigning editors and art directors. He soon began to break into the worlds of advertising, book publishing, CDs, and licensed cards, and demand for his style grew, earning him work on annual reports, brochures, posters, and direct mail pieces. He has been lauded by hundreds of designers, editors, and art directors as one of the nicest, funniest, and most reliable people they have ever dealt with over the years.

Flying Frog Media

Philippe Petit-Roulet

The Cure: Maximum Strength Zave

Posted by Workbook on 03/23/2015 — Filed under:  FeaturesGalleriesHeadlinePhotography
By Zave Smith

I love making people smile. My photographs have a strong element of energy and fun to them. This year, my New Year’s resolution was not to lose weight but to return to direct mail. I remember walking into art producers' offices and seeing postcards and posters plastering the walls and overflowing from the cabinets onto the floors. Today, I see a lot of empty space on those walls. Why should I not help fill those walls with some fun and beauty?
I wanted to create a direct mail promotion that would enhance my photographic brand of images that are full of fun, energy, and life. I also wanted to create a mailer that would share my potential clients' office space for a while and maybe bring a smile into their busy days.
“The Cure” is a beautiful 8oz blue glass bottle with a silver cap that contains miniature M&Ms. These bottles are wrapped in a silver label that reads, “The Cure: To cure creative block take two and call Zave.” This bottle sits on top of a tri-fold brochure of my images. The bottle and brochure are then nested in white crinkle paper and packaged in an attractive box with “The Cure” stamped on it.
I also created a social media component by taking photographs of "The Cure” bottle in various environs like Joshua Tree National Park and in the casinos of Atlantic City. I then posted one of these photos each week during our mailing cycle on social media. I mailed forty boxes each week over five weeks. Each week’s recipients received an email stating that “several lucky people will find 'The Cure' in their mailboxes this week. Might one of them be you?”
It is hard to know the impact of a promotion this soon. We have received many thank you emails, and suddenly people are answering the phone when we call.
We artists get hired for our vision. Vision alone in today’s crowded market will not grow business if potential clients are not aware of one’s work or struggle to remember who created that wonderful photo they recently saw. We hope that our “Cure” helps art producers remember our name and our images. We hope our “Cure” will bring a smile to our brand.

(Read more)

Eat, Leo, Eat! Book Trailer from Josée Bisaillon

Posted by Workbook on 03/20/2015 — Filed under:  FeaturesHeadlineIllustrationMotion
By Morgan Gaynin Inc.

Josée Bisaillon is back again with her latest picturebook, and we are so excited to see her bright and engaging illustrations bringing life to this wonderful story about family – and more importantly, belonging.
Eat, Leo! Eat! is her latest collaboration with Kids Can Press, and we couldn’t be happier to share this wonderful new tale with you.
Take a look at the book trailer below.

From the Farm to the Table

Posted by Workbook on 03/19/2015 — Filed under:  FeaturesGalleriesHeadlinePhotography
By Mike Seroni

I come from a blue-collar neighborhood on the south side of Chicago. The people I grew up with were sincere, down to earth, and hard-working. So as I pass farms in the Midwest on jobs and road trips, I feel drawn to their life in the fields and the food they grow.
This series of images shows how food connects us to the hard-working people who toil in the fields, to the cooks, and to the social rituals of gathering around the table.
I love to photograph life: people in the act of living. Being close to the farmers was especially enlightening. Observing the sunrise washing over the land, gently awakening the plants, animals, and farm workers, brought a serene and peaceful feeling. I witnessed passion and joy as workers harvested the crops. Even though the work was hard under the long summer sun, everyone was upbeat and happy to be there. It was a labor of love expressed in the connections and joy people shared when they gathered at the table for dinner.
I think the next best thing to eating food is photographing it, from the farm to the table.

(Read more)