New website edit for Gabriella Marks, a photographer based in New Mexico. We created a variety of galleries grouped around themes, including: Farm, Table, Portraits and Artisans.
Dennis Burnett
Dennis Burnett recently relocated to Austin from Savannah and was looking for help with editing and presenting his work. We put together three presentations:
- A personal projects book (printed by blurb on their new proline paper with cloth cover)
- An iPad presentation of his editorial work
- An editorial magazine leave behind (printed by magcloud)
- A magazine highlighting the work lifestyle, architectural and interiors work he did for SCAD (also printed by magcloud)
Dennis showed this work at the Texas Photo Roundup portfolio reviews and received very encouraging feedback.
Case Study: Tim Calver
Print promo and coordinated e-promo for Tim Calver, a talented photographer based in the Caribbean who specializes in underwater and hospitality industry photography.
Get Organized and Build a Better Portfolio Webinar with Photoshelter
Photoshelter CEO Andrew Fingerman and I talked about getting organized and building a better portfolio. Lots of actionable steps are included that you can apply right away to the presentation of your work.
Texas Photo Roundup is coming to Austin
ACP & I are excited to be working alongside Matthew Mahon, Kimberly Davis and the ASMP Austin/San Antonio crew, and Ben Sklar/Slideluck Potshow Austin to produce the 2nd installment of the Texas Photo Roundup.We're doing workshops, portfolio reviews, panels and more. Dan Winters, Chris Buck, Texas Monthly, JWT, Dwell Magazine, Fortune Magazine and many others will be on hand!
This fundraiser features 3 days of great programming. We're really proud of the lineup and hope you'll join us!
Registration is open now and is 10% off until December 1.
Portfolio Reviewers include art directors, art buyers and photo editors from:
Luminance Ticket Giveaway!
I'm headed to NYC soon to join PhotoShelter at Luminance 2012, a two-day event focused on the trends, innovations and opportunities in our industry -- in a nutshell, the future of photography. A first-of-its-kind event, Luminance strives to spark the new ideas and networks that will push photography, as an industry, to the next level.
They’ve got an amazing lineup of speakers including major thought leaders from Facebook, Google, Lytro, Behance, 20x200, plus award winning photographers like Peter Yang and Barbara Davidson who are are changing the way we see the world. Check out the full list of speakers here.
The conference is September 12 and 13 in New York City and Photoshelter has given me two tickets to give away!
These are conference only tickets, valued at $149 each.
To enter to win:
- Tweet the top reason you'd like to attend the conference
- Tag @jasminedefoore and include the #luminancetix hashtag
On Tuesday, September 11, at 10am Eastern time I will announce two winners on Twitter (my favorite two answers win).
- You will have until 2pm Eastern to reply to me and claim your tickets. If I don't hear from you by 2pm, the runner up will be contacted.
See you there!
Kimberly Davis
Kimberly Davis is an Austin-based interiors and food photographer with a real love for all things smoky (BBQ) and pretty (interiors). She and I started working together in 2011 to help her fine tune her web presentation, create a print portfolio (the book was custom made by Jace at Cloverleaf Studio), and create a marketing plan.
Print Portfolio:
Email Newsletter/Promos:
Austin based Home/Interior Photographer
Podcast Interview with The Candid Frame
I was recently interviewed by Ibarionex Perello. We talk about marketing, editing, brand identity and more. As hard as it is for me to listen to my own voice, I encourage you to give it a listen. Let me know how I did. I've only managed to get through the first 45 seconds or so. http://thecandidframe.blogspot.com/2012/08/the-candid-frame-151-jasmine-defoore.html
Is it Time to Embrace Watermarks?
For years people have said that watermarks are the domain of the hobbyist or paranoid semi-pro. But the rampant online spreading of photos with no way of knowing who took the original has opened my eyes to the value of a well-designed (and placed) watermark. The real world examples are numerous, I'll share one from last week: I've been trying to license a handful of images that I've found on facebook pages that had no credit or copyright information. I contacted the owner of the facebook page to ask him for credit info for the pictures in question (I knew he wouldn't have it, but wanted to make a point), and his response was that he usually doesn't know because he "gets them from other sites with no info".
So I began my hunt to try and find the original creator of the image. Google's similar image search is helpful, but if a photo has gone viral, Google will find countless similars but they're all just tumblr reblogs and pinterest repins.
As it is obvious that the cat is out of the proverbial bag when it comes to unauthorized sharing of images online, I think the best thing you can do is create a watermark or graphic that will travel with the photo as it hops around from twitter to tumblr to facebook to pinterest and back again.
Of course, there are people who are working hard to make it easier to remove the watermark. A quick Google search for "how to remove a watermark" yielded over 45,000 results.
What are some other ways that you can leave a digital fingerprint? Any great examples of watermarks that are well-designed?
David McNeese Print Portfolio, Website, and Promos
David McNeese is an Oklahoma-based industrial and corporate photographer with a passion for shooting large-scale projects full of logistical challenges. His studio is frequently tapped to create stunning imagery for energy, oil and gas companies, and large construction firms. David came to me needing to refresh his brand identity, overhaul his website and develop a plan for targeting clients with the kinds of large scale jobs that he excels at. We started by going through all of his images and choosing ones that best show off his corporate storytelling skills. We then worked with Livebooks to create a custom website. Once the website was launched, we announced the new look through email and print promotions designed by Nathan Ryan.
We also developed new print portfolios, built by Scott Mullenberg's Mullenberg Design Studio. David had the opportunity to show the new portfolios off at a portfolio review in Austin in February, where he received very positive feedback from art buyers and reps.
New website:
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Print Portfolio:
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11x17" foldout double sides print promo:
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E-promo:
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Luminance 2012: A Very Different Photography Event
Join PhotoShelter at Luminance 2012, a two-day event focused on the trends, innovations and opportunities in our industry -- in a nutshell, the future of photography. A first-of-its-kind event, Luminance strives to spark the new ideas and networks that will push photography, as an industry, to the next level.
They’ve got an amazing lineup of speakers including major thought leaders from Facebook, Google, Lytro, Behance, 20x200, plus award winning photographers like Peter Yang and Barbara Davidson who are are changing the way we see the world. Check out the full list of speakers here.
They’re also bringing together renowned photographers Joe McNally, Zack Arias, Corey Rich and Robert Seale for a limited-attendance photography workshop to kick off the event.
It’s all happening September 11-13 in New York City. And you can get a $25 discount by using the promotional codeLuminance2012 when you register.
See you there!
Kevin Steele
Last year I helped lifestyle photographer Kevin Steele redo his website and chose images for a targeted marketing campaign.
Kevin Kerr Website, Print Portfolio and Print Promo
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NYC-based travel photographer Kevin Kerr and I worked together to re-edit his web and print portfolios, create a new print promotion, build targeted mailing lists and define who his top priority clients should be.
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Mike Kane Zine Interview
Mike Kane recently sent me four zines he self-published. They're really lovely. Small, well-designed and edited, with a clear point of view. I love that photographers are taking the time to craft something that can be handheld, and that leaves an impression among the chatter of our online lives. From the newspapers to the foldout posters to the zines, it shows that people care about making a lasting statement with their work.
I talked with Mike about the process of creating these zines:
What inspired you to make your series of zines?
I was gearing up for a trip to New York this spring, trying to figure out something interesting that I could leave with editors. Originally I thought I'd do a card or something. But then I started talking with Mary Virginia Smith, through my involvement with Blue Earth Alliance. She recently published a great book about self-publishing, and she told me about Allison V. Smith's zines. Allison hooked up with a designer and started doing these really cool iphone photo zines. Mary's book describes how they are collectables now. And that just totally appealed to me- try to make something that someone might actually want to keep around for a little while. Also the format suits the kind of shooting I do. I definitely like to present things as an essay or series- I've always had trouble selecting just one or two images for a card.
Were you involved in the pre-internet zine scene? I remember reading Maximum Rock n Roll when I was in high school and thinking that the there was this big world out there and all you had to do to connect with it was order some zines out of the back of MRR. Did the DIY ethos influenced your photography career?
Yeah I remember seeing some pretty intense zines come through Yellow Springs when I was in college. It was all a little above me but I totally understood the notion of just making the thing that you want to see. You can get so frustrated trying to communicate your vision, or express the potential you see in yourself - it feels so good to just say look, this is what I'm talking about! This is how it should look! I love that control. Blogging kind of has that same release, you can publish the stuff that gets passed over, show things the way you want to show them. Zines are kind of an extension, a print version of that maybe.
What was the biggest challenge in making these?
Time. You really can't sit down one afternoon and bang it out. At least I couldn't. I second guess everything. I come back a few days after doing something and just cringe. And once you involve a designer, and then a printer...it's a lot of back and forth. And everybody's busy. So I had to learn to give myself way more time than I would have expected.
Do you collect zines from other photographers or artists? Who?
Not really, but only because I don't personally know anyone else who's doing it. I wish there was some sort of zine swap I could go to. I'd love to trade and see what other folks are doing.
Who are you sending these zines to?
So far I've just left them with people that I've met personally. But this summer I'll probably send a small number around to people I missed in New York, or have had some kind of contact with. They are a little pricey and I don't want them to get tossed without opening.
How did you choose the four topics you did for the zines?
Well it was my newest, decent work basically. A few essays, and the portrait portfolio. Together they kind of represent everything I do for editorial and documentary work. One project is self-funded, one is all foundation commissions, and the other was done with grant money. Most of the portraits were editorial assignments. Who designed them? They look great!
Thanks. The design was definitely collaborative between myself and a great graphic designer I used to work with at the Seattle Post-Intelligencer, Andrew Saeger. He runs his own letter press and t-shirt company now, and I was able to barter some T-shirt fashion photography for help with the zines. I had the basic idea for lay out, and he worked the typography magic. He definitely took the project to a level that I could never have gotten it to on my own. Where'd you have them printed and how much did it cost?
I shopped around a little, tried MagCloud first, which was super inexpensive. But I didn't like the paper and they don't customize, so I ended up at AlphaGraphics in Seattle. The unit cost varies depending on how many I print, but at 30 it's $10 a pop, including proofs and set-up, etc. Not cheap but I really love the paper, and the images look right. Do you think this is something you will continue to do annually, or more often?
I'm definitely going to keep this up for awhile. Like I said it really suits the work that I'm producing right now, and until that changes, or until I find something that works better, I'll keep at it.
Any advice for someone thinking of self publishing something similar?
Give yourself plenty of time. It's amazing how long the process can be- photographers are perfectionists when it comes to their images. Getting the perfect proof can take some time. And you should find a printer you work well with, that's not going to give you a lot of guff when you keep asking for another proof because an image is too dark.
Even though a professional printer is used to tweaking files and matching colors, photographers working with their own images, on a project they're shelling out a fair amount of money on, are going to be insanely particular. If your printer doesn't understand that you might have problems.
Case Study: Seattle-based Mike Kane
Seattle-based Mike Kane was looking to improve his freelance career after many years in newspaper photojournalism. As with most projects, rethinking his approach started with us looking through his archive of images. In addition to his great in-depth documentary work, he also had a body of work that would work well for a variety of editorial and corporate clients. The way he shows life in the Pacific Northwest was especially interesting to me, and I thought it would be good to highlight a mix of editorial portraiture, landscapes, and documentary images.
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New promotional materials
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Jason Dailey
Jason Dailey is a Kansas City-based corporate and editorial photographer. He was looking for some help in refocusing the work he shows on his website. We started with re-editing everything to show his strengths, especially with portraiture. We then created a new print promo and portfolio for him to take on meetings. Since launching the new work, he has picked up new clients in editorial, healthcare and higher education sectors.
Jennifer Whitney Print Portfolio and Promotions
I worked with San Antonio-based Jennifer Whitney on re-editing her work, building a new website, creating the first of a series of print and email promos and creating a new, custom print portfolio. Scott Mullenberg built the portfolio and designer Doris Palmeros did the new logo and branding as well as designing the first printed promo piece.
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Are you on Pinterest? Over at Jasmine DeFoore LLC, we are pinning up a storm! Be sure to check out the Photo Promo Idea Board for some marketing and promotion inspiration.
Texas Photo Roundup:Marketing Strategies Seminar + Portfolio Reviews
12/1/11 Update: Currently the portfolio reviews are sold out, if you would like to be added to the waiting list, please email info@texasphotoroundup.com. There are still spots available for the morning marketing seminar. Austin Center for Photography (which I'm a board member of) and ASMP Austin/San Antonio have teamed up to produce a day of events geared towards professional and semi-pro editorial and commercial photographers. We're dubbing it the Texas Photo Roundup and if you live in Texas, you don't want to miss it!
February 3, 2012
One Day, Two Great Events
Marketing Strategies + Portfolio Reviews
Save the date for this one! Registration opens soon.
Morning Event:
Real World Marketing Strategies for Photographers
ASMP Austin/San Antonio and Austin Center for Photography invite you to join commercial and editorial photography industry experts for a three hour interactive morning seminar and panel discussion. This event is geared to both emerging and professional editorial and commercial photographers who are looking to kick their business into high gear. Topics that will be covered by our experts include:
- Defining your target market
- Creating a marketing plan
- Making the most of your marketing dollars
- Choosing the strongest images for your marketing
- Strategies for print and email marketing
- Social media marketing
You will also have a chance to share your current promotional materials, home page or social media strategy with the group and have them critiqued by the panelists. Follow us on twitter for details!
Please come prepared with specific questions for the included Q&A session with the panel of experts.
Panelists include:
- Jennifer Kilberg, Creative Consultant
- Matthew Mahon, Commercial and Editorial Photographer
- Shannon McMillan, Senior Art Producer, GSD&M
- Allen Murabayashi, co-founder of Photoshelter
- Amanda Sosa Stone, Creative Consultant
- Zana Woods, Director of Photography, Wired Magazine
- Alison Zavos, founder of FeatureShoot.com and Social Media Consultant
(Read more about the panelists)
Afternoon Event: Portfolio Reviews
Join us for an amazing opportunity to get your work in front of potential clients. This event will give you 20-minute one-on-one meetings with prominent art buyers, photo editors, artist reps, and industry experts.
This event is geared towards professional and semi-professional commercial and editorial photographers.
Confirmed reviewers from a variety of top notch companies will be reviewing work, including:
- Texas Monthly Magazine
- GSD&M
- Door Number 3
- Men's Health Magazine
- Renee Rhyner
- TracyLocke
- EmDash
- T3
- Wired Magazine
Registration opens October 18, 2011.
Produced by
Questions? Email us at jasmine (at) jasminedefoore (dot) com.
Q&A with Garden & Gun's Maggie Brett Kennedy
Why do you think Garden & Gun is at the top of so many people’s “dream clients” lists.
That’s amazing. We’re fortunate that photography is a focus of the magazine’s design. A lot of full page images and great paper stock to ensure high quality reproduction. Our readers let us know how much they relate to the photography each issue. We’ve always been a photo friendly publication.
You have hired Peter Frank Edwards for many stories, and one of those recently won a James Beard Award. Can you describe what it is in Frank’s work that keeps you coming back? How do you two work together? Is it a collaborative process?
I’ve had the pleasure of working with Peter Frank Edwards since the very first issue of Garden & Gun (Spring 2007). He’s from the South, spent his life in the outdoors, and previously was a fisherman and sous chef. Peter Frank Edwards IS Garden & Gun! He’s covered everything from hole-in-the-wall barbecue joints to traditional foxhunting and continues to get excited by every assignment. He lives the pages of the magazine so really gets what we’re all about.
It is very much a collaborative process. There is a level of trust after working together for many years. I know he is going to find the creative angle with each assignment and bring back the unexpected. I always look forward to his tales from the road. (Read more about their collaboration in my Q&A with Peter Frank Edwards).
You use such an amazing variety of types of photographers, that it is hard to pigeonhole Garden & Gun as having a particular style. How do you describe the visual aesthetic to people?
I like to work with a mix of national photographers and Southern-based talent in each issue and try to deliver the unexpected whether it’s for the front or back of the magazine or a feature.
It’s a balance between seasoned well-known shooters and up-and-coming photographers. We always strive for images that communicate a sense of place. Images that make you want to be there, in that moment. We like lots of natural light and rarely incorporate conceptual photography.
Walk us through a “typical” day at work.
Garden & Gun has a small staff so each component of photography and the overall process is very hands on. The magazine contains a wide variety of content so each day is filled with assignments ranging from Southern food and chefs, hunting and fishing, architecture and interiors, portraiture, music, you name it.
The magazine covers a wide editorial range and incorporates a high/low mix of content. For example, a profile of actress Anna Camp or a new modern architectural project verses gritty and soulful juke joints or frogging in Louisiana. Every day is exciting and keeps me on my toes. I also like to set aside time each week to respond to inquiries, research photographer’s new work, etc.
How many print and email promotions do you receive in an average week? Have any stood out to you lately, enough to where you actually contacted the photographer?
I receive about 30 promos a week. Bryan Johnson sent me a promo that turned into an online photo essay for G&G. The content was perfect for us: http://gardenandgun.com/newsletter/spill-one-year-later.
When being promoted to, do you prefer print or email?
Both are great, so however the photographer is most comfortable showcasing their work. I’m old school and still love print. I continue to hold onto those real standout print promos. Witty design on quality paper with gorgeous photographs always excites me.
Do you have any pet peeves when it comes to the marketing materials photographers send you?
Do not send emails with large file attachments. Be familiar with the magazine’s content and visual style and send an appropriate selection of photos. I prefer a tighter, well-constructed edit rather than a large quantity of work. Websites should be easy to navigate and show me images immediately.
What are some of your favorite ways to discover new photographers?
All types of blogs (photo, galleries, designers, magazines, etc.), chatting with people in the industry, those standout promos I receive, and an occasional portfolio review.
Questions from photographers
1. Is it OK to call Photo Editors to follow up after sending a promo?
Email follow up is great and always easier than phone calls.
2. When I send an email, should it be in a email newsletter format or will a simple note saying what I've been up to suffice?
Either is fine. Be sure your work is easy to view.
3. Do you take a chance on photographers just starting out fresh out of school?
Yes.
4. What is the best way to get noticed by a photo editor and ultimately hired to shoot a job?
Develop your own style, have confidence in your work, and do your research on each publication you approach. Send quarterly updates about your projects, travels, etc. I just worked with a photographer for the first time I’ve been corresponding with for two years. Everything has to fall into place before that project can become a reality.
5. What are some of the qualities of an ideal photographer to work with?
Passionate about their work, down-to-earth, excited to tackle all kinds of challenges, professional, someone who thinks outside of the box and brings something new and fresh to the table visually.
6. Can you share some names of some photographers whose work you are inspired by?
I love to look at classic Southern icons (Jane Rule Burdine, William Christenberry, Sally Mann) as well as current shooters (Marcus Nilsson, Peggy Sirota, Andrea Fazzari, Ditte Isager, Trujillo- Paumier).
7. What is the most interesting shoot, photographically, so far?
The next one...
Peter Frank Edwards G&G Cover
photos by (clockwise from top left): Joey and Jessica Seawell, Dan Winters, David McClister and Michael Turek
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Maggie Kennedy is the photography director of Garden & Gun magazine. She previously worked as a creative director and producer of commercial photography in San Francisco and New York with an emphasis on food, still life, and interiors.