The Daily Promo – George Qua-Enoo

George Qua-Enoo

Who printed it?
I wanted to print with magcloud initially but I decided to print it locally at the Printing House ( in the end. Who designed it?
Lyndsey Matoushek in consultation with the lovely folks at Wonderful Machine. Tell me about the images?
All the images in the promo are from my personal projects/ work. I reached out to Wonderful Machine to assist me with a new print portfolio and a mini promo. They felt that due to the strong body of my travel/documentary work, perhaps a separate promo entirely dedicated to my documentary storytelling will be best so we just focused on Lifestyle and some portraits with this mini promo. The promo is a mini cohesive edit that is a similar concept to my print portfolio in terms of image curation. How many did you make?
I only printed a small batch of 300 copies for targeted prospects and clients. How many times a year do you send out promos?
This is the first promo that I’ve ever sent out. I had always relied on face-to-face meetings and phone calls but I felt it was time I switched things up and send out promos. Email campaigns are not as effective as they used to be, in my opinion, especially in Canada with the new CAN-SPAM Legislation. Do you think printed promos are effective for marketing your work?
The reactions have been positive so far. This is my first printed promo that I’ve been sending out and it’s only been just over two weeks, it’s too soon to tell. ------------------------ Visit our sponsor Photo Folio, providing websites to professional photographers for over 10 years. Featuring the only customizable template in the world. ------------------------

This Week in Photography Books: Patrick Nagatani

  “If fiction has given more to us than fact, then this is the greatest truth.” Ryoichi/Patrick Nagatani   There’s no such thing as truth. That’s what they teach you in college or grad school, anyway. Ever beholden to the French Philosophical titans Michel Foucault and Jacques Derrida, endless professors teach countless students that each piece of information is inextricable from the power dynamics that created and disseminated it. It is the ultimate example of occupying the intellectual high ground, because the idea can’t be attacked. If you try to undermine the principles, your counter-argument can be dismantled more easily than an Ikea Lack table. (Unscrew the four legs and you’re done.) No matter what you say to critique the core essence of Post-Modern theory, your words will be deflected by attacking the vessel that hosts them: you. Only a person from a very specific cohort, gender, or culture can critique that group, so if you’re not one-of-us, your words are too much a construction of your gender/status/culture for your opponent to give them credence. (Each word must be parsed for its deeper social construct, like Bill Clinton musing about the definition of the word “is.”) Unlike a few weeks ago, I’m not actually writing about the powers that be today, nor the intersection of varying levels of privilege. Nor even will I attack Donald J. Trump. (Well, maybe just a little… for a laugh.) Rather, I want to poke at some dead French guys, and the manner in which their very important ideas have come to undermine the collective fabric of society. (Since they’re dead, and French, we can mock them all we want. C’est vrai?) There was something truly revolutionary in Post-Modernism, as it opened the door for various perspectives to be assimilated
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The Art of the Personal Project: Ashton Rodgers

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions. Today’s featured artist:  Ashton Rodgers I recently was able to visit my hometown in southeastern Washington… a place that I couldn’t wait to leave growing up and now a place that speaks to my soul. My hometown isn’t traditionally beautiful or really noteworthy for much. But what I’ve come to learn is that it’s rolling hills of alfalfa and open blue skies had a huge influence on my sensibilities as an artist. Locations that are expansive and free of distractions with simple color palettes challenge me to create. Before my trip I had arranged a lifestyle photo shoot with a Dodge Challenger in Texas where I live full-time. While traveling back from my hometown the concept for the shoot radically changed. Inspired by my recent trip I ditched the complications of sourcing talent and wardrobe and decided to put my focus on the car. Essentially deciding to strip away everything that wasn’t absolutely necessary. Once that decision was made everything else came together and I was free to focus on framing and light. Simplicity is nothing new, in fact it’s a principle I employ in my commercial work all the time. Going home and seeing the simplicity of the landscapes just reminded me why it comes
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Marketing Tips: Breaking Into Commercial Assignments and Promo Leave-behinds

Guest post by Kristina Feliciano I’ve developed a large body of personal work but have never shot commercial assignments. How do I get started? I suggest you do something that is truly unfashionable these days: Assist. Technology—digital photography, the Internet, social media—has been wonderfully democratizing, making it super easy for anyone to make and distribute work. But the low barrier to entry has also inspired people to skip steps that are essential to their education as a professional photographer. When you assist, you’re getting paid to learn while enjoying remarkable access. You’ll be watching how a pro runs their set, works with their team, collaborates with their clients, and solves problems. You can learn about lighting, directing talent, gear, logistics. You’ll also meet people, from crew members to clients. If I were you, I’d commit to assisting for at least a year. It’s a small investment of time, and you can still shoot your own work on the side. Yes, there are successful young photographers who never assisted. But behind the scenes, you sometimes hear that the producer or art director on these photographers’ shoots is actually running the show because the photographer doesn’t know how to light, what to do when the weather doesn’t cooperate, how to lead a crew. In those cases, it’s unlikely that the photographer will be hired again. To survive beyond a few lucky breaks, you need to prepare yourself, and spending a night or two asking Dr. Google for information does not count. Go the old-school route and find yourself someone to apprentice with. I’m a portrait, entertainment, and advertising photographer planning to go on meetings with magazines, ad agencies, and movie & TV studios, and I want to print a two-sided promo card as a leave-behind. How do I choose which images to Continue reading "Marketing Tips: Breaking Into Commercial Assignments and Promo Leave-behinds"

The Daily Edit – Christopher Anderson: TIME

Design Director: xxxx
Editor: Andrew Katz
Photographer: Christopher Anderson

Heidi: Athlete shoots can be notoriously short, how much time did you get with the talent?
Christopher: Not always short. Depends. In this case we were supposed to have an hour to set up and an hour with him. We probably could have gotten that but PSG PR was completely disorganized and seemed  not to have even briefed him properly nor prepared on their end. I was quite shocked, frankly. Hence no set up time which is the most ridiculous part of it was we were kept in a holding room, no chance to scout the area or set up until moments before he arrived. I am used to shooting fast but having no chance to set up or understand the space where the shoot will happen is crucial. My advice to photo editors and producers would be negotiating the set up time for the photographer is even more important than the amount of time you negotiate with the subject. Since he’s a rising star, how did you direct him?
I quickly showed him a photograph I had made of Ronaldo and explained that I wanted to shoot him as a human being, not an object and that it needed to be a collaboration between us. I talked to him like a thinking person and said that, yes, I hope that he looks good in the image but if the image didn’t feel real, no one will care about it or remember it. What was his reaction?
His face changed and he got into it. Do you remember the first time you had a shoot where the timing suddenly got cut down to minutes? If so, what was your reaction then, and what is your reaction now?
It happens all the Continue reading "The Daily Edit – Christopher Anderson: TIME"

The Daily Promo – Matt Nager

Matt Nager

Who printed it?
This promo was printed through Modern Postcard. Who designed it?
I did the heavy lifting on the layout, design, and production of the booklet. Of course, I went through several layouts and asked for impressions from friends and colleagues before landing on the final piece. Tell me about the images?
Throughout the past couple of years, I have been working to build up my advertising portfolio to supplement my editorial work. A big goal has been to produce several test shoots each year with an emphasis on higher production and a more refined look. This project came together after a meeting with a producer and all around great guy Jonathan Biebl and his production company Go Atticus ( based out of LA. I knew I wanted to go to move beyond Colorado in scope and LA offered a larger pool of models to work with. After throwing around concepts and locations we settled on shooting in Venice to create an athletic piece that I could target a very specific list of sports brands and companies. I wanted to keep true to my style while mixing action, fashion, and portraiture. We got a great crew together and had a fantastic shoot. How many did you make?
I made 250 promos. I sent out 200 and kept 50 for in-person meetings. How many times a year do you send out promos?
I usually send 1-2 booklets a year and 4-5 single postcards as part of my larger marketing strategy. Do you think printed promos are effective for marketing your work?
I’ve found marketing to be a tough game that requires persistence and a broad approach over a range of mediums. I still send emailers, but focus more on printed promos, individual postcards, group Continue reading "The Daily Promo – Matt Nager"

This Week in Photography Books: Alice Garrett-Jones

  I’ve lived through three seasons in the last ten days, and it’s making me crazy. It was 80+ degrees here in Taos until October 1st, when fall arrived in earnest, with yellow trees and cooler days. (Nothing too bad, but definitely not summer.) Then we drove into Colorado at the beginning of this week, and some freezing rainstorms blew in at 7000 feet, where we were staying. It was the worst of cold-wet-nasty-late-autumn for sure. It snowed at the higher elevations, so on Tuesday, we drove over the Rockies, near 10,000 feet for two hours, and there was a blanket of thick snow covering everything. Sub-freezing temperatures.
Icy roads. Total winter in every way. You’re not supposed to experience three seasons in ten days. That’s not the natural order of things. It’s like living in a jet-lag bubble. And to top it off, I just got out of the car after a six hour ride, coming back across to the Western side of the Rockies yet again. More storms. Cold rain this time. There were sections of slick road where the slightest misstep would have meant peril. We passed chunks of the landscape that had been ripped through by wildfire in June, and already green things had grown up in between. What I’m saying is, I’m in one of those mind-spaces where I’m a bit bleary, or punch drunk. I’d be willing to consider almost any strange idea with an open mind, because I’m a tad woozy. Almost boozy.
You know what I mean? I remember one time when I was jet-lagged, just back from Rome to NYC, and I got hired to scan an old, highly damaged piece of nitrate film. (The kind that could spontaneously combust.) I’ve never before or since seen a negative as
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The Art of the Personal Project: Leon Hendrickx

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions. Today’s featured artist:  Leon Henrickxs KINGS & QUEENS began in 2015 when Léon created a portrait of his friend Micha and his drag queen alter ego Snorella WC. Two personalities of the same individual laid bare; portrayed in juxtaposition, as if each has his or her own life. The blueprint for an international photo project had been formed: KINGS & QUEENS — guys besides the girl they are inside. The KINGS & QUEENS portraits invite the viewer to enter into the exotic phenomenon of drag artistry, a world which is usually restricted to the clichés of spectacle, fantasy and entertainment. By gazing upon the fierce drag queen, accompanied by her soberly dressed male half, the viewer is asked to consider the relationship between the two personalities: whose desire is satisfied with the transformation back and forth? What does one ‘get’ from the other? And how do they react when meeting each other for the first time? Do they embrace, flirt or argue with each other? One thing is certain: the depicted subjects were stunned when seeing the images for the first time. On seeing her portrait, drag queen Extasis Liquuid cried out: ‘Finally my two hearts beat in the same rhythm.’ KINGS & QUEENS is now
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The Daily Edit – Polaroids of Women: Dewey Nicks

Bijou Phillips & Emily Cadenhead, Bill Burgess House, Palm Springs

Cindy Crawford, Big Sur.

Isaac Mizrahi & Shalom Harlow, Pier 59 Studios,

Jasmine Guinness, Zuma Beach

Patricia Arquette, Morgan House, Hollywood

Natalie Portman, Upper East Side, New York

Patricia Arquette, Morgan House, Hollywood

Polaroids of Women

Book Designer: Tom Adler
Writer: Brad Dunning
Photographer: Dewey Nicks

Heidi: What made you want to keep all your Polaroids? how where they stored, organized?
Dewey: First and foremost we kept Polaroids for practical reasons: the Polaroids were a tool to help organize and identify film rolls. We made grease pencils notes on the Polaroids for the lab techs as color and exposure references for processing rolls of 120 and 35 mm which was considered the “real film”. Because the Polaroids weren’t considered “important” they were looser.  I would have to reframe a bit when we changed to the Polaroid camera with its fixed lens. That change helped create a new momentum. The honesty of the Polaroid color reproduction creates an undeniable intimacy with the color and light quality of the original subject.   I always thought that Polaroids were worth saving because the image you see is a unique 1 of 1 photo with a surface that actually saw the light reflected through the lens, never to happen again. Did you know you’d be doing a book someday?
I was working on 2 or 3 long-term projects that I imagined would be presented as books. Those projects were shot on negative or transparency film with the intention of making high quality images. The boxes of Polaroids were almost like scrapbooks of the moments we loved from shoots, testaments to favorite memories and once I rediscovered them, they rose to the top of the list. How many did you have in total?
There were several thousand Continue reading "The Daily Edit – Polaroids of Women: Dewey Nicks"

The Daily Promo – Jason Travis

Jason Travis Who printed it?
TranspLAnts was printed by Newspaper Club, based in the UK. (They also conducted an interview with me.) Who designed it?
I took the photographs and designed the layout. With this particular project, I utilize each subject’s handwriting to give it a personal feel. Tell me about the images?
In early 2016, I moved from Atlanta to Los Angeles. It was the first time in my 35 years that I’d lived outside of Georgia. I wanted to create a photo series focusing on people I meet – people who have also moved to Los Angeles to start a new chapter of their lives. I wanted to hear about their journeys and experiences. I wanted to learn how living in different places has shaped their existence. Tell me about the pin and stickers you use instead of business cards?
I went to design school and used to put importance on having a business card. Times change and often social media becomes the calling card. For a photographer it has its pros and cons. Rather than update and print new business cards when I moved, I decided to design some fun enamel pins and stickers. This was a small token I could give to new people I met and especially neighbors. A small way to say hello and show my appreciation for living in a new place. It’s not something that screams my brand name, but more of a memorable item that can be enjoyed, rather than tossed aside. That’s not a new idea, but I wanted to make something I enjoy, and if someone else happens to also then that’s great. How many promos did you make?
I printed 100. The zine is 16 pages and labeled as Volume One. I’ve shot over 60 Continue reading "The Daily Promo – Jason Travis"

This Week in Photography Books: Marina Font

  There was a dead rabbit hanging from our fence yesterday morning. (I saw the ravens picking at it.) I only noticed as I looked in the car’s rear view mirror, ready to drive the little ones to school on an otherwise drab Tuesday. It was pretty high up there, so I figured a bird had gotten its prey stuck, but then I made the mistake of telling Theo about it. In a flash, (I have no idea how he covered ground so fast,) he was standing below it, and came back reporting it was stapled to the wood. Not good. Not good at all. It’s twenty-five minutes to school each way, plus the drop off, so I had the better part of an hour to stew on the horror of someone stapling a dead rabbit to our fence, not 100 feet from my house. I called my friend Ed, who was my mentor at a school for at-risk youth for many years. He understands the community, and what it might mean for someone to do that to us. He thought we should call the cops, and alert the neighborhood. I agreed, and thinking about it made me so angry as I tore into the driveway at high speed. But as soon as I exited the car, with my Iphone ready to capture the evidence, I saw the rabbit was gone. Gone?
Gone! I ran inside, yelling at Jessie, “Why did you take it down? We need to show the cops!” “I didn’t take it down,” she said, still in her robe. “I didn’t even go out there.” I was stunned. The culprit returned to the scene of the crime to steal the evidence? Oh my god!
This was a big deal now. I ran, frantic to
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The Art of the Personal Project: Michael Grecco

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions. Today’s featured artist:  Michael Grecco My Venice People project started almost 30 years ago, when I moved to LA to work for People Magazine from my staff position at the Boston Herald. I was still doing photojournalism then, but yearned to be more of a portrait shooter, a Celebrity Photographer. The interesting this when I look at this work is, it’s a blend of photojournalism and the commercial portraiture I am known for. For a magazine or commercial client, I gather props, build sets, find environments and then use hair, makeup and wardrobe to tell a controlled story. A conceptual approach to storytelling, as opposed to the realist approach I learned at the Herald. But all of these people come with an interesting story written all over them; they have strong identities that tell a clear story. I have then in turn, taking the lighting and the drama that is my style and turned in on them in the streets, most Venice, but also Santa Fe and Miami Beach. The more recent work has never been shown except on my website, but now I have an opening of large prints on October 4that the Terrace Restaurant in Venice. Venice on Venice, I guess it’s
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The Daily Edit – Medmen: J.R. Mankoff


Photographer: J.R. Mankoff

Heidi: How did this campaign come about?
JR: Medmen reached out to me with a simple concept for their latest campaign. Let’s shoot individual images based on the locations of each of their stores (West hollywood, Beverly Hills, DTLA, Venice, San Diego, Orange County, etc…) and focus on simple clean imagery where the identity if the individual is not as important as their expression of individuality. I was familiar with Medmens previous campaigns in which they have been identifying the stigma that all people consume cannabis. They executed this by showing portraits of a wide range of individuals. I know this to be true, but consuming cannabis is still very much “under the table”, though legal here in California, and Medmen has done a great job making it approachable to everyone. Tell us about the creative process
It truly was a complete collaboration and Medmen was very open to my suggestions. I scouted locations for three days with them to figure out what would be the best locations and the best times of day to shoot each image. Some initially concepts worked out well, but once we scouted the location, new ideas formed that shifted to what you see today. I believe that a location often dictates the image and its best not to force an image upon it. Medmen was very understanding of the way I liked to work and create and this allowed these images to truly reflect both our visions. Which is why I believe they are so strong. Were the images shot full length than cropped later as a concept?
Cropping out the heads was always part of the concept, but needed to be shot. Every image was shot on a single frame, knowing that the crop would take away half
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This Week in Photography Books: Fred Lyon

  The future is scary, and the present is complicated. That’s the truth. As I write this, the United States Senate is holding hearings about whether a man who’s been accused by three women of sexually inappropriate conduct should be given a life-time appointment to the highest court in the land. Mind you, Judge Brett Kavanaugh was nominated by a President whose administration is currently under investigation, and there is a not-insignificant chance that the Supreme Court might at some point have to weigh in on things. To a vast chunk of America, this is one more example of crony capitalism at work, in which corruption masquerades as party discipline, or shared principles, or MAGA. What it really comes down to, though, is that for almost all of America’s history, Non-ethnic White Christian men ran the country in every way possible. They got the jobs, they got the girls, the nice cars, the best houses. The stock options, the secretaries who’s butts they repeatedly patted, the second home at the beach, the three-martini lunches. It was always thus, as the American colony was essentially founded by Non-ethnic White Christian men, and as we’ve discussed in this column in many ways over the years, those with all the power never, ever give it up without a fight. Andrew Sullivan wrote just last week that to the Woke Left, white men are at the bottom of the social hierarchy, which is the exact opposite of where they stand in MAGA-land. Of course a shift that radical, coming in a relatively short period of time, was going to cause a backlash in the world of White People. (And of privileged, Washington DC-area prep-school Yalies in particular.) How could it not? The reality is that America was never the meritocracy it claimed to
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The Art of the Personal Project: Paul Elledge

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions. Today’s featured artist:  Paul Elledge Selma  I have always reflected on my history to inform and influence my projects.   An ongoing approach in my personal projects is to visit locations that have had influential historical events occur.  When I was a child the civil rights movement played as a continual unfolding story via the news on TV.   I remember seeing with horror the images of abuse of the people attempting to march from Selma, AL to Montgomery, AL.  Even then as a child, I wondered  about the madness of how people sometimes treat others. My project titled Selma starts with those memories of a place and its history.  Although those historical events burned the town of Selma, AL into my mind, this project is not about that particular event.  I traveled to Selma to experience what was going on now, over 50 years later.  Particularly, given the heightened polarization of America currently. I walked the streets near where the famous images from Life Magazine were taken.  I journeyed by foot to feel the spirit of the place and to meet the people.  The emotions felt on those walks, and the experiences of meeting today’s Selma are what are reflected in this project.   My
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Marketing Tips: Naming Website Portfolios and Entering Competitions

Guest post by Kristina Feliciano Is it boring to name my website portfolios by category, like portraits, lifestyle, etc.? In a word, no. Category names like portraits, lifestyle, automotive, and celebrity are the photo-industry equivalent of, for example, entertainment-industry categories like movies, TV, and podcasts. They’re universally understood labels, and everyone knows what to expect when they click on or refer to them. That being said, sometimes it’s necessary to break the categories down further to make them more descriptive (like “movies that make you cry”) because of the sheer volume of imagery. Dedicated lifestyle shooters, for example, will have too much work to present in a compelling way in a single portfolio, so it makes sense for them to create sub-categories that highlight their specialties and make the images easy to navigate: families, kids, seniors, etc. Some photographers like to play the numbers game: entertainment 1, entertainment 2, etc. This isn’t wrong in any provable way, but it feels like a missed opportunity. And it’s kind of confusing. There’s no aesthetic or qualitative difference between 1 and 2, so do I click on 1 because 1 comes before 2? If I’m not so impressed with what’s in 1, do I bother clicking on 2? Why put your viewers through that decision-making process? Chances are, you have enough work to create two distinct portfolios, like “entertainment: advertising” and “entertainment: publicity.” Or it’s time to do two discrete “celebrity men” and “celebrity women” portfolios. You can also divide by environment and studio. One more thought: Simply doing a tighter edit and leaving it at one entertainment portfolio might also be the way to go. It’s amazing how quickly portfolios grow over time. You have to keep going back and reassessing to make sure they’re communicating what you want them to. Continue reading "Marketing Tips: Naming Website Portfolios and Entering Competitions"

The Daily Edit – Wired: Anna Alexander


Photographer Director: Anna Alexander
Photo Editor: Amy Silverman
Senior Photo Editor: Samantha Cooper
Associate Photo Editor: Lauren Joseph
Photo Editor: Sara Urbaez
Photo Researcher: Phuc Pham
Visuals Manager: Beth Holzer
Managing Art Director: Alyssa Walker
Photographer: Michellle Groskopf
WIRED celebrated its 25th anniversary this year. The magazine selected 25 icons of the digital revolution who have had the biggest impact on the worlds of technology, science, and business over the past quarter-century and hired LA street photographer Michelle Groskopf to take portraits of everyone in the issue. We caught up with photo director Anna Alexander about the making of this issue.
Heidi: Why did you feel it was important for one person to shoot the issue?
Anna: Since this was a very special issue celebrating Wired’s 25th anniversary, I felt that it needed a consistent aesthetic throughout. At the time, way back in March- when we were planning the issue- we didn’t have a design goal since we weren’t quite sure what stories would be the meat of it or what previous Wired signature “furniture” items we would resurrect, so we weren’t sure of the look. We knew we wanted it to be colorful and celebratory. We also knew that we were going to have fifty subjects contribute in some way, so – naturally- I HAD to photograph them all. I get possessive like that. We had been saving up for months, like you would for a vacation- a little out of each pay check (or issue in this case). What were some of the obstacles, and some of the victories?
The main obstacle for this issue was time. Even though we started MONTHS before the issue closed, it still wasn’t enough time to send Michelle to shoot everyone AND edit AND sleep. There were around four subjects in Europe Continue reading "The Daily Edit – Wired: Anna Alexander"

The Daily Promo – Chuk Nowak

Chuk Nowak

Who printed it?
Paperchase Press in L.A. produced the promo. I’d worked with them in my previous life as a graphic designer. The quality for the value, especially with this type of printed piece was spot on for me. Who designed it?
I designed it, with input from the eyes and minds a few trusted creatives. I knew I wanted to do an accordion-type card for this area of my work, as the form factor is initially compact. It took some massaging to land the sequencing in an appetizingly logical flow no matter which side you experience first. Tell me about the images?
Most are images created for clients in the retail and restaurant space. This is my first mailer in this realm, so I wanted the edit to reflect a more polished aesthetic that might appeal to both editorial and commercial interests. One is from a cookbook I collaborated on with a local chef, and two are spec pieces I created for agency gigs that didn’t pan out. How many did you make?
100, which went out to a targeted list of restaurant groups, food producers and a small number of related publications in my region. How many times a year do you send out promos?
This is the first printed promo I’ve done for my food work, but plan to do another in the spring. Do you think printed promos are effective for marketing your work?
Absolutely. A lot of food imagery still ends up in print one way or another, so It’s great for potential clients to see how my work translates. There’s an editorial project already in the works due to the piece, and a few commercial inquiries swirling about. I actually received a phone call from one the recipients just to tell Continue reading "The Daily Promo – Chuk Nowak"

The Best Work I Saw at the LACP Exposure Portfolio Review

  Almost everything I write is available for free on the internet. There are a few exceptions, though. I’ve written essays for two of Alejandro Cartagena’s recent books, the companions: “Santa Barbara Return Jobs to US,” and “Santa Barbara Shame on US.” These are limited-edition, fine art books in which the photography was obviously the main draw. The only people who read those pieces bought the book, and then also took the time to read the insert. (Meaning, not everyone who bought the book. Let’s be honest.) The ideas in those essays went up behind a paywall, essentially.
So I’m going to pull a few out today, as I think of sunny, hot, alluring California. Beautiful, majestic, diverse, cool-as-shit California. You’ll find few bigger fans of the Golden State than I, especially among those that don’t live there. I’m biased towards CA for sure, having lived there for 3 years, and visited more times than I could count, even if I tried. (Maybe 20? 30?) The Bay Area is amazing, LA totally rocks, and SoCal beach towns are among my favorite anywhere. (They put the Jersey Shore to shame, I’m afraid.) But writing for Alejandro in 2017, (in parallel with his critical agenda,) I questioned whether California, the laboratory of new American culture, was becoming a 3rd World Country? As I wrote about several years ago here, and for Lens, the homelessness problem is so bad there are essentially permanent public tent encampments now, mini-neighborhoods, and is that really going to un-happen? Do we believe that any great new public policy will find homes for this increasingly large underclass? Or build fancy new shelters for them, as nice as Trump’s immigrant-kid-jails? Will a sane drug policy all-of-a-sudden find ways to treat every heroin or oxy-loving
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The Art of the Personal Project: Bonnie Holland

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions. Today’s featured artist: Bonnie Holland I’ve always considered myself to be a good writer.  In fact, in college I even got an A in creative writing.  But with this story series I experienced writers block for the first time and I’m not sure why.  It took awhile, but I think I’ve figured out why.   You see, all of my work is playful, creative and very colorful, even the editorials where I’ve “toned” it down.   My work is optimistic and designed for pure pleasure like a bowl of good ice cream with chocolate chips.  I seek to find and put under a magnifying glass the silver linings in life. Does that make me a Pollyanna? Maybe, and maybe I am.  I always felt a certain inadequacy with my work that it was all fluff and had no substance.  Like cotton candy, too sweet and bad for your teeth to boot.   War journalists…. now there was a group of photographers that had purpose, mattered and reminded us of the very real horrors in life.  Not only that, but they risked their very lives to do it.   How could I compete with that?  I almost quit….. almost.
Continue reading "The Art of the Personal Project: Bonnie Holland"