HERE is a video profile of Hot Bread Kitchen. The challenge for William Geddes was to create a short video story that expressed Hot Bread Kitchen’s multifaceted mission without losing sight of its core function. In addition to the bakery, HBK also provides industry training for minority women and incubation programs for fledgling baking businesses.

This week, we've got six impressive new photographers, illustrators and CGI artists. Check out their bios and image samples below.

Darren Carroll

Darren Carroll specializes in sports action and location portraiture for editorial, advertising, and corporate clients worldwide. By taking a more photojournalistic approach to both his action and portrait work, he seeks to bring a sense of realism to even the most highly produced shoots by preferring to work with his subjects in their element, and working with a small, mobile crew capable of adapting to rapidly-changing conditions. An avid runner and barbecue fanatic, he lives just outside of Austin, Texas with his eight year-old son, Jake.

David Clifford
David Clifford has been lucky enough to travel the world and document some of the best climbers and runners along the way. As the Photo Editor at Rock & Ice magazine as well as Trail Runner magazine, Dave has forged lifelong relationships with many talented people. Dave has been selected as a Red Bull Illume finalist, an America 24-7 photographer, a PDN Outdoor finalist; he has won a Maggy award and the APA short video contest grand prize for his film Lucky. Dave is also proud to have mentored many of the best outdoor photographers on the planet.

Eli Meir Kaplan
Eli Meir Kaplan is a photographer in Washington, DC. He became interested in visual media after his parents brought home an early black and white video camera to their apartment in Queens. Eli's first of many videos on the camera was a stop-motion battle between He-Man and Skeletor, which he made when he was four years old. Always passionate about storytelling and beautiful imagery, Eli found that his purpose as a photographer was to capture sensitive, honest and emotional moments. He's been told that he's fun to work with.

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Photo apps on your smart phone can be more than just fun ways to share images. An app can be utilized professionally as a strategic marketing tool and a platform to engage your audience. A link to each artist's Workbook portfolio is posted below his or her photo.

Matt Hawthorne's Workbook Portfolio (Above)

Kim Lowe's Workbook Portfolio

Matt Hawthrone's Workbook Portfolio

Kim Lowe's Workbook Portfolio

Kevin Twomey's Workbook Portfolio

Terri Glanger's Workbook Portfolio

Kevin Twomey's Workbook Portfolio

Terri Glanger's Workbook Portfolio

Priscilla Gragg's Workbook Portfolio

Bob Packert's Workbook Portfolio

Changing the Face of Beauty is thrilled to have connected with Michael Canavan Photography for a special gallery event on Friday, June 7th, 2013 at Rational Park. Earlier this year, Michael Canavan and his staff held a commercial photo shoot with fifteen of our local models. Michael was able to capture both the inner and outer beauty of these children and young adults. It was wonderful to see our models not only participating in their first commercial photo shoot, but they were also added to the talent database of Real Talent, Inc., a talent agency that specializes in placing real people into advertising. We're hoping this special gallery event will inspire advertising agencies to represent these children and young adults in all forms of media. We believe Changing the Face of Beauty is important to all people living in this world with disabilities.

What: Changing the Face of Beauty

Who: Changing the Face of Beauty/ Michael Canavan Photography/ Real Talent, Inc.

When: Friday June 7th, 2013, 4:00 pm – 9:00 pm

Where: Rational Park, 2557 West North Avenue, Chicago, IL 60647

The Origins of Changing the Face of Beauty:

Katie Driscoll – Steve English

In June of 2009, my husband and I were told our sixth and final child would be born with Down Syndrome. Twenty years before that, Steve English walked into a department of child and family services and fell immediately in love with a young boy named Jason. Steve adopted Jason. Jason’s disabilities did not make a difference. Fast forward to the summer of 2012. The love of our children lit a fire in both of us. We began to examine how society views individuals with disabilities. Why aren't they represented in advertising all the time? One in four people in the United States has a disability. This is when Changing the Face of Beauty was born. Steve and I know how blessed we are due to the millions of moms and dads before us who have paved the way not only for our children, but for the thousands of other individuals living with disabilities. Our hope is to continue to help make the world a more accepting place to live, a place where everyone knows how it is to feel beautiful.

For more information, contact:

Katie@changingthefaceofbeauty.org steve@changingthefaceofbeauty.org

michael@michaelcanavan.com

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Recently, Workbook's own Colleen Stevenson had the chance to interview photographer Thomas Chadwick about his latest project, The Sketchbook. Here's what he had to say:

What is the story behind The Sketchbook?

I have always had all these photographs that I’d taken over the years that were personal. Every year, I would make my wife a book for her birthday that was a retrospective of the previous year. I liked to show the book to family and friends and the response was always “you should show these." I was conflicted about doing that because I felt they should be held separate from my commercial work. It seemed to me that taking pictures of your family or kids was very normal, and every photographer should be doing it. I didn’t think there was much that was special about the photographs, except that they were special to me.

Why the name?

My agents, Joe and Erica, convinced me it was okay to show the work on a blog that is separate from my commercial work on my website. A blog format is basically a modern day incarnation of a sketchbook. Meaning, a place where ideas, visuals, and concepts are developed or just noted for future reference and inspiration. A sketchbook is not a place for finished, polished work. It’s a place to put things for them to grow, a place to document your daily life, routines, and moments that you want to remember.

Do you like the idea of archiving your life while also sharing it with the world?

I’ve always archived my life. It’s what got me into photography in the first place. When I first picked up a camera, I was photographing my parents, grandparents, and brother. Now I photograph my wife and two boys.

When my boys are eighteen, I want to remember what their chubby toddler legs looked like. I want to remember what their morning breath smelled like from a shot of them stuffing their faces with sweets. I don’t want to forget these details. I worry that I might forget those small moments if I don’t take the pictures. Taking the pictures guarantees I will always have my three-year-old, even when he’s thirty.

Posting the photographs for others to see has shown me how universal the photographs are: a photograph of my son reminds someone of his or her boy who is now grown up. That connection to people, and people getting a flashback to their memories, is rewarding.

Most adults get a camera in front of them and they are so in their heads about how they look it’s harder to capture that genuine moment, but kids, everything seems so natural. Is that a draw for you?

Kids are engrossed in what they are doing. They believe they can do anything; they are in the present moment; they are authentically themselves. Their personalities show up all through their bodies; adults are more guarded. If a belly is sticking out, kids don’t care, and they don’t try to put on a face for the camera. Real and authentic is a draw for me. I point my camera at a lot of adults who let me know how uncomfortable they are, so I move away.

What’s your favorite post or series of posts on the site?

The above photograph was taken on June 22, 2012 during a family reunion at my wife’s family's cottage in Iowa. The cottage is on farmland, and there is a creek that runs nearby that the kids have named Magic Island, due to the sand banks that line the creek. (I catalog all of my work by the date; as time has passed it’s become interesting to look back on certain dates.) The hotness of the sun and the discarded shoes that were left on the sand banks to go creek stomping represent both of my kids’ childhoods, their boy-ness, their free spirits, their willingness to jump into streams: mud and go explore.

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By Michael Glenwood

Here's a little of what I've been up to—some random projects and a little recognition from my peers. If you'd like to see more, check out my website.

Spotted In The Park—an illustration created for the New Yorker magazine's Blown Covers blog—was accepted into the Society of Illustrators annual juried show. It was on display in the Society's gallery in March, and will appear in the upcoming 55th Illustration Annual.



This piece, in the 2013 Communication Arts Illustration Annual, was created for the National Labor Federation's 2013 calendar, which features one illustration per month each by a different illustrator. Each illustrator gets a theme, and mine was the hidden epidemic of famine in America. Creating an illustration for the calendar has been an annual project for me for several years. The collaboration with art director Mike Petteys has been great, garnering a number of awards over the years.



This piece, in Creative Quarterly 30, was—like Spotted In The Park—created for the the New Yorker magazine's Blown Covers blog. The week's contest was titled, "Man It's Hot!" and the subject was global warming. I opted to show a heat wave striking even the polar cap and managed to sneak in a cause—air conditioning—along with an effect. This piece was selected as the best overall for that week.



Digital Moat is one of six pieces selected for the Illustrators Club of Washington's annual juried show. I make an effort to include work commissioned by local art directors when I enter pieces in this show. One such art director is Roy Comiskey, whose enthusiasm for illustration is unmatched. This illustration, about the complexities faced by industry in keeping digital information secure, was for Security Management magazine.



Also included in The Illustrators Club of Washington's exhibition is So Hot You Could Fry an Egg. It's one of three illustrations I did for Blown Covers that is included in the IC show, along with Spotted In The Park and Igloo. This was another entry in the "Man It's Hot!" contest that dealt with global warming.

About Blown Covers: For some time, Blown Covers—a New Yorker magazine blog—had a weekly contest in which artists were given a New Yorker-style "cover" theme and had a week to complete it. The results were then judged by New Yorker art director Françoise Mouly, and Blown Covers' Nadja Spiegelman. I only wish I had found the blog sooner than I did; the contest (sadly) came to an end only a couple of months after I stumbled upon it. But in those two months, I did some of my favorite pieces and made some new friends.



I was among eight artists invited to participate in a curated show at the Dennis and Phillip Ratner Museum in Bethesda, MD. The other participants were Sally Wern Comport, Greg Harlin, Sterling Hundley, Warren Linn, Robert Meganck, Whitney Sherman, and Rob Wood. The idea: to show work by illustrators done not as assignments, but for other purposes. My artwork included personal pieces, work done for various handmade books, and several of the Blown Covers pieces—pieces that were given so much free rein that they became, in effect, personal pieces.

Many of the pieces in the show were works I've previously exhibited and discussed, but others were more recent. Back to School is another Blown Covers illustration and was, according to the museum's director, among the most commented-upon works in the show. It shows that first day back to school from a parent's perspective and is a piece I had to explain to my two children using carefully chosen words that must have worked, as the original artwork is now hanging in my son's room.



Last Waltz is a personal piece, an exploration of positive and negative space. The inspiration for the artwork, a rumination on existence and nonexistence and on the fleeting nature of vitality and mortality, was the approaching death of a loved one as the date of Ratner show neared.



Poster For Tomorrow is the main project of 4tomorrow, an independent, nonprofit organization based in Paris. Its goal is to "encourage the design community to make posters to stimulate debate on issues that affect us all." The theme of the most recent competition was 'Gender Equality.'" A jury of international designers selected 300 finalists out of thousands of posters submitted by artists from more than eighty countries. One of those was my entry, a piece that relies on the use of color to convey its message. I take pride and find deep fulfillment in creating artwork that can create awareness or have an impact on issues that resonate with me; it is, to me, the most worthwhile use of one's artistic gifts. (See Famine In America above, also a pro bono piece.)

Here are some of the latest projects from the photographers represented by Anderson Hopkins.

Photographer: Chris Frazer Smith
Client: Samsung
Agency: CHI & Partners
Art Director: Jay Philips

Photographer: Ben Fink
Client: Random House
Book: Paula Deen New Testament Cookbook

Photographer: Lisa Shin
To see more of Lisa Shin’s beauty work click here.


Photographer: Chris Sanders
Client: Bic Soleil
Agency: Source Marketing
Creative Director: Chris Healey
Art Producer: Keelin Claire-Nothwang
Producer: Jenn Kim

Photographer: Peter Dawson
Client: Weber
Agency: Rabble+Rouser
Creative Directors: Shum Prats & Meredith Williamson