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Blog » Musing On

Workbook's Creative Carnival 2014: A Creative Success!

Posted by Workbook on 11/19/2014 — Filed under:  Creative CarnivalEventsFeaturesHeadlineIllustrationMusing OnPhotography


October 2014 wrapped with the event of the year, and it wasn't Halloween. Creatives and artists alike flocked to Jack Studios in New York City for Workbook's Creative Carnival, an evening of food, fun, drinks, and art. With each year's event growing in popularity and excitement, we knew this year's Carnival would be the best yet. We were gratified by a great turnout, but more importantly, a great sense of collaboration. If you missed the event, don't just take our word for it. Check out what some of the industry's finest had to say about Workbook's Creative Carnival 2014.



"This was my first Workbook Creative Carnival and it definitely won't be my last…so much fun hanging out with new acquaintances and old friends. A great event for relieving all those daily stresses and totally worth the hangover."

-Mark Winer, The Gren Group

"Possibly the best figure drawing session I've ever been to: sword swallowers, fire breathers, contortionists, freaks, and booze."

-Daniel Hertzberg

"Workbook's Creative Carnival was crazy! Fantastic party and one that I will remember for a long time. Well done."

-Eli Meir Kaplan, Photographer



"Thank you for giving me the opportunity and encouraging me to draw and sketch at this year's Creative Carnival. Although initially I was not looking forward to it, it was great and fun.
Seeing the other illustrators and their approaches to drawing was very inspiring. I think the creatives were inspired too."

-Mary Lynn Blasutta

"…one of the best professional networking events I have been to this year. The size and the quality of the guest list made for a good time, catching up with people I knew and meeting new people who could become clients. It’s fun to network among peers but more important to network within your clients' industry. This event had both in one fun evening."

-Jan Klier, Photographer

"Workbook's Creative Carnival never disappoints. The jaw-dropping performances set to an amazing mix of music, coupled with the live illustrations from the artists created an eclectic and euphoric atmosphere that fully immersed attendees in an evening of art, camaraderie, and friendship. Simply put, Workbook brings people together, and it's very evident at their events. Whether they were conversing on the floor or crammed in the photo booth making funny faces, you could see that people were truly enjoying each other's company. Lori and the Workbook team organized a fantastic and memorable evening. Looking forward to the next one!"

-Melissa Hennessy, The Gren Group

Rebecca Handler for Der Schnappschuss Magazine

Posted by Workbook on 11/18/2014 — Filed under:  Musing OnPhotography
Rebecca Handler recently did a shoot and interview for German Magazine Der Schnappschuss.



Here is an translated excerpt:

“I was hired by HTC to demo to the press a new underwater camera that hasn’t been released to the public yet. It was a great experience; they hired me as an underwater expert to present the camera and hooked me up with a room and a pool on Central Park West. For the entire day I demoed the camera in one-hour interactive increments to the press representatives, and I was able to take images using their cameras so they would have something for their pieces.”


You can read the full article on the magazine website here.  Congrats, Rebecca!



tail designer: the mertailor

style: styled by phil

hair: travis speck

makeup: ewa perry

Heather Elder Represents and Brite Productions Wrap Up Another Community Table

Posted by Workbook on 04/02/2014 — Filed under:  Community TableEventsFeaturesHeadlineInterviewsMusing Onbehind the scenes
Yesterday marked the end of the latest post from another insightful and inspirational Community Table blog series

Over the course of a meal, Heather Elder and Lauranne Lospalluto of Heather Elder Represents, along with Kate Chase and Matt Nycz of Brite Productions, discussed top-of-mind industry issues with eight Chicago Art Producers.

We got to chat with Heather and Kate about the Community Table and this table's topic:

“The Art Producer, Past, Present, and Future.”




1.  How did the idea for Community Table originate?

The Community Table started when Kate Chase and Matt Nycz of Brite Productions and Lauranne Lospalluto and I wanted to host an event at the first Le Book Los Angeles. They saw the excitement building around the event and thought it would be nice to draft off that and find a reason to get the community together. The more we talked, the less they wanted it to be another cocktail party or purely social event. They settled on a lunch to which they would invite industry leaders as part of a conversation about the industry with the intent of sharing the information with the community.

2.  It seems the meal setting is not only complementary to how you’ve broken up your blog, but is also conducive to all guests answering much more freely. Was talking over a meal planned from the beginning?

Yes, it was integral to the event. The idea of sitting around a table with friends, enjoying a meal and some friendship, was key to making the event a success. It adds to the community spirit of the event. And, a nice meal in a special place is a great way to say thank you for their time and enthusiasm.

3.  What is something you hope readers will glean from these conversation blog posts?

One of the most important things about the blog posts is fostering a sense of community and providing a place to share ideas, start conversations, and educate our colleagues. People gravitate to the blog to not only gain a little more insight, but to confirm things they already know. Sometimes in our industry, we do not all have someone to whom we can ask a question, and if the blog can help answer some of those questions, or even start new conversations, then it is a success.

4. What’s different this year from last year's posts?

Over the years, we evolved the topics to match the conversations that were happening in the industry already. Our first posts focused on broader ideas in marketing and then we evolved into the finer aspects of estimating. Our latest from Chicago touched on how the art buyer role came about and how it is evolving. Our next post will be with a group of agents who gathered before the Le Book in San Francisco.

5.  It seems you can’t walk away from a meal with a group of people such as this and not feel you learned something. What is one thing you took away from this year's dinner that sticks out in your mind?

Something we were experiencing before the event was the growing involvement of the account representative in the estimating process. The round table provided an opportunity to explore that conversation. The group had a sense of relief that they were not alone in what they were experiencing, and they were grateful to have the opportunity to learn new tools and ideas on how to best connect with their teams.

To read the entire series on Heather Elder's blog, please click here.

To read the series on the Brite Productions blog, please click here.

5 Things You Didn't Know About Chris Sembrot

Posted by Workbook on 03/28/2014 — Filed under:  5 Things You Didn't Know...FeaturesHeadlineMusing OnPersonal WorkPhotography
For this installment of “5 Things…” we caught up with Philly photographer Chris Sembrot.



Chris started his career on the other side of the table, working as an art buyer for five years before making the switch to full-time photography. Since then he’s traveled the country, making trips for the sole purpose of face-to-face meetings with prospective clients. The outdoors inspires Chris, and he has traveled the country shooting for clients such as ESPN and Red Bull, picking up a few awards along the way. But that’s all old news. Here are five things you didn’t know about Chris:


iPhone Once A Day: an Interview with Paul Elledge

Posted by Workbook on 12/02/2013 — Filed under:  Editor's PicksFeaturesHeadlineInterviewsMarketing IntelligenceMusing OnSuccess Stories



Instagram, Facebook, Twitter, Snapchat…the list seems never-ending as the demand and creation of social media apps grows on what feels like a daily basis. Many perceive social media as more casual than professional.  The detriment to this way of thinking is not just the networking opportunities, but with the trend of advertising money toward social media, the future proves more costly for those who do not embrace it.


That’s where Paul Elledge comes in. A veteran photographer with over 20 years of experience, Paul has evolved from fledging Facebook user to Social Media Photo Guru. What started as a forced experiment by his agent has turned into a way of life, not only providing a creative outlet for Paul, but also new and exciting business opportunities, cultivating skills for projects to come. For Paul’s first foray into social media, he used Facebook to create “iPhone Once A Day,” now an online phenomenon, boasting its own website and Tumblr feed. We sat down with Paul to talk about his experience with social media, how to get in, and what do to once you’re in there. What we came away with was insight and an appreciation of an artist jumping headfirst into the unknown and reaping the spoils of success.



How did the “iPhone Once a Day” project come to you?

Several years ago my agent Candace Gelman requested I become active in social media (at that time mainly Facebook). I came up with an idea that would address my love of image making, Apple products, and something visual over verbal.

What’s the process like from shot to post for the “iPhone Once a Day” project?

I have some criteria I’ve developed for the project: the images all have to be vertical and black and white; they need to have a consistent use of processing (I use one called CameraBag1962), and they all have to be mobily uploaded. The images can’t come from anywhere but my phone.

I generally shoot pictures all day long, and then its usually after dinner that I edit and put up the photos at night (around 8:00-10:00 p.m.). Although late at night is not the best time to post, I have a lot of European followers, so they start viewing the posts and making comments. That way, by the time I wake up I already have strong traffic coming in from the previous day.

(Read more)

Workbook Interview: Carli Davidson

Posted by Claire Semnacher on 04/12/2013 — Filed under:  FeaturesHeadlineInterviewsMusing OnPhotographybehind the scenes
By Claire Semnacher of Held & Associates



WB: Have any life experiences shaped you into the photographer you are today? And more specifically, what made you want to focus on photographing animals?
I was born into a household full of animals, right next to a nature preserve. Before I was old enough to walk or talk I was learning my pets' body language. Our bulldog, Daisy, was just about at eye level with me then I suppose; perhaps I thought I was a bulldog and not a person at all! Regardless, I have always seen the animals around me as my peers or as something to wonder at.
I was also born into advertising. My father was an art director who worked on Madison Avenue, and I spent many days of my childhood on set. When the two worlds of animals and advertising came together for me, it felt very natural.

WB: Your series, “Shake” went viral last year and is going to be published into a book this summer. How exciting! Can you tell me how this opportunity came about?
Shake was something I never could have predicted. I entered the six shots I had taken so far of the very new series into PDN’s Faces competition, and it ended up as a finalist in the animal’s category. From there, little by little at first, it spread over small blogs and finally just exploded. I had millions of hits on my website and was suddenly getting portfolio spreads in magazines across the world. I got my book deal last May with HarperCollins and shot another 120 photos for my book [due] out in August of this year. I’m SO EXCITED about it; how cool, to have a book! I have a great agent and editor and a wonderful team over at HarperCollins that I get to work with to make the book happen, and it’s been a great learning experience.

WB: What has been your most rewarding experience working with animals?
Oh that is a really hard one, and it speaks more to my history in animal care than photography. I guess it’s always the stories of beating the odds, or overcoming adversity. Sometimes it’s as simple as a good day when an animal I’ve cared for, suffering from a chronic condition like renal failure, eats and drinks and wants to interact. Probably the most rewarding was when I got to foster a pit bull puppy that lost both his front legs due to severe abuse. I photographed his surgery for the court case my friend’s rescue was building against his previous owners. I was by his side almost every day during his recovery and rehab. I trained him in how to use a wheelchair; I got to watch him blossom from a reserved dog who had spent months in debilitating pain to a totally rambunctious, super-high-energy pit bull puppy, as he should have been the whole time.

WB: What’s your strategy for making the animals comfortable? Do you have to “get on their level,” in a sense?
I’m happiest when I’m 'on their level.’ I think that’s why I have such patience with them. I’m not a patient person by nature, but working with animals it seems totally natural to let them take the lead and slowly mold the behavior I’m looking for. I get on the ground with them, I play with them, I take the pressure off and do my best to make it fun for both of us. I’ve been working around animals as long as I can remember; I grew up seeing them as members of my family and playmates. I’ve worked around wild animals, abused animals, and animals that could kill me. You learn how to move around them, how to make them feel safe. I also read a lot of training and behavior books. As far as learning about animal behavior, I always tell people to volunteer at a shelter or read anything by Turid Rugaas or Jaak Pansksepp and anything pertaining to cognitive ethology.

WB: Animals can be unpredictable sometimes; have you had any scary experiences?
When I was 18 I was interning at a big cat rescue in Owasso, Michigan. A lioness grabbed my foot from between the bars and held it in her mouth, gently chewing on my boot and looking me in the eyes like a playful kitten. I froze knowing that kittens sure like to play with a moving object! A friend threw a hunk of meat next to her, and she promptly let go. I still have those boots with a tooth imprint from her, perhaps as a reminder that you always have to be aware of your safety first and foremost when working with wild animals. Aside from that, I have been bitten, scratched, knocked over, and had all manner of gross spewed at me; that’s just kind of life when you’re working around animals.

WB: I noticed that there are hardly any cats on your website, are you strictly a dog person?
There are cats on my main website; I am a cat lover too! I regularly photograph a fluffy-haired, one-eyed Persian that survived a viscous BB gun attack and a hairless sphinx that belong to my friend and has a comical amount of extra skin. They are kind of my cat muses, Regulator and Grandpaw.

WB: What is the most exotic/unique kind of animal you have photographed?
I photographed an Amur leopard being spayed. It was a powerful moment because the estimate is there are only ten of them left in the wild, and here I was witnessing one of the most endangered species in the world getting serialized. It was humbling. She had already been bred in captivity a few times, and they didn’t want to risk oversaturating the gene pool with her cubs for fear of inbreeding. There is actually a whole breeding program to keep track of how the gene pool is represented within zoological associations around the world. It is called the SSP or species survival program.

WB: There is a large section of your website dedicated to handicapped pets. Can you tell me a bit about the the little poodle, Ramen Noodle?
Ramen and I are kind of in love; his owner Jaime even says we have a bond! I think Ramen just makes people happy; he is such a good-natured dog, and people who see him are just overcome with wonder for this three-and-a-half pound poodle that walks around on his two hind legs like a tiny human. Ramen lost his legs in two separate accidents. After the first, one his owner signed his custody over to the animal hospital that performed the amputation. The second one was after Jaime, the vet tech during his first surgery, adopted him. He jumped off a chair and snapped the tiny bone in his second leg. Nothing could be done but a second amputation. Jaime was heartbroken, but just days later Ramen was already walking on his hind legs.

WB: I read in your bio that you worked as a zookeeper at the Oregon zoo. Tell me a bit about that. What kinds of animals did you work with?

So much of zoo work is manual labor: scrubbing, cleaning, building enrichment, and working on exhibits. I actually loved it. I loved watching the sunrise while scrubbing out the sea lion exhibit in waders and coveralls in the middle of the winter. I had a simple sense of pride about how much algae I could get off the underwater bridge or in how many of little seed packets wrapped in paper I could hide for the chimps. The fun part is training, that’s when you really get to interact with the animals, but it only takes up a small amount of the day. Keepers work really hard to make sure that we can give our captive animals the best life possible in captivity, even thought we know it doesn’t compare to actually living in the wild. We take pride in doing what we can to keep the animals in a good mental space.

I got to work with primates (chimps and orangutans, as well as some lesser apes and monkeys), big cats, marine life, including polar bears and huge stellar sea lions, and birds of prey. I actually worked the bird shows at the zoo, training the birds of prey and doing summer educational flight shows. It was really fun! I was also a photographer for the zoo, which allowed me amazing access.

WB: If you weren’t a photographer, what career would you have chosen?
A neurologist or a cognitive ethologist. I am totally fascinated by the brain’s emotional centers and how our emotions and behaviors are tied into our biological systems. Cognitive ethology is a relatively new study that explores the influence of conscious awareness and intention on the behavior of an animal. (read: NERD)















To visit Carli Davidson's website, click HERE.

Carli Davidson is represented by Janice Moses Represents.

Personal Work by Bill Cahill

Posted by Workbook on 04/11/2013 — Filed under:  FeaturesHeadlineMusing OnPersonal WorkPhotography

By Suzanne Semnacher

Last year we posted an interview with Bill Cahill in which he discussed the importance of testing and creating new work.  His latest series, "Made in America," illustrates how a single image has the power to express so much to so many different people. These are icons that embody both sides of a hotly debated topic.

This approach is solid. Take a big topic and dive right in. Explore and see where it takes you, and in the process, convey a sense of commitment and enthusiasm for what you do. And in case you're still not convinced, read Heather Elder's blog post from earlier this year where she discusses the importance of testing and personal work.








To visit Bill Cahill's website, click HERE.

Bill Cahill is represented by DSReps.

Advice From A Pro: Artist Rep, Heather Elder

Posted by Heather Elder on 01/28/2013 — Filed under:  Advertising CampaignsFeaturesHeadlineMarketing IntelligenceMusing OnPhotographybehind the scenes
By Heather Elder



Every year we work nonstop from mid November until just before the holiday to create our 2012 Year in Review and 2013 Plans for our photographers. We believe strongly that doing so is crucial for the success of the next year.

The process began with a phone call in November with each photographer to review the financial situation of the year and talk through where they would like to see those numbers go in the coming year. We then talk frankly about what we think needs to happen to achieve those goals, including a realistic assessment about what they can commit to themselves in regards to shooting new work, marketing on their own and financial output. Together we set a financial goal that we then outline a strategy of how to meet.

A BIG part of the conversation this year was spent talking about the importance of shooting more personal work. I must sound like a broken record by now but once again, in the most simplest of terms, the photographers in our group that produced the most amount of new work were the busiest in the group. I have been repping for over 15 years (notice how I didn’t say almost 20 years? I feel younger this way!) and this has always been the case.

I wrote a post about this very thing in 2011 and the only thing that I would add in 2013 is that if I thought it was important in 2011, I think is is SUPER important in 2013. You can read that post here.

The plan starts out with a review of what we thought about photography in general and then discusses what we thought mattered most this year and any trends were noticing. We then outline a very specific plan for how we will meet their financial goals. We end with a review of what marketing was accomplished in 2012 so that everyone has a good idea of how much cheerleading was done over the year.

Since we firmly believe their is no secret ingredient for how we market our photographers, we thought it would be helpful to share with you all the beginning parts of our plan. The power of our blog is the idea of conversation. We hope that this gets you talking AND thinking!

WAS IT A GOOD YEAR FOR ADVERTISING PHOTOGRAPHERS IN GENERAL?

From and industry point of view we think this year was a strong one. Here is why:

1) Larger Budgets

There were more projects with larger budgets this year and more library shoots. Clients are recognizing the value of a larger production for more days to yield more imagery. To be clear, they were not adding money so that we can have more shoot days for less shots. They were adding money to the budget so that they could add more shots to their list. Productions were being pushed some but shoots were larger.

2) Jobs happened. They didn’t just go away because we didn’t get them. More often than not, jobs that we did not get, went to other photographers. They did not disappear or die because of budget reasons.

3) Layoffs and client/agency movements were less frequent than last year. We did not often hear of agency layoffs or clients leaving their agencies for new agencies.

4) Repeat clients were prevalent. There were many more repeat clients for our photographers. Long term relationships mean that clients recognize the value in shooting with the same photographer and have put financial guidelines in place so that it is affordable for them to do so which in turn translates into more business for the photographers and a stronger creative partnership for the clients and agencies.

5) Many Agencies are hiring again. Agencies were hiring more freelance art producers and departments tended to be growing, not shrinking.

6)The end of the year was strong. Clients were calling for end of year AND new year projects as well extra usage. Clients had money to spend at the end of the year. Any slowness we felt early on in the fall was non existent (maybe the election?)

WHAT MATTERED THIS YEAR?

As we traveled the country and talked to art producers, photographers and creatives, here is what we found mattered in terms of staying relevant and top of mind.

1) Relevant New Work

Whenever we presented the portfolios or helped sell a photographer for a project, we heard time and time again, “Show me what is new.” All the photographers in our group are at a point in their career that it is a given that they shoot good, relevant commercial work. There is no education for them needed on this front. So, instead, what they want to see is the latest and greatest. They want to see what you are up to and they want to see it often.

2) Photographer Marketing

We must sound like a broken record but it is more important than ever and very much expected for a photographer to have an active voice in their own marketing in addition to what their agent is doing. Mailers, emailers, websites and ads are no longer enough. Clients are wanting to hear from photographers themselves. This can be done via social media, blogs, attending events, showing off their own books and personal connections. The photographers that are embracing this as a part of their marketing are getting noticed. To be clear, for the photographers who are not doing this, we are not hearing “Where is X? Why doesn’t he have a blog or why isn’t she here at this event?” Instead we just not hearing about them as much as those that are embracing this idea.

3) Being Responsive and Engaged

The world is moving fast. Clients expect to hear back from us and our photographers quickly. They are also expecting the photographer to be engaged and interested. Seems like a given right? Well, seeing how busy everyone is and distracted by projects, shoots, etc, clients are noticing when an photographer is not as engaged. Taking a second to really connect with a project and making time for a focused conversation is more important than ever.

WHAT TRENDS ARE WE SEEING?

1) Social Media

Photographers have become much better at using social media for their marketing needs. Many have grasped the idea of “finding their own voice” and have learned the power of sharing both their work life and personal life via social media in the hopes that their target market will get to know them better. Recently, I saw that The Workbook is now soliciting photographers to share their Instagram photos so they could promote them on the Workbook blog. This is one example that illustrates how social media is constantly evolving and new options for sharing socially are becoming available.

2) Video

When the economy crashed clients and photographers had to redefine value when it came to photographers. They asked for more usage, turned to library shoots and began to hire photographers to shoot video. At the time, many of the clients did not know what they wanted the video for but knew it was a good value to get it at the time and that their agencies would find a use for it online. Well, now that clients, agencies and photographers have become more savvy about the whole process, things have changed. Clients are now understanding the value putting more attention and budget behind the production of the video. Photographers are more educated as to the technology and are understanding what new value they can provide the client. The process feels less like an add on and more like a strategic part of the client’s marketing

3) Production Companies

More and more agencies are beginning to make suggestions as to whom the photographer uses for production and often times they are requesting specific production companies. Now that art producers are being required to understand and produce videos, they are more savvy with the value of a production company. They are even sometimes more willing to pay the extra money involved with the larger productions just to have the peace of mind that goes along with having more people involved in a production. Not all clients can support the larger budgets but I suspect that having a hand in choosing a producer is something we will see more of in 2013.

4) Usage

More and more, clients are asking for unlimited usage. Some are putting time frames on it and others are not. The reason for this is not just that they want more for less. The reason is that there are so many ways in which clients/agencies are using imagery now that it is difficult for them to limit themselves to just a few images. Even when we are bidding shot rates, there are requests for library fee upgrades. We see this as a trend that will continue and maybe even a shift in the usage/fee model.

5) A Photographer’s Voice Matters

People who search for photographers want to hear from the photographers. Whether it be through a meeting, an email, a meeting, social media, blog posts, etc, they enjoy the idea of that personal connected feeling. I may sound like a broken record, but the effects you will have on your own business by being present and engaged in your own marketing will be exponential. To be clear, of the photographers that are not out there as much on their own, we are not hearing from the clients, “Where is John Smith? Why aren’t we hearing from him.” Instead, what we are noticing is that it is the photographers that ARE out there that are getting the calls. So, it is more that people are noticing when you are present, not when you are absent.

To visit Heather Elder's blog, click HERE.

To visit Heather Elder's website, click HERE.

Workbook Interview: Colin Cooke

Posted by Claire Semnacher on 01/23/2013 — Filed under:  FeaturesHeadlineInterviewsMusing OnPhotography
By Claire Semnacher

Workbook wanted to know more about skilled still-life photographer, Colin Cooke's journey and his involvement with Sweet Paul Magazine.




The biography section of your website explains that your passion for photography began in high school as a yearbook photographer. What made you eventually cross over to food, liquid, and still life photography?

I went to the Brooks Institute in Santa Barbara to study photography. I learned to love shooting still life there, but we had to shoot everything for assignment. When I made it to NYC after graduation, I freelance-assisted with many different photographers. Working in many different fields helped me realize that still life was my direction. After several years of shooting everything still life (except cars), I decided, like most of us, to specialize. Food came easily to me. Most photographers can't stand waiting all day for the food to appear on set until about 4pm. When the food comes to set, it usually has a short shelf life, so the pressure is on. You shoot it and it's over. I enjoy the process.

What is your favorite shooting style, and why?

Natural light. After being trained to use tungsten and strobe to light everything, I find natural light freeing. When I came to NYC, the bank light was the big thing. Then it was a combo of tungsten and bank light and throw in the Hose Master. For photographers it is all about the light.

If you're willing to divulge, what techniques have you learned over the years that have garnered the most success? Can you give me an example?

The most important technique I have learned is simplicity. I used to have 24 strobe heads, 6 strobe packs, giant bank lights, and I gave it all up for a couple of mirrors, white fill cards, and some windows.

What is your favorite shoot that you have completed for Sweet Paul Magazine and why?

Paul wanted to do a story on oysters. We thought we'd find a gnarly, knuckled old sailor in the business, but at a cocktail party in Manhattan we ran into an attractive young woman with a journalism degree from Columbia, who happened to be a Maine oyster farmer. Go figure. It was perfect. I went up to shoot for a couple of days in Maine and had a great time photographing the process. Until the oysters get to the table, it's a real story of mud and guts. Paul and I shot the story weeks later, further south on the Connecticut shore, and the props, food, and surface we shot on came together beautifully.  http://www.sweetpaulmag-digital.com/sweetpaulmag/fall2012#pg104

Sweet Paul Magazine is fantastic for finding mouth-watering recipes, gifts, seasonal craft ideas, interesting articles, and some overall inspiration. Can you tell me a bit about your involvement? It seems like you have a lot of fun!

It is a lot of fun. Paul is great to work with and is one of the most creative people I have worked with. It's unusual in our business that he wears two hats: food stylist and prop stylist. So, his vision of the final photograph comes from [his] one viewpoint. He also works very quickly. We usually get about 8-10 shots done in half a day, and he really is a Sweet Paul.

What is the Sweet Paul Mission?

Sweet Paul is a magazine for people who are looking for simple, yet elegant recipes, stylish and fun craft projects, and cool shopping. Our motto is "Chasing the sweet things in life," and that's what we try to do in every issue. A reader told us that "Sweet Paul Magazine is like a Martha and Anthropologie love baby."

What is the most important piece of advice you would give to an aspiring food photographer?

It just comes with the business: work long hours; be nice to your employees and clients; learn to say yes to ideas before you say no, and take more vacations than you think you need.

What is your favorite cookbook that you have shot? What made it extra special?

My favorite is called Woof. It's about how to cook for your dog and also yourself! Paul and I shot it for a Norwegian publisher. Dogs eat almost everything that humans do. So, the author made lasagnas, fresh fruit cups with yogurt, stews, rice-chicken dishes, pasta, and cookies. The food looked beautiful, and he showed how your dog and your family can eat very healthy, very well, and very nutritious food. I traveled all over to get portraits of dogs, and we put that together with naturally lit food in a studio. We had fun.

I have heard repeatedly how difficult it is to shoot meat. Can you please explain why is it so hard to make meat look appetizing?

Yes, meat can be challenging, as can ice cream, hamburgers, and pizza. But, like everything else, it takes a few tests and practice to get it looking good, and it is important that the food stylist start with an excellent cut. But the lighting can also make it look mouthwatering or not. The light or the reflection of the fat on the top of the steak helps make it look juicy. The most important thing an art buyer might say is, "That makes me hungry." If the rep or the photographer hears that, you might get the job!

What is your favorite holiday dessert?

I never get enough of it except at year's end: Minced Pie!















To visit Colin Cooke's website, click HERE.

Colin Cooke is represented by Doug Truppe Represents.

2014 Hasselblad Masters Awards

Posted by Claire Semnacher on 01/21/2013 — Filed under:  Award WinnersContests - EventsFeaturesHeadlineMusing OnPersonal WorkPhotography
By Claire Semnacher

Workbook contributors, Dana Hursey and Gandee Vasan have been named finalists in the Hasselblad Masters Awards for 2014. With  over 4,000 entries from around the world, Dana was named a finalist in the General and Wildlife categories, and Gandee was also named a finalist in the Wildlife category. The public is invited to vote for their favorite images at www.hasselblad.com/masters-finalists. Winners will be announced January 2014.

Congratulations!

Dana Hursey's Wildlife category images:







Dana Hursey's General category images:







Dana Hursey is represented by Picture Matters.

To visit Dana Hursey's website, click HERE.



Gandee Vasan's Wildlife category images:







To visit Gandee Vasan's website, click HERE.

Gandee Vasan is represented by wswcreative.
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