British street artist Banksy gives his two cents’ worth about advertising.

In a piece that is said to be written by him, he comments on how advertisers have made themselves powerful by making their consumers feel inadequate and small, but that consumers don’t owe these advertisers anything and they should feel free to choose whether or not to consume:

“People are taking the piss out of you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are ‘The Advertisers’ and they are laughing at you.

You, however, are forbidden to touch them. Trademarks, intellectual property rights and copyright law mean advertisers can say what they like wherever they like with total impunity.

Fuck that. Any advert in a public space that gives you no choice whether you see it or not is yours. It’s yours to take, re-arrange and re-use. You can do whatever you like with it. Asking for permission is like asking to keep a rock someone just threw at your head.

You owe the companies nothing. Less than nothing, you especially don’t owe them any courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.”

By Kiki Pollard



Artist Judy Reed Silver has a design aesthetic that fits perfectly with the current trends in retail. Long gone are the days with plain black exteriors on new technology. The market is loving color, patterns and imagery and Judy has captured that wave and continues to refine and experiment with her designs.

If you have a product that needs to stand out on shelves, window displays, in-store promotions, anywhere the shopper goes, let Judy create an eye-catching design that will make sure it does.

By Martha Spelman, Martha Productions, Artist Representatives

Does this speech sound familiar? “I see from your portfolio that you can illustrate a can of corn, but can you render a can of beans?”

This might seem unbelievable, but clients often seem to have a difficulty making the leap from what you show them to what you can do. The solution: create samples.

Why create samples?

• You are (finally!) the client. You can create what YOU want to create (you are not limited by a client-provided layout, art direction or deadline).


• Fresh content in ads, online portfolios, and on blogs - keeps visitors interested and coming back to see “what’s new.”


• Your style evolves with each sample.


• You can influence the look of a project and selection of the artist. Instead of clients shopping style based on a preconceived visual, they’ll see your work and fashion their concept and layout around it, which in turn gives you better odds on getting the project.


• You’re in the business of creating art: drawing, painting, designing, shooting is your job and your passion.


• Creating a sample is a chance to have fun on a project and build your business at the same time.

What have you done for me lately?

Anyone who’s been illustrating for any length of time knows that the best way to get the job is to show a client’s possible project (or as close to it as possible) already done and in your portfolio. Creating new pieces increases your odds. Easy access to online portfolio sites and sourcebooks means fresh work is more important than ever.

Why don’t artists create more samples?

I’m sure there are many reasons (excuses?) but some may say:

• I’m not getting paid.


• It’s expensive to buy materials, buy new software, and spend hours working for free.


• I don’t have enough time.


• I’m worried that people might not like what I create.


• I don’t know what to paint, draw, or design.


• I’m used to having an “assignment” and not used to self-assigning.

I’m often surprised that artists have chosen to work in a creative business, yet when they actually have the chance to create, they’ll find any number of reasons not to.

Yes, creating samples can take time and cost money, but it’s the price of doing business. If you don’t invest in your business and in yourself, you may find that no one else will either.

How to concept and create new work:

Look at the existing work in your portfolio. Be honest about any pieces that should be cycled out. From the work remaining, see if you have a good cross-section of samples:  for example, some with people, some food, some animals, lifestyle and conceptual images, lettering, etc. Look at your portfolio from a project standpoint:  do I show images that could work in an ad, a book cover, packaging, a poster, a brochure? Do I show a “campaign” of work: a series of pieces that could apply to various applications? If you specialize more- say medical illustration or maps- do your samples show a diversity of subject matter and variations on your style?

Once you’ve decided what “holes need to be filled,” you need concepts and reference.

Here are some ideas to try:

• Visit the bookstore look at books and magazines for covers and interior pieces.  Given the “manuscript,” decide how you would have solved the problem.


• Visit company websites to see the visuals that have been created conveying a company’s brand, reputation or services. How would you have solved the problem?


• Sourcebooks and online portfolio sites can be great sources of inspiration, but instead of looking at styles, concentrate on the projects that are presented: that poster, that ad, that brochure. How would you have solved the problem?


• Go back and review project inquiries that you didn’t get. What type of work could you have shown that may have clinched the job?

Okay, I’ve got some ideas, now what?

• Once you’ve got some direction- start sketching. Do small, quick thumbnails; you’re looking to create a library of possible self-assignments, not to start working on one “masterpiece.”


• Select several of the sketches and start working. Focus on creating more than one piece at a time. Working on a series of pieces allows more freedom—you are not as invested if the “one piece” doesn’t come together.


• If you work digitally, and in layers, explore what variations on an image you can create- get some mileage out of one piece.


• Once you’ve created some new work, try to get feedback. See what images different people respond to.

Promote your new work: get the pieces into your online portfolio, on your Facebook or Google+ page and on blogs. Tweet about them. Include one in your email signature. Send an email promotion with several small jpegs embedded in the body of the email. Try the subject line: New Work from _______ and include a call to action: “See more work on my website at ______.

• Enter new pieces in a contest.

Stop making excuses and start making art. Getting new projects often involves creating momentum. I’m not quite sure how it works, but I know that creators, who are creating, get asked to create more.  Sitting by the phone or waiting for an email just isn’t as productive.







A series of three pieces by artist Allen Garns show his evolution from illustrating in chalk pastel to painting with oils to working digitally. Martha Productions clients have embraced the evolution of Allen’s work – and appreciate the fact that the new pieces still maintain a stylistic connection to previous work.





Steve Vance – To satisfy his desire to emulate vintage illustrations styles, Steve Vance created new work with a retro feel and subject matter. This new direction, featured in RetroReps, created a whole new avenue of work for Steve.

By George Contorakes

We've all had them. The client calls up and says there is a “BIG” problem. Our heart drops to our knees and we start to feel the perspiration build on the back of our necks. So you take a deep breath and decide to determine what “BIG”means. Well, I have learned that most “BIG” problems are merely speed bumps. I have never had a “BIG” problem that did not work itself out with a little common sense and flexibility on the part of all parties concerned.

Don’t panic. I try to stay calm and professional, put the client at ease and assure them that the situation is solvable. Problem solving is a big part of any industry, that is why our clients hire us.  If all the players in your organization are on their game, the solution will present itself. As a photographer 95% of my job is problem solving, just one mini crisis (for lack of a better word) after another. There is only one problem that I have been unable solve no matter how hard I try and that’s lousy weather. Keep the faith. It will always work out if you stay positive.

By Heather Elder



As we all know too well, our industry has been changing over the last few years and with it so have client expectations, needs and the way that they search for photographers.

It used to be that if you were talented your work would surely stand out and with a combination of good work, savvy marketing and some well deserved awards you could actually make a living in this business.

Well, look around. The competition isn’t getting any smaller and the ability to stand out harder and harder. Marketing choices are abundant and you no longer know where a client will search for photography. You are spending more of your time marketing yourself than you are shooting for yourself.

Clients feel these differences too. With so many choices of sites to review and photographers to consider, they have countless creative options available to them. So much so that great work is not the only criteria for consideration any more.

It is time to realize that it is no longer just about your photographs, but about YOU and the story behind your images. It is crucial to understand that having great work is sometimes not enough and that often times clients now want to know the story behind the you and your work. They want to know what it would be like to collaborate with you long before they pick up the phone to talk with you.

And, I believe that integrating social media into your current marketing plan is the single most effective way to have a voice and share your own story.

Well, apparently, lots of people in our community are curious about this way of thinking as well. The space at Dog Patch Studios was full of people for the San Francisco APA event, “Social Getworking.” All of them wondering how to navigate the world of social media.

It was a very informative panel mediated by photographer Josh Bobb. Together with Miki Johnson (social media guru) and Timothy Archibald (photographer and blogger), we tried to make sense of all the reasons to participate and vehicles to consider.



Here are the 20 most important things about social media stood out in the conversation:

1) The internet is the real world, so act the same way you do in the real world. Just be yourself.

2) “Everything I’ve gotten professionally has come through my social media involvement — without exaggeration or exception, literally everything,” David Duchemin.

3)  Humans crave stories. Stories are what people remember and seek out time and time again. Stories that come from an honest and genuine place and push ones’ comfort zone often times are seen as refreshing in the blog world.

4)  Social media is the new word of mouth and a powerful tool through which people seek out recommendations and search for inspiration for most everything.

5)  Social media is not just about what you ate for breakfast or how much you loved the new Harry Potter movie. It is about sharing content that is relevant and meaningful. It is about adding value.

6)  Social media is about personal connections, word of mouth and sharing ideas to a select and targeted group of people. It is about finding your voice as a creative and sharing it with not only your friends, but people in your industry.

7)  It is 100% necessary for a photographer to market him/herself regardless of if they have a rep. The addition of a photographer to marketing plan leads to exponential results.  Social media provides photographers with so many options for connecting with people. For those photographers who prefer not to meet one on one or cold call, social media is the perfect way to reach out.

Photographers are visual people. If you are not confident writing a blog or posting a status update, find a way visually to connect. Know that the images you share do not have to be all work related. Post photos you shot with your iphone of things that inspire you, share images of your kids or photographs of random things that make you smile. (anyone know why #8 turned into a smiley face???)

9)  If you think of social media as work or a to do list item than you haven’t found the right creative outlet for yourself.

10)  SEO is important but not at the expense of content. Do not let that part of the process overwhelm you or cause you to stall.

11) Sharing interesting things you find online is just as important as posting your own ideas.

12)  Find 10 blogs that you like and follow them regularly. Comment on posts that you like and share the most interesting posts.  The authors will begin to be curious about who you are and link to your site. They may even begin to follow you and share what you have to say.

13) When you find your voice, make sure it is genuine.

14)  Do not use social media solely to get work. That strategy is transparent. Remember that this is the real world.  You don’t sell yourself to everyone you meet do you?

15) Blogs and websites that work together to tell your story will become more of the norm. Websites alone will eventually feel unfinished.

16) People who you are friends with on Facebook or follow you on Twitter, Tumblr or any of the other sites, CHOOSE to do so.  They are an active audience who wants to learn more about you.

17)  Relevant content is key.

18)  Tools such as Hootsuite (can’t post an image though) and Sendible (can post an image) are great tools to help manage your posts. Klout shows you how influential you are on the web (or not!) and helps you find people who are sharing posts that are relevant to you. WordPress is cleaner, current and easier to use than Blogger/Blog Spot. Mailchimp and Constant Contact are great sites to help manage your lists if you send out newsletters.

19) Google yourself and set up a google alert for yourself. To find out how to set one up, just google it!

20) “Profiles” are more useful on Facebook than “Pages.”

If you have any questions or note to add, please do email us at office@heatherelder.com, we would love to hear from you.

Heather Elder's Blog

We at Workbook love print. We've been printing gorgeous images by the
best commercial photographers and illustrators for almost 35 years, and
we see no reason to stop. We're not alone, at least according to Graphic
Design USA's 48th Annual Print Survey.

With the help of Adobe, GDUSA polled design professionals to see how
relevant print remains in the ever-changing creative landscape. Just as
we suspected, print media is as powerful as ever. One of our favorite
snippets is this: "print provides a high ROI, print drives online
traffic." We couldn't have said it better ourselves.

Take a look at the results by following the link below and join us on
Facebook to tell us your favorite things about the printed page!

http://www.gdusa.com/issue_2011/june/feature.php

By Heather Elder



When Ann Elliott Cutting told me about her recent experiences with her team of interns, I asked her to share with us what she learned and some insights for photographers looking for internships. Here is what she wrote.

When I first though about hiring interns, I was reluctant and felt guilty about asking someone to work for free. How would I keep them busy?  Would it be more work to teach them what I knew? Would they even be interested in what I have to teach? I quickly decided that it was best to approach it as a learning experience for all of us.

I knew things would go smoothly when I met the interns. They were  young, talented and eager to get a start in the photography business. Getting to know each other and sorting out roles was easy. It was such a positive experience that even though the internships for two of them are formally completed, we continue to work together and I am adding a third for the summer!

Part of the reason for our success was how well we communicated. I emailed them each week with the shoot schedule and invited them to come and lend a hand if they were interested and had the time. They seemed to enjoy being on set the best. They did a lot of pre-production work, light styling, helpful editing and casting. I realized it helps them to have the hands on experience and seeing the flow of a shoot. Timing, logistics and business practice seem to solidify during the internships easier then in the classroom. I have learned to delegate without feeling guilty and to recognize their different skill sets.

When Heather asked me to reflect about my time with my interns, I decided that it would be most relevant to share some helpful hints for photographers looking for internships. Having a good experience goes a long way towards shaping how you want to be not only a photographer but a business person as well.

Some points to think about as you look for your internship:

1. RESEARCH

It is crucial to do your research of whom you would like to work with. Find someone who inspires you and gets you thinking. Look for someone who has the same sense of creativity as you do.

2.  BE PREPARED TO SHOW OFF YOUR WORK AND SELL YOURSELF

Make sure you have a website to show your work. Less is indeed more (keep it high quality) and make sure the site is easy to navigate. When reaching out, keep the conversation going, make the effort to meet at their studio. Always follow up.   Be persistent but don’t pester. Timing is everything, so keep in touch. Offer to work for free. And, be sure to set it up through the school you attend so you can get credit.

2. DEFINE GOALS AND TIME FRAMES

Define your goals and areas you want to learn about and discuss these with your employer. Determine what you want to learn about and find someone who can teach you. The photo business has many different jobs and being an intern for a producer, ad agency, a photographer or a rep can provide very different experiences. Keep in mind your end goal and where you see yourself in 5 or 10 years. Think of your internship as a place to build a network and make connections for future employment. Spelling out a time frame is important to ensure that the milestones can be planned and realized.

3.  BE PROFESSIONAL, ARRIVE ON TIME AND BE DEPENDABLE AND COURTEOUS

This goes without saying, but a reminder is always helpful.

4.  BE NIMBLE, LOOK FOR OPPORTUNITIES TO LEARN MORE, BECOME THE EXPERT

Always ask questions. You are there to learn. Take initiative. Help out the prop guy or the set builder. Learn some food styling techniques from the food stylist. Become confident in using the equipment. Answer the phone, help prepare and send out a promo. Check in with your employer and set up regular meetings so you can share information and experiences. Observe the pre and post days and notice how the jobs flow in and out. Offer your services outside of the internship; such as an assistant (I always prefer to hire my interns as an assistant when we are short on set).  Offer good suggestions and think outside of the box. And, offer your special skill set, you might be great at retouching or you might have great people skills on a big set. Become the expert so you are the go-to person.

5.  REMEMBER THE LADDER

If you start with a good positive attitude and are helpful and enthusiastic you will climb the ladder faster, get referrals, and recommendations. Most studios are connected to a huge network of other potential employers. We all work for ourselves and we rely on each other for referrals.  We trust  other photographer’s suggestions when our favorite assistant or stylist is booked. Don’t burn your bridges, it is a very small community and a vast network.

6.  CONTINUE TO GROW OUTSIDE OF YOUR INTERNSHIP

Continue to shoot on your own and bring your work in for critique. You have a captive audience to share your work and get valuable constructive criticism. Take advantage of it while you are there as it won’t be as easy to make happen after you leave.

7.  HAVE AN EXIT STRATEGY

Here are some of the images that Ann Elliott Cutting showed with her interns this spring. Many were done with  Type 55 Polaroid which was a treat to work with it again. If you haven’t already discovered the Impossible Project, please link here.

Ann Elliott Cutting's Workbook Portfolio

Heather Elder Represents

By Martha Spelman

I’ve been repping for a long time. When I started, I’d solicit photographers and illustrators whose work I saw in ads, in magazines, on book covers or on album covers. Sometimes, after I got going, artists would send me postcards, posters or little books of their work. They’d bring over their portfolio and leave behind a “promo piece.”

Some of the images I saw had been done as commissions but the majority was done as sample pieces. It was the way to get started in the business, to get seen and to get known for the type of work that the artist wanted to do, and was best suited for. The work was some of the most creative and memorable work I’ve seen in my entire career. And because there were so few avenues to promote oneself, the artist really had to hustle. Show the portfolio and mail, mail, mail.  But even with all the time spent hustling, the successful artists still worked their craft – setting up photo shoots or airbrushing a new painting.

If I had suggestions for an artist about what was selling or what my clients were looking for, some of them would be back with new pieces. They were fired up; and that got me fired up about repping them.

Today, there are tons of places where an artist can show their work: in-person, source books, internet portfolio sites, personal websites, blogs, email, direct mail – it’s overwhelming. You’d think that would mean no one would ever see the same work (by you). Not true. People (clients) tend to revisit the same places for their information (they are website people or source book people or blog people). So one better make sure they see new work when they come back to visit.

Creators love to create – right? Isn’t that why they got into this business in the first place? Then why do so many balk at doing samples? They get frustrated that previous samples haven’t garnered work, they can’t seem to come up with a good idea, it’s too time-consuming or expensive or …. There are innumerable excuses.  Pablo Picasso, arguably one of the most prolific artists of all time, worked (and evolved) constantly. He said, “Inspiration exists but it has to find us working.”

Working on a new piece let’s you do whatever you want to do – there’s no client, no one dictating what has to be in the image. It’s a great way for you to try a new style, a new medium, a new technique; to get an idea and make it visual. No one evolves by standing still. And not too many get more work by waiting for the email to arrive.

Martha Spelman's Workbook Portfolio

Martha Productions

Also, check out Martha's previous feature, "Working Digitally - and Getting Skewed?"