Pricing & Negotiating: Travel Photography For A Large Financial Institution

By: Bryan Sheffield, Wonderful Machine

Concept: 4-day photo/video shoot capturing environmental portraiture, architecture, and scenic photography of a travel destination.

Licensing: Perpetual Web Advertising and Web Collateral use of all content captured.

Photographer: Travel, Portraiture, Interiors, and Architecture specialist.

Client: Large Financial Institution and their partner restaurants/hotel/hospitality clients.


A NYC-based photographer recently came to Wonderful Machine for help building an estimate and negotiating a project with a large well-known financial institution. The client brief and subsequent conversations described a multi-day travel shoot and production needs with multiple subjects/locations each day. It also described the need for scenic interiors and architecture imagery, as well as environmental portraiture of notable proprietors and chefs within various client partner establishments (restaurant, hotel, and hospitality). The final use of the photography would be on the client’s web platforms and web ads to promote their financial services while highlighting the various hotels and restaurants within the travel destination. The video needs included 10 second – 20 second clips mirroring the stills shot list, and would be used for social media and potentially a few banner ads.

While reviewing the initial shot list and scope of the project with the agency, the photographer estimated this would need to be accomplished over 8 shoot days, with a tech scout day prior to visit the locations, determine sun times, etc.

Take a look at the Estimate here:


I put the fees at $40,000 for the 8-day shoot, including Web Advertising and Web Collateral use of all images captured in perpetuity. We found this number to be appropriate for the client’s use, the number of potential locations/scenes that we anticipated per shoot day and considering the project scope and what the competition might charge. This fee was in line with what this photographer was accustomed to charging for a project with similar deliverables. I added $1,000/day for the photographer tech scout day and two travel days. The agency requested two “Hold Days” on location to account for potential weather delays, and we included this for the photographer at $1,000 for each day.


We added a DP/Camera Operator for 8 shoot days at $2,500/day, plus five Scout/Travel/Hold days at $1,000 each. We added the first assistant to help with lighting and camera equipment management and to attend the tech scout day to familiarize themselves with the shoot needs and help advise on equipment needs. The second assistant would be local, but we needed to account for the hold days as well. We also chose to bring the second assistant on the scout day, potentially as another set of hands or driver as needed. As a final member of the crew, we added a digital tech to manage the files and display the content to the client as it was being captured, and who would be traveling with the photographer and first assistant. These fees were consistent with previous rates the photographer had paid their team on past productions.


For all gear needs, we included $3,200/day for stills, video cameras, grip, and lighting rentals. The photographer would bring their own cameras, lenses, and lighting, and intended to rent some supplemental lighting, grip, and a few specific modifiers and other specialty items from a local rental house. An estimate of $350 per shoot day was determined by the digital tech for their workstation rental, consisting of: a laptop, external monitor, mobile power supply, and cables. We also included $2,500 for 3x 8TB hard drives.


The traveling party would include the photographer, their first assistant, and digital tech. I included an estimated $725 each for flights and baggage fees and $675 for taxis to and from the airport. We added Per Diems at $75 each for the 3-person traveling party.


Given the crew, equipment, and travel necessary for the project I included $1,200 for insurance coverage.

Post Production

Lastly, I added $2,500 for the photographer to perform an initial edit of all the content and deliver it to the client for review. We assume this process would consist of culling images, global curves, simple color balance needs, and export to jpg for client review and backup.  Even though there would be a digital tech on set, we estimated that going through 8 days of photo/videography would take approximately 20+ hours. At the agency’s request, we also included hourly retouching for up to 50 images at $125/hr.


After the agency reviewed this estimate with the client, they let us know that these shoot days and bottom line numbers would need to be reduced significantly. The agency followed up to provide a reduced shot list and a large reduction of video needs. They advised that we should include crew transportation on location and lodging, as the client previously was leaning on their partners to provide lodging for all. During these negotations it was established that the client wanted to keep the total to approximately $65k all in.

With this info, we discussed the shot list with the creative team, and ended up slimming the shot list a little further. As a result we estimated a 4-day shoot, plus 1 scout day. While we were reviewing the video shot list and budget parameters, it was decided that the photographer would now be able to handle all video needs themselves. The agency would be handling all on-site production including all location(s), location coordination, employee/staff talent, and talent coordination, wardrobe/hair/makeup styling, crew meals and craft services, and COVID safety protocols. We included a Client Provisions section within the Job Description to note who would be handling these items, as well as any/all final video editing.

Below is the updated Estimate:


As the agency was now anticipating a $5,000/day fee, I put the fees at $22,000 for the four days with an increase of $500/day for the photographer to now handle the video needs themselves. I added $1,000/day for the photographer tech scout day and two travel days. The previous “Hold Days” were removed so that if needed they would be approved on-site.


We reduced our first assistant and digital tech to seven days, including scout, shooting, and traveling. As noted above, we had removed the previous DP/camera operator need. At the agency’s suggestion, we added two producer days for pre/post-production assistance with securing travel and invoicing/paying crew.


We included $2,000/day for cameras, grip, and lighting rentals. As we said before, the photographer would bring their own cameras, lenses, and lighting, and intended to rent some supplemental lighting, grip, and a few specific modifiers and other specialty items. The same $350 per shoot day was estimated by the digital tech for their workstation rental, however, we adjusted the budget to $1,500 for 3x 4TB hard drives and $1,000 for any production supply potential needs.


The traveling party would still include the photographer, their first assistant, and digital tech. As requested by the agency, we included six hotel nights for each based on anticipated rates in that area. We included an estimated $725 each for flights and baggage fees and $675 for taxis to and from the airport. Additionally, 21 Per Diems at $75 per day were added for the 3-person traveling party.


I added five days for passenger van rental, so the crew and agency personnel could move about town together. We were told that a local fixer/PA hired by the production team would handle the van driving and pick-up/return.


We adjusted the insurance to $1,000 for the project.

Post Production

We adjusted the first edit and client review of all content to $1,750. Because we reduced the amount of shoot days, we determined that going through 4 days of photo/videography would take 8-12 hours. At the agency’s request, we included hourly retouching for up to 50 images. Initially, we suggested $125/hr, but this rate was discounted to $75/hr by the photographer in order for us to slim down the bottom line.

Final Results

The bottom line was $3,575 above the client’s stated budget, but all needs were met and the additional funds were approved. The photographer was awarded the project, and the shoot was a success! The client was thrilled with the work, and is currently running the project all over the internet!

Need help pricing and negotiating a project? Reach Out!

Featured Promo – John Lok

John Lok

Who printed it?
Newspaper Club out of the UK. This is my first time printing with them and I was impressed with their quality and customer service.

Who designed it?
I worked with Samantha Ricca, a talented designer and art director based here in Seattle. I love design so I found the process of working with her very exciting and collaborative throughout. We each provided input on the scope and direction of the promo, down to the small details. During one of the early brainstorming sessions, she came up with the idea to incorporate some of my behind-the-scenes stories from the photos, as well as my general thoughts/philosophies on how I approach my work. They appear as copy blocks and pull quotes in the promo, and help give it a magazine feel, which is exactly what I had envisioned.

Tell me about the images.
Ultimately, I wanted the piece to showcase my portraiture, which is my biggest love, and the area I feel I’m strongest in. The images come from many different projects spanning my career so the portrait theme was a natural way to keep the promo cohesive. The edit includes some favorites from my time as a photojournalist, where I first developed my affinity for portraits, and now as a commercial/advertising photographer. I not only wanted to show clients the style and quality of my work, but it was important to also convey its range and diversity of subject matter. Part of the reason why I enjoy portraiture so much is that I really enjoy working with all kinds of people, and am always excited at figuring out how to tell their story visually. These were some of the main things I hoped to convey in the piece.

How many did you make?
I made one copy as a test to make sure it looked good. I was happy when I opened the package to see that it was great, so I went ahead and ordered 100 more copies. Since this was my first time with Newspaper Club, I was a little concerned on whether the quality of the second run would be consistent with the single copy run, but they really nailed it again on the bigger order. They were identical in all respects.

How many times a year do you send out promos?
To be honest, this is the first promo I’ve ever made, so I’m still trying to find a good cadence that works for me. Overall, I think I will aim for once a year for promos of this size.

Do you think printed promos are effective for marketing your work?
Yes, I do. I feel it’s a wonderful way for clients and anyone else who receives it, to remember you. I have begun sending these out in an organic manner and the response has been extremely positive, and heartening. Given the feedback, I get the sense that it not only serves as a promo of your work, but also as a gift of sorts, in a gentle way. It fits the way I work and my personality, so this first experience with promos, so far, is extremely encouraging.

The Art of the Personal Project: Tyrone Turner

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:   Tyrone Turner

As frigid wind whipped across the ship’s bow, I held the railing with one hand and steadied my camera with the other. In front of me stretched the Bellingshausen Sea, off the coast of Western Antarctica. I was there — my second journey to the region around the southernmost continent — early this year on a five-week voyage as a photographic expert aboard the National Geographic Endurance. A small group of passengers and I stood on the deck together, wrapped up tightly against the below-freezing temperatures, documenting this otherworldly landscape.

Pancakes of sea ice covered the waters as far as the eye could see. A lone emperor penguin tucked its head into its chest of feathers. As we sailed past seals resting on the ice, they raised their heads and promptly slid into the water. This frozen world seemed so different and foreboding — and yet, at the same time, familiar. In a strange way, I felt connected to my subtropical birthplace thousands of miles away — in the coastal regions of southeastern Louisiana.

Antarctica/Lousiana Diptych Project
(Top image)A September 2005 aerial photo of a flooded New Orleans in the days following Hurricane Katrina. The storm’s surge of floodwaters burst through levees, flooding 80% of the city and killing more than 1800 people in New Orleans and on the Gulf coast. (Bottom image) Fractured sea ice near the western coast of the Antarctic Peninsula in November 2017.
Antarctica/Lousiana Diptych Project
(Top image) Cracks in sea ice extend from the ship’s bow in the Lemaire Channel of the Antarctic Peninsula in November 2017. (Bottom image) Oil and gas pipeline and exploration canals cut into the marshlands near Larose, La., in November 2006.
Antarctica/Lousiana Diptych Project
(Top image) Spyboy Al Polite of the Mardi Gras Indian tribe Fi Yi Yi walks through the streets of downtown New Orleans on Carnival Day, February 2013. (Bottom image) A view of the glaciers and mountains from the Gerlache Strait on the western side of the Antarctic Peninsula in February 2022.
Antarctica/Lousiana Diptych Project
(Top image) Maurice Phillips walks through marsh grass near his home in Grand Bayou, southeast of New Orleans, in March 2006. The village is only accessible by boat and is increasingly vulnerable to storm surge because of the loss of the surrounding wetlands. (Bottom image) Adelie penguins walk on sea ice near the Fish Islands in the Antarctic Peninsula in February 2022.
Antarctica/Lousiana Diptych Project
(Top image) Pete Vujnovich Jr. holds a photo of what was once his grandparents’ home as he stands in that spot in the marshlands near Empire, La., in May 2004. (Bottom image) Icebergs float on the Lemaire Channel waters off the Antarctic Peninsula in January 2022. The increase in sea level rise from glacial runoff has the potential to overwhelm coastal regions around the world.
Antarctica/Lousiana Diptych Project
(Top image) A king penguin colony on the South Georgia Island’s in February 2022. Scientists warn that, in the future, warming oceans and commercial fishing could negatively affect the penguins’ food sources. (Bottom image) An aerial photo of thousands of cars flooded by Hurricane Katrina near New Orleans in April 2007.
Antarctica/Lousiana Diptych Project
In the top photo (2004), dead oak trees line a highway near Leeville, La. Salt water intrusion from oil and gas canals and subsidence have degraded the area marshlands and contributed to the land loss in coastal Lousiana. In the bottom photo (2022), an iceberg floats in the Bellingshausen Sea in Western Antarctica. Icebergs come from the natural calving at the edges of the ice sheets on the Antarctic continent. However, recent studies have shown that the ice loss from calving is increasing and could cause Òsignificant sea-level rise in the future.Ó
Antarctica/Lousiana Diptych Project
(Top image) A portrait of Everidge Green Jr., 6 years old, in the window of his grandfather’s rebuilt home in New Orleans in August 2014. His older cousin and great grandmother died in the floodwaters of Hurricane Katrina in August 2005. (Bottom image) The mountains of South Georgia and clouds are reflected in the windows of the National Geographic Endurance in February 2022.

To see more of this project, click here


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. She has a Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSeaseInstagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

The Daily Edit – Mark Murrmann: Street Photography and Photozines

Action 2, May 1998 (all band images)

City Slang book dummy (2014)

Rat Crawl (City Slang #1; June 2015)



Another Wasted Night (City Slang #6; May 2017)

Cig Machine / White Glove Test (City Slang #8 & #9; late 2018)

Human Car (City Slang #11; Nov 2019)







Burned Out (Nov 2022)

Photographer: Mark Murrmann

I got a chance to connect with Mark about his passion for street photography and the zines that grew out of that. He was in the front row during the recent boom of photozines and has created an impressive collection of over 25 self-published photozines, a process he calls an “intuitive, spontaneous exercise.” You can see the collection of all his photozine covers images here. By day he’s the photography director of Mother Jones and has been for the past 15 years.

Heidi: Are you printing out images to sequence for your digital projects or do they stay in Lightroom?
Mark: For digital only projects, usually all the work stays in Lightroom. Sometimes for bigger projects I’ll make prints, but it’s rare. For zines though, I first compile a batch of images in Lightroom, then will often print out small rough prints and hang them on a wall. But when I do the layouts, it’s usually a process of dumping photos in a layout, moving things around to see how they fit, so the wall sequence is more of a rough guide than a final edit.

How has your eye or your thoughts around self publishing changed from your first zine to your most recent?
It’s changed significantly. I published my first zine in 1992, a really random zine that kind of focused more on skateboarding. I had no idea what I was doing. It was a cut and paste mess. Over the years I learned by doing, by making mistakes, by seeing other zines. That zine, Sty Zine, started including more photography as my interest in taking pictures (of skateboarding and punk bands) grew. Eventually the photos from Sty Zine branched out into its own zine, ACTION! Photozine. In the 30 years I’ve been doing zines I’ve come to really love certain aspects (the publishing side: designing, printing, physically putting the zines together) and not care for other aspects (marketing and selling them). There are fundamentals that have remained: it has always been something of an intuitive, spontaneous exercise for me, it needs to be fun otherwise; I like playing around with different formats and sizes; I like to keep them cheap if I can. I’d like to think I’ve gotten better at making zines, but there’s always room to do better I’ve considered getting more serious about publishing but think it would sap what I love out of it.

Of course, the tsunami of digital photography influences (some would say erodes) how we consume rather than look at photography. How have these social platforms influenced you both good and bad?
One way Instagram has negatively impacted me and my work is that I’m less inclined to share images that don’t “work” on Instagram. They’re either too subtle or they might be a wider shot (or even panoramic) that reads small on the platform. I’m making fewer zines. Before social media to easily share and consume photography, there was more of a necessity to publish as a way to get work off contact sheets (or hard drives), to be seen. The positive side of course is that I’ve reached people beyond my usual cadre of photo friends. It’s a way to get your work seen and a way to publicize printed zines. For me, there’s no better way to enjoy or consume photography than in a book or zine form. The way the images work with or against each other on a page (or sit by themselves on a page), the way they interact with the photo that came before and comes after as you turn the pages. The physical design, the paper, the printing. If done right, it all plays into the body of work you’re presenting. That said, I spend far, far too much time idling away on Instagram. Blah. But I also have too many photobooks and zines! Haha. The more limited impact of what’s in a book or zine leaves more of an impression with me though than the endless stream of images on social media.

When looking back at your early work, are there clues that ground the viewer in a certain decade? (beside clothes and style) You were shooting pretty tight back then to give the feeling of being “pushed up against the stage” at the punk shows. Do these feel timeless when you revisit the set?
I don’t think they feel timeless, though I was kind of going for something like that, especially with my music photography. There’s a definite shift in my work. I still like shooting right up front at shows, but one big difference is I used to use a direct flash and was very loose in my shooting. It was all film, almost all black and white. So, it has a pretty specific look. These days, especially with the high ISOs available on digital cameras, I rarely use a flash and am composing more carefully. When photographing shows, I still try to capture that feeling of being right up front, in the thick of it. But I’m also going to slightly different shows. Not quite as raucous, so the images feel different.

My street photography has a more continuous look and feel I think, though in the past few years I’ve been working with more color and with a slightly tighter lens (50mm). Also, I’ve noticed my street photography has fewer people lately. Part of that is just not being in downtown San Francisco five days a week. That’s had a big impact on my photography.

If you were to give advice to your younger self, what would it be?
It would kind of be what I am still telling myself now: push yourself more; be more focused in what you’re photographing; take more risks; do more. Don’t be afraid to think of yourself as an artist.


I know books are expensive, why zines? They both have a tactile quality but what about the zines suits your style of image making?
Good question. A while ago I started editing my street photography for a book. I got as far as making a dummy. It was more or less ready to go – but it just didn’t feel right. I was having a hard time with a few aspects of it. The cost, sure, but more fundamental questions: Why am I making a book? Who cares? What am I trying to say? It felt more like making a book for the sake of making a book and there are already too many books. Also, a book felt like a period, an end to a body of work on which I was still photographing. So, I took a step back, broke down the pile of images I was working from and decided to make a series of zines. I thought of them as editing notebooks in a way. Editing different zines from more or less the same body of work, focused around a different theme. The series was called City Slang and each zine was titled after a song, which provided the theme of the zine. Some were more successful than others, but that’s one thing I liked – I could roll the dice a bit. They were cheaper to make and I could sell them cheap. I made them small (most about 5″ x 4″), which allowed me to always have one on me to give away or sell. The printing wasn’t perfection, but it fit the work, as did the small size and full-bleed spreads. All around, I think the zines fit that body of work better than a book. That said, I’m starting to come around to an idea of a book again for the City Slang work since it feels more finished. We’ll see.

The zines I’m doing now aren’t within that series; they have a different look and feel. Still street photography, but very different from the City Slang work. Flatlands and Flatlands II are color, digest sized, hardly any people in the photos at all. Burned Out is all photos of burnouts, donuts, skidmarks.

Are you part of any photo collective currently?
I am part of a photo group called San Francisco City Photography Club. It’s a loose group of street photographers. Before covid, we were meeting once a month for critiques and to hangout, talk, putting together group shows and group zines. Despite meeting regularly over Zoom during covid, things have gotten pretty quiet with the group.
As far as shows, I should be better about pushing to do shows around zines I put out. That’d make sense – get the work up on walls for people to interact with it in a different way, sell some zines, have fun. Doesn’t even have to be fancy. Just make something more of it. I’m bad about that. That said, I did have a great show in Altadena, California in May at the Alto Beta Gallery. Brad Eberhard who runs the gallery specifically wanted me to show work from my Flatlands zines – color work from West Oakland. It’s a basic thing, but putting together a show makes you think about the work in a much different way than throwing together a zine. It was great. And it was awesome getting to show work outside of the Bay Area. I’d love to do a show with work from my last zine, Burned Out. I just haven’t put the work into making that happen (this is where the advice to my younger self applies to my current self).

What are you most excited about for street photography as a genre?
I have gotten pretty picky about street photography that gets me excited. I like work that is more subtle or ambiguous, more emotional, dark, gritty, makes you question what you’re seeing, lets you get lost in the image or that makes you feel something. That’s broad sounding, but within street photography I think that’s a relatively small niche. I feel like there was a pretty big swell of interest in street photography before covid and I have to admit, I would be happy if it has piqued and dies down a bit.

This Week in Photography: The Best Work I Saw at Filter





My last column was fairly critical.

I threw grenades, and they exploded, but I didn’t notice any casualties.

(So it’s all good, brah.)

Today, I’ll revert to my more-typically positive self, and reiterate why I think festivals, and IRL events, are necessary for a vibrant community.






If there’s one lesson I learned over my years on the festival circuit, it’s that you never know WHAT will happen, when you put a bunch of creative people together in a room.

You just know THAT something will happen.

New relationships are the byproduct of IRL get-togethers, and represent our best chance for new adventures and opportunities.

(As all human businesses are built upon human relationships.)


JB at the FotoFest opening party, March 2020, w/ Jeff Phillips, the current Filter Photo Board President.



In my last article, I wrote extensively of the change in the demographics of the American photo world. (If not global.)

It’s been said.

But all these years, when I would meet second-career, hobbyist, and retirement photographers at the review table, I’d treat them the same as the pros, and the emerging artists.

In fact, my spiel went something like this:

Professional photographers and artists get to be creative all the time, but always worry about money. Day-job photographers and artists might not have to stress about paying the bills, but they do worry about getting enough time and energy to be creative.

Or they worry about the years they lost when they had responsibilities to parents, spouses, children, or maybe they were just conditioned that it wasn’t OK to choose a creative, money-challenged career.

Regardless, when people fall in love with the creative process, and/or discover its power to heal, it doesn’t matter the age.

The magic of what art does to the human psyche and soul is always to be admired, IMO.






At the Filter Photo Festival in Chicago last September, I met only a few “professional working photographers,” as with the other festivals this year, and most were professors.

But the vibe was great, and all the artists, regardless of their background, came to the table with open minds, having done their homework, and were very receptive to feedback.

The quality of the work was high.

Today, we’re lucky to feature nine photographers I met at the Filter Photo Festival, whose styles, backgrounds, and motivations were so different.

I dig all the work, and hope you will to.

As always, the photographers are in no particular order.





I’m glad we get to share Laidric Stevenson’s work one more time, before I wrap up the blog here, as we’ve been fortunate to feature it twice before.

Though we’d only known each other online, (and the phone,) before Filter, it was nice to meet a flesh and blood human, as I really love his work.

Laidric, in from Dallas, showed me a tight body of his large format, black and white photos shot around the city. I found some contrast issues with his prints, but the pictures always look amazing on screen.

For the record, Laidric does photography for the love of it, as a side career, as he works hard to support his family. And he’s tinkered with cameras since he was a kid.

A life long artist.

All of our journeys are valid, and can result in killer work, if we learn and grow over time.







Collette LaRue came from nearby Wisconsin, with a background in science, and was trying to test out the photo community waters, in her first review.

I found the photos of her husband, (who’s a veterinarian,) gardening in the yard, to have a proper freshness about them.

Very cool stuff.

Since it was Collette’s first festival, this is her first time sharing the work with an online audience, I believe.

Way to go, Collette!







Lyn Swett Miller definitely had the best story I heard during Filter, (and writing about her just reminded me of a humorous humiliation.)

Lyn is hard-core about her personal composting practice, as environmental activism, and incorporated it into her art, by photographing the compost piles.

The big hook is that Lyn once went to Harvard, (she lives in New Hampshire,) and actually composted her Harvard Degree!

For real!

Talk about edgy.
10 out of 10 for the idea.

(As to my humiliation…the more we said composting that day, again and again, the more it stuck in my brain. At our photo retreat two weeks later, during a critique, I kept saying composting instead of compositing, again and again, composting, composting, and everyone kept giggling, but I couldn’t figure out why.)








Jason Kerzinski was in from New Orleans, and we did cross paths last month down there too. (Only briefly, for fist bumps.)

Jason is a freelance journalist, who does a lot of work for leftist publications, and was hoping to figure out how to push his editorial practice forward.

I liked his portraits a lot, and thought they definitely showed that he could make people feel at ease, and that he knows his way around a camera.

We discussed the idea of a project, (as we so often do,) as I think a focus point helps us improve, as we return to the same idea/process/practice again and again.








Jack Long and I met at Filter a few years ago, and I published his work then too.

Jack’s a full-time commercial photographer, and last time out, he showed me some wacky images made by putting colored liquids into motion.

This time, I found his process to be super-dialed in, as the mandala-like photos are really gorgeous, and definitely have the “how did he do that?” quality.

The first time we met, there were some issues with kitschy pictures, but I found this project to be tight. (If occasionally repetitive.)







Beth Lilly was in from Atlanta, and showed me a black and white project made while driving on Interstates.

Atlanta is famous for them, but some of the photos were made elsewhere. It’s meant to be contemplative, and has a Buddhist title, (The Seventh Bardo,) but Beth and I worked at a tighter edit, to make sure the pictures were more memorable.

This style of work is a trope, but any time the form and content sing in an original, or fresh vision, we can tell a familiar type of story in a new way.

I thought there was certainly a strain of cool pictures, so we sifted through them for 20 minutes.

{Ed note: I just looked through the edit Beth sent me not long after our meeting, and she nailed it!}







Kelly Wright is an artist in Philly, and was showing her project “Preservation Society.”

As with Beth, the conversation turned to editing, and we sorted her pictures into two piles.

I’ve found, (over the years,) that once I introduce an editing principle, the photographers are always able to pick up on the themes, and then start editing themselves.

Kelly’s pictures are made in museums and preserved mansions, and grand homes, and I found the elegance was enhanced in the images that were more edgy and surprising.

{Ed note: Just looked at the edit Kelly sent, and it’s terrific.)






Rachel Portesi was new to visiting festivals, but had already had success with her work, as it was showing at the Griffin Museum in Massachusetts. (Nearby her home in Vermont.)

It’s not hard to see why, as the crafted narratives, which drip with magical realism, are great in tin-type form. And she also had a video, which you watched through an old camera lens, which showed some behind the scenes work with her models.

Beautiful stuff.

Rachel admitted she’d had to put her art career on hold for a long time, to raise her kids, but was now back into it, and I was thrilled to see it was working out for her.





Last, but not least, we have Jason Lindsey, whom I met very briefly at the Filter portfolio walk at Columbia College.

Jason wanted me to take a quick peek, since I wasn’t on his reviewer list, and I was pretty smitten by his photos of corn fields.

We didn’t talk much, but his assistant sent me these jpegs, so I gather that means Jason’s doing all right as a commercial photographer.

People with that skill set often have an easy time making things look good, and these photos certainly do. But they also had a mood/vibe that drew me in immediately.

I think you’ll like them too.

See you next time.


The Art of the Personal Project: Ian Spanier

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:  Ian Spanier


Two days before a quarantine order was issued (March 2020) I had begun my latest personal project. The concept was a series of portraits of motorcycle riders, chosen partially for the bike they rode, but more on the individual. Whenever I embark on a personal project, I do so in part to always have a project going on in the background to my normal commercial work, and secondly to find a new challenge for myself. Usually, this is in the form of creating a new form of lighting or in approaching shoots differently. I find this to be a great means of growing as a photographer and adding techniques to my arsenal of lighting options for my assignment work.

In my last body of work, Right Next Door, I chose to approach all my portraits with minimal lighting, and instead of my normal heavily technical approach for lighting, I chose to simply “bang” a light into a wall or ceiling to light my subjects. For MoTo, I wanted to shoot with a much deeper depth of field for my portraits, specifically an aperture of f20 in opposition to my normal comfort range of f8 and wider. This would of course mean the need for MORE lighting. To add to the challenge, I wanted to create this look in my home entryway and living room. This presented a series of challenges for space, obstacles and length and height limitations. What I did not realize, was how this shoot would shape how I would work for the rest of the pandemic.

Then the quarantine was ordered.

Like most, I had no idea what would be next, how long we would be quarantined, and what the next step would be. More so, how would be career be affected? An opportunity to take a free Covid Compliance Officer Training Course was offered by ASMP, so I decided to take the course. I had no plans to be an officer, but this would give me a better understanding of things to come.

Five weeks past, and I was churning out the results of my first shoot, and absolutely loving the results…but I was stuck. I really wanted to continue, but Hollywood was literally shut down. How could I continue to shoot when everything was shut down? Well, I now had some tools…I knew what a “safe” shoot looked like, and a way to turn my living room into a white studio. As was already my practice, I shoot with a CamRanger 2, a fantastic camera accessory that allows for a jpg to be wirelessly sent to an iPad, iPhone or computer. This allows for my clients on set to see images in near real time, and in this case, my subject to see from the recommended six-foot distance while we are working. I am not one to ever really sit still, so with the belief that I could work safely with my newly gained knowledge, I began to seek out more subjects. Some subjects I knew, either from previous shoots whom I knew were riders, or some pervious connections of mine who I just noticed they were motorcycle owners. From there, I used the likely/unlikely source of Instagram to do so. By searching through images of motorcycles, then whittling down to Los Angeles, I was able to make connections with more riders. I simply reached out, and asked, sharing my images along the way. With images, I was able to easily explain my concept. Sure, there was skeptical responses from some, Coronavirus or not, but it always helps to have images to back up the request. Slowly, I was able to add subject two, three, four, and so on. One unplanned benefit arose, which was this manner of shooting, combined with the knowledge of a newly appointed Compliance Officer, I began to reach out to clients, and let them know I was ready and willing to work, and how.

My next subject was found through a conversation with a model agent I regularly spoke with. She had wanted to connect me with one of her models, who just happened to ride a bike. I explained my new process and how we could safely do a shoot and check off another subject. Add to that, this inspired the same agent to suggest me to a contact of hers who needed a clothing catalogue photographed but was stuck how with the limitation of the now lengthy quarantine. I presented the process and BOOM, assignment! Now I truly had a means to keep working, despite the limitations. My new client stayed in Arizona, comfortably in her living room, watching my shoot on ZOOM, with the ability to talk to both me and the carefully scheduled models (who were separated by 30 min windows so I could clean/sanitize in-between), and see my images in real time thanks to CamRanger 2’s ability to be on a dual WIFI band from my home while ZOOM was also running.

From here, I kept rolling, seeking out subjects from IG as well as recommendations from my subjects, and on and on. Finally, my hope was to round out the project with a Motorcycle Club…easier said than done. Nearly six months later, after many rejections ranging from “we have members who are photographers, so we wouldn’t want to have any conflicts,” to simple “we are not interested” responses, I finally found a willing club. I sensed the reluctance of Venice Vintage Moto Club president Dayne Ashbaugh, but I persisted, and he ultimately agreed to help. It took a couple months, but finally we had a plan to photograph fourteen members, all in one morning, this included members, as well as probate members along with their bikes. Now, as I mentioned, the idea was more about the riders than the bikes, but per Dayne’s request, the guys would love to be shot with their bikes. Worth it for sure, as the vintage bikes are quite special.  Unlike my home location, we chose to shoot outside, which presents many other challenges, but as I always say, I call them challenges, not problems for a reason, because challenges are meant to be solved, and I love a challenge.

Shooting in the back of Dayne’s high end window company, the morning was spent mostly in the shade of the building, but I came prepared for sun with some 4×4 black floppy flags and thankfully, as it is LA, some of the guys were in the business, so they happily (and thankfully) lent a hand playing grip as well as shoot some great behind the scenes pics.

To see more of this project, click here


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. She has a Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSeaseInstagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

The Daily Edit – Condé Nast Traveler Spain


Condé Nast Traveler: Spain

Photographer: Diego Martínez 
Art Director: Angel Perea

Heidi: How did this project come about?
Diego: I’m a photographer involved in editorial production and advertising, but my passion is the mountains, climbing and mountaineering. For some time, I’ve been introducing this passion to my daily work and getting involved in different expeditions around the world as photographer and videographer. The combination of passion and work has taken me to the Himalayas and Antarctica.

For this project… I always wanted to go to the Dolomites just because it’s one of the best places for enjoying the beauty and nature of the Alps, so I made a plan and started to design my route. Once I was happy with the route, I connected with the editor-in-chief and the project evolved from there.

What was the editing process for selecting the cover image?
I always make a tight edit, not many images, just the ones that inspired me and the ones that fit their editorial vision. The team created this beautiful illustration from my work.

What can you tell us about the collaboration?
As a frequent collaborator in this mag (this is my 3rd cover) I always feel comfortable and happy to be part of this great family.

Heidi: Was this cover stitched then photographed?
Angel: The cover is an illustration, it is not stitched. We decided to do it that way because we didn’t have much time but wanted it to be super realistic based on a photo by Diego Martínez. My art team and I spent a lot of hours and tests until we got it right.

What are you working on now?
I was just in Nepal where I’ve been working in a project for a non profit organization called SOS Himalaya. filming and taking photos in the Makalu Valley.



This Week in Photography: American Protest 2020-2021



A month ago, I reported on impending, slow-burn-end of the photo world.

No one made a sound.







A week later, I tweeted that I reported on the death of the photo word, and no one had made a sound.

The tweet got a small response.

Andrew Molitor wrote a response-blog-post, and an artist named Landry Major challenged my assertion, saying the fine art photo world was thriving, but admitted she had not read my article.




All in all, not a lot of ruffled feathers for such a grand pronouncement.

Secretly, I think a lot of people have been harboring these thoughts.

I traveled to four photo festivals this year, in San Francisco, San Diego, Chicago and New Orleans, and my observations finally came into focus in the weeks before PhotoNOLA.

So I spoke to some friends and colleagues, in person, or on the phone, to gauge their reaction.

Everyone agreed.

Let’s unpack the details.

(Trust me, this is VERY difficult to write.)









I went to Review Santa Fe in 2009 and 2010, as a photographer.

It made my career.

The first year, I took notes on the 99 other photographers, because I was so “Johnny Tryhard,” and therefore I remember the group well.

Some talented, emerging and mid-career artists, editorial photographers, and photojournalists were all together, and many have gone on to massive careers.

LaToya Ruby Frazier was there, (just like the rest of us,) and has since received a MacArthur Genius Grant!

Some other folks who went on to have success in various parts of the industry, (just off the top of my head): Susan Burnstine, Jesse Burke, Susan Worsham, Ben Lowy, Emily Shur, Matt Eich, Jeff Hutchens, Kurt Tong, Ferit Kuyas, Brian Buckley and Mark Menjivar.


JB with Emily Shur and Jon Feinstein at RSF in 2009.


Nearly everyone there was a trained, working artist, photojournalist, professor, editorial photographer, or perhaps a commercial photographer.

Easily, 90% or more were working pros.

There certainly might have been a few hobbyists, or lightly-trained, career-change photographers, but none that I recall.

That was 13.5 years ago.

I’ve since attended 30+ festivals, both as a photographer and as a reviewer.

The proof is in the pudding, as I’ve written scores of articles about these portfolio reviews over the years, all published here on APE.

Of all the festivals I attended, only the New York Times review was free, so it was the most diverse and international. By far! But it was also super-difficult to get accepted, so it’s not a viable option for most people.

Every other festival was run by non-profit, artist-founded, artist-run organizations. (Sorry, I did go to one by the Art Academy of SF, and they’re a for-profit school.)

In Houston, San Diego, San Francisco, LA, Santa Fe, New Orleans, Chicago, Denver, and Portland, the trend was so slow that I never noticed it.


A photo of someone taking a photo of someone in front of the angel wings, Chicago, 2022


Mea Culpa.

I missed the story of the slow disappearance of the professionals, replaced by hobbyists.

But in 2022, Post-Pandemic, it was impossible not to see the pattern.

This year, the vast majority of photographers I saw at the portfolio review table were coming from retirement, as a long-time hobby, or rekindling the passion after many years, hoping to change careers.

I’ve previously written that I had such a hard time remembering work from the PhotoAlliance review, I only featured two artists.

You still meet a few full-time professional artists, or busy freelance journalists, and their work is normally better, so it stands out quickly. There are plenty of professional educators still on the scene, as professors are under pressure to exhibit and publish, for tenure.

The educators also have stable jobs, and some schools provide professional development funds, so stipends are available for the professors.

And their work also tends to be of a MUCH higher caliber.

Post-pandemic, though, the majority were coming to the festivals now, (which are expensive, in a world with inflation, and concentrated resources,) ready to get in on the action, without realizing how little action was left.

One post-retirement-artist even told me they were ready to level up to a solo show now, because they had done the group-show thing, so now it was time.

(Like ticking boxes off a list.)

And I am not being ageist here.

Please allow me explain further.








The shift was gradual, but when I attended the festivals as an artist, (in 2009, 2010, 2012 and 2016,) I always made more money than I spent.


The marketing budget worked, because whether I sold prints to collectors out of the box, on the spot, sometime later on, or ended up with shows that sold work, it always panned out.

There was a professional artist/journalist class, of trained experts who’d gone to school, and put in decades of time.

There were also enough opportunities and resources to support those artists, journalists, and editorial photographers.

Now, (as I’ve previously written,) the gallery/newspaper/magazine/ad buy infrastructure is a fraction of what it was, chopped year by year, so of course the opportunities will have lessened commensurately.

Simultaneously, over those 13.5 years, the products of the photo world, glossy art on pretty white walls, or sleek photos on the home pages of the NYT or the Washington Post, were very visible markers of success.




And making pictures is fun!

So of course, with the photo world incessantly promoting itself, and photography getting ever easier from better digital cameras and phones, it makes sense people who put their passion aside, due to life obligations, would want to come join the party.

Who wouldn’t?

And year by year, I treated each person at the review table the same, and tried to honor and help motivate folks who were new to giving their heart to their art.

No matter the age.

Many of my consulting clients have come from this cohort, and I’ve busted my butt, and had a great creative relationship, with each of them.

But now the portfolio review community is made up primarily of people who have financial means, and many are willing to pay $35,000-$50,000 to publish a photo book, OUT OF POCKET, because it’s a marker of status and success.

(Also, because it’s a tremendous feeling of accomplishment.)









As I wrote a month ago, photography is now everyone’s passion.

It’s a visual language that belongs to THE WORLD.

Nothing has been so democratized; not even music.

A medium once dependent on cryptic chemicals, and tricky, expensive, mechanical cameras, is now fully point-and-shoot brilliant.

From Leica monochromes to great iPhones, it’s not hard to make a “professional” looking photo.

So we can cheer that our love now belongs to everyone, and we can also mourn that so many professionals have left the field.

To be clear, I’m not saying festivals don’t belong anymore.

But at PhotoNOLA two weeks ago, of the 9 official reviews I did, only two photographers seemed to be full-time professionals: both educators there to promote their personal work.

2 out of 9.

So I asked my colleagues, and they agreed:

Perhaps the model needs to be tweaked a bit, to accommodate the new reality?

As I said, the NYT runs free reviews, because they can.

But Filter Photo, in Chicago, has active relationships with local art schools, so you can always count on 5 or 6 students coming to the review table. The schools buy reviews in blocks, (or perhaps trade for sponsorships,) so the up-and-coming, committed students attend for free.

(That’s also a great way to keep it diverse, but I’ve only seen it done at Filter.)







I believe it’s important to note the demographic shift, and ask if perhaps there are other ways we as a global photo community can support regular, working-stiff artists, teachers, and freelance journalists?

We need to make sure there is still a photo world for the next generation to enter.

Maybe festivals can increase their emphasis on low-cost education and exhibitions, and make the high-cost portfolio review elements a smaller part of the overall financial reality?

Or perhaps some of the non-profits can start adding more and more next-generation artists to their boards and advisory committees?

Because I hung out with a handful of 20-somethings this year, in San Diego, Chicago and New Orleans, and I can legitimately vouch for Gen Z.


JB with Liv, (from London,) in the French Quarter, NOLA, Dec 2022. (Photo by Bayley Mizelle)


They are coming to save the world, with their empathy, multi-talents, and their Internet-charged brains.

I’m here for it.

But outside of the handful of students at Filter, none of the younger generation I met were at the festivals to be reviewed, as “paying customers.”

We can welcome later-in-life artists, and career-change photographers, and support their exciting, creative journeys.

And I have.

But given what I saw on the road in 2022, if they’re now the majority of the festival community, (and the ones primarily paying-to-play,) I believe it needs to be acknowledged.

Saying “Beetlejuice” three times can be scary.

But I said it.

So let’s move on.


image courtesy of IFC Center









I’m in an awkward position, as I’ve already told you I quit, but Rob’s allowing me to wrap up the column here in an elegant way.

I’ve got to share the best work I saw at Filter, and PhotoNOLA, so that’s two more articles.

And I’m sitting on a sizable submission-book-stack.

At first, I thought I’d try to cram 20 mini-reviews into two articles.

Little pods of information.

But that doesn’t feel right.

It wouldn’t allow me to honor the photographers who trusted me with their books. (Their artistic babies.)


So I’m announcing today that I’ll start a personal blog, in the next two months, so I can properly review every book that was sent my way.

It’s only fair, and after all, I love to write.

I promise to provide full details before I wrap up here, (and on social media,) and I’ll do a quick book review today, too, as a show of good faith.

Because I’d like to state one thing very clearly: I love the global photography community, and it’s been an honor to have such a visible platform here for so long.

If just a few of you come over and read the book reviews, (or whatever else I write about,) that’s cool with me.

I guess it will be my hobby from now on, since I’ll be doing it for free.

For myself. As art.








Even though there are only 3 columns left here, (after today,) I always keep it real.

I went to the book stack, and looked for the oldest submission.

Of course it’s perfect for today, because that’s how the column-magic has always worked, over the years.

“American Protest: Photographs 2020-2021,” by Mel D. Cole, was published by Damiani, and arrived in Nov of 2021.

January 6th, which is featured in the book, was still fresh, and these days, we wonder if the endgame is coming?

But man, does this book pack a punch.

The intros tell us that Mel D. Cole is, and has always been an independent journalist, and the end notes say that funding was provided by the Black Photographers’ Fund. (Which he created.)

Damiani is an expensive publisher, so clearly a lot of people came together to enable this creative vision.

It’s pretty much the best case scenario for how the photo world can support working pros. (As I wrote above.)

But it’s also a great example of how I’ve tried to promote diversity of culture, vision and perspective here, over nearly 13 years.


New Orleans, Dec 2022


This book is clearly the product of the combination of talent, grit, bravery, timing, community support, and the brilliance of the photographic medium.

History was preserved.

Art was made.

Perspective was offered.

It’s badass!

I saw no designer credits, so I’m assuming Mel D. Cole did it himself, and it grabs you from the first second.

Black men in handcuffs, but rendered in such a way that you think… Shackles… Slavery.

(The reference is not to be missed.)

That the book ends with raised firsts and Black Lives Matter signs held high, tells you what you need to know about call backs, structure, and progression.

The pictures are amazing, and speak for themselves.


But just as I found myself about to skip ahead, (because there are a lot of pictures, and the structure was getting repetitive,) BAM!!!

He drops a color photo on us, the first, of a blood-stained Philly cop in his bright blue uniform.


Seriously, it jolted me back into the present moment.

And that use of occasional color popped up again, a few times, always to smart effect.

This is just a terrific book.

Top class.

The critic in me will point out that I don’t love the font choice in the intro text, (including one by Jamie Lee Curtis,) and I particularly dug the honest, casual, loving, thank you page.

Today’s book is a great example of why I’d like to see the global photography community organize a bit, to make sure the life-long art voices, those countless creators who committed to the path, and continue to stick it out…

We need to maintain a system that supports these photographers.

Otherwise, what are we doing?


To purchase “American Protest: Photographs 2020-2021” click here


The Art of the Personal Project: Emily Hawkes

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:  Emily Hawkes


For this personal project, I collaborated with prop stylist/crafter Andrea Greco to conceptualize a retro-themed shoot for the holidays. We were inspired by a cover from a Patti Page Christmas album and started with the intention of recreating the cover with our spin. Our goal was to create something retro-inspired, but with a modern edge. From there, we thought about what other scenes might happen in this world and brought on food stylist Erika Joyce to create a fantastic 70s-era dinner party spread. We wove elements from our own childhood holiday memories through the scenes, as well as the poppy colors and vintage style I tend to gravitate towards in my work.

To see more of this project, click here


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. She has a Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSeaseInstagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

AI Photography Hype

I’ve been seeing lots of hand wringing over the AI Photography engines released recently: and and well… there’s probably something to that tho not the “death of photography” level but more in the injury by a thousand cuts vein. If you are interested in the topic you should definitely check out this Verge article “The scary truth about AI copyright is nobody knows what will happen next

“The training dataset for Stable Diffusion, for example — one of the biggest and most influential text-to-AI systems — contains billions of images scraped from hundreds of domains”

“it is much more likely than not” that training systems on copyrighted data will be covered by fair use. But the same cannot necessarily be said for generating content”

“the current interpretation of fair use may actually change in the coming months due to a pending Supreme Court case involving Andy Warhol and Prince.”

Here is a story on the Warhol and Prince case:

All important topics to think about. My personal opinion is that the images generated by the AI engines will not be copyrightable, giving traditional photography an edge in the world of editorial and advertising.

Here is a deep dive on the topic from a law professor at Vanderbilt:

The Art of the Personal Project: Jonathan Beller

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:  Jonathan Beller

There are a lot of misunderstandings around so-called “fringe” hobbies. Fans of all sorts are seen as strange, odd outsiders. In the Airsoft sport there are assumptions made that since the participants dress in camouflage and play tactical roles, they are themselves para-military gun nuts. I have not found that to be true.

The photos in my personal project portraits focus on costume, but more importantly, who is inside the costume. So often we see that the human is so unlike the stereotypical muscle dude of an actual neo-patriot today. The fun of the play is in the social interactions of these often young, somewhat nerdy all-gender players. You can’t imagine any of them storming the White House. This is a social hobby for them, a way to connect.

The individuality of each player is highlighted by their choice of gear. Some of the outfits have inspired the phrase: “Gucci Gear”, because high-end expression of personality is part of the role play. Part of the appeal of airsoft is also the location. Airsoft venues tend to be places most don’t have access to, like abandoned properties and buildings. As a fan of repurposed places, the fringes of society’s places intrigue me. There the faces look out toward my camera, and we see that they are relatable. Just people, and that we can know them, and they are like anyone else.

My personal interest is in what makes us similar, and how we express our individuality simultaneously through visual expression. So, whether they’re wearing simple camo or a full ghillie suit, real people always emerge.

To see more of this project, click here


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. She has a Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSeaseInstagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

Pricing & Negotiating: International Hospitality Stills And Video

By Craig Oppenheimer, Wonderful Machine

Concept: Two talent enjoying the amenities of a hotel, captured in both stills and video.

Licensing: Unlimited use (excluding broadcast) of up to 10 images and all video content captured in perpetuity.

Photographer: Lifestyle and hospitality specialist.

Client: Hotel Brand.

Here is the estimate:


This project was part of three other similar shoots the agency was coordinating around the world, and at each one, they hoped to capture two talent enjoying the amenities of the hotel. While stills would be the priority, they asked for some b-roll video content to be captured of the same sets, primarily for web advertising. While we’ve seen higher fees for more limited usage for such brands, it became apparent that the usage would essentially be five images, delivered in both horizontal and vertical. Given the local market where the shoot would take place, and the limited quantity of images and intended usage, I decided to include $10,000 as a creative/licensing fee. I also added two scout days for the photographer.


The agency hoped for a minimal crew to keep the production footprint as small as possible. We included a producer, videographer, assistant, and a digital tech, all with appropriate travel/shoot days and rates for the given market.


We planned to cast from cards, rather than do a live casting, and include $750 for the time to accomplish this. We split the fees for the two talent into three categories; a session fee for their time, a usage fee for their likeness based on the unlimited use, and a travel fee for them to get to the locations.


Rather than a full styling team, and in an effort to keep the footprint small, we included one stylist to help ensure the talent looked presentable and to help with the wardrobe the talent would provide. I typically break out these roles and have a separate person handle hair/makeup while another stylist handles wardrobe, however, the agency preferred to bundle the roles.


We included appropriate fees for both stills and video equipment, along with a rental fee to use the digital tech’s workstation. These rates included cameras, lenses, and all of the supporting grip equipment and sliders needed to get the shots noted in the provided creative brief.

Health & Safety

To maintain public health and safety on set we included a fee that would compensate each crew member, upon providing us with a negative covid test result that they would receive prior to the shoot.


While the client’s onsite services would provide catering, we included $500 for additional meals and $1,750 for unknown expenses incurred during international travel.


Eight people would be traveling to the location, and we included airfare, transportation, and per diems for each of them, based on the number of days they’d be traveling. Despite the client being a hotel where the shoot would take place, they were not able to provide lodging for the crew and asked for us to include lodging elsewhere for the team.

Post Production

Lastly, we included $500 for the photographer to sift through the content and provide a gallery to the agency, along with a fee of $200 per image for the photographer to ultimately retouch the agency’s selects. Additionally, we added $400 for hard drives and shipping.


The photographer was awarded the project.

Need help estimating or producing a project? Please reach out. We’re available to help with any and all pricing and negotiating needs, from small stock sales to large ad campaigns.

Featured Promo – Libby Volgyes

Libby Volgyes

Tell me about your promo.

The magazine was designed by Monashee Photo Consultant and printed by Blurb. We did a first run of 100 to send out to ad reps and marketing reps, and other people I wanted to work with. I suspect I’ll make more to hand out once I’m brave enough to start trying for desk-side meetings.

I’ve sent out print promos before, but this was the first big print campaign, and I enlisted the amazing Monashee that I’ve been working with the last year. I am REALLY terrible at design – so terrible that when I was studying at the University of Missouri-Columbia and taking my Photojournalism Capstone class, Rita Reed made me do an extra project on design because I was so terrible at it. So I think I knew from a pretty early age in my career I was never going to be a photo editor or designer and that I’d always need someone to hold my hand for design projects.

I think, particularly in this day and age of social where we barely have the energy to double-tap an image, there’s something incredibly beautiful about the permeance of prints and collateral. I don’t feel bad at all if anyone throws it out- I can’t stand clutter, so I would understand that. But I hope for the moments when they’re holding, feeling, and flipping through my book that they’re enjoying a couple of moments of peace. And to me, that’s what prints are about. Permanence even in impermanence.

A lot of the images in the book – and most of the ones you featured on Instagram were personal projects. 20 years into this profession, I still just really LOVE taking photos. So when I had some time off, and my food stylist did too – and I’m lucky to have a really wonderful relationships with my food stylist – one I consider “my muse” — we get together and play. It is unbelievably fun. The picture of the fish and the hanging fruit were both play days. Sometimes we look to art – paintings from the Dutch or the Flemish and are inspired by their light and their subjects that we can easily translate realize. Often we’re motivated by beautiful old props or stunning ingredients. That’s enough to make a photo many days!

The portraits are from a project I started four years ago called “Faces of Food” where I wanted to improve my portraiture, so I set about to photograph the faces behind the food industry. It ended up being a huge body of work– I photographed close to 100 food professionals (bartenders, farmers, chefs, pastry artists, etc.) over three days for a final edit of 18. It ran in the local magazine, we had a nice art opening, and I displayed the art around town; finally, it displayed at Food Photo Festival in Vejle, Denmark, where it was a finalist for the Feature Award. Today, I’m still photographing “Faces” whenever I get the chance. Props, similar lighting and the same backdrop. It just keeps being fun for me.

Honestly, I shoot a lot in my spare time. I’m bi-coastal – my husband and dog live in a small town in Oregon (Hood River), and my business is based in West Palm Beach, and I have studios in both places. So I get exposed to different light and different ingredients, and there’s just something crazy intense in me that just loves to shoot for myself. It’s probably a sick compulsion and needs to be medicated but there’s nothing in the world that feels like, “I JUST TOOK A PICTURE THAT MIGHT BE GOOD.” Just for those few moments when the world just stops…and you can breathe … that’s what I can’t wait for.

This Week in Photography: Quitting Time



It’s official.

I’ve joined The Great Resignation.

(For real.)








I’m guessing the news won’t come as a shock, as I announced this summer the column was being scaled back to 2x a month.

That one was on Rob Haggart, who hosts my blog here at APE. (And I understood his position, given the changed nature of the photo industry.)

But this was on me, and as I quit a month ago, I’ve been sitting on the news, waiting for the right moment.

(Which is now.)

Along the journey, I was a blogger at the New York Times for 6 years, (which I might have mentioned 1000 times,) but I also tried it out with The New Yorker, Vice, Hyperallergic, and The New Republic.

Nothing else fit right.

So the fact I began writing here in 2010, and am finally ready to go, (nearly 13 years later,) speaks to the quality of the situation I had.

APE was my goldilocks gig.

But once the weekly-column-spell was broken, (and I spent all summer reminiscing,) in early November, I felt ready for a different challenge.

So I gave notice.

And here we are…








Certainly, I’ve changed styles over the years, while hopefully presenting a consistent voice.

We covered photo books, portfolio reviews, art exhibitions, restaurants, toured cities, interviewed artists, and so much more, all to the tune of 600+ articles.

(That’s a damn good run, by anyone’s definition.)

But now?

I might want to write a book.
Or a movie.

Pitch a show to Netflix?

Open a martial arts dojo?

Who knows?

This fall, I did my first large-scale, independent photo/writing journalism, (for HuffPost,) and loved every minute of it. (The story will be out soon.)

Seriously, it was the funnest job I’ve ever had!

So that’s a start.

Or a direction, anyway.

And if I’ve learned anything as a full-time, freelance creative over 22 years, you have to trust your instincts, and be willing to step out there, not knowing what comes next.

(Exciting is just another word for scary, after all.)








Wrapping things up, though, after this long, can take a bit of doing.

I’ve previously promised articles about three portfolio review festivals, (Medium, Filter and PhotoNOLA,) and am sitting on a big inventory of books people sent, hoping for a review.

(The famed book stack.)

So starting today, we’re on the final countdown.

I’ll begin with the best work I saw at the 2022 Medium Festival of Photography, in San Diego, and we’ll end my time here over the next four columns.

(Making today the first of JB’s Final Five.)

As has always been the case, I won’t show the artists below in any particular order.

They come from different backgrounds and areas of the photo industry, but all these nice folks bared their souls last May, when they put their work out there for critical and public reception.

I sincerely thank these artists, and the hundreds of others who shared their pictures with you over the years, because they first shared them with me at a photo festival.


Anh-Thuy Nguyen

Anh-Thuy is originally from Vietnam, but teaches in Tucson, after getting an MFA from SMU in Dallas. (Have you got that straight?) She studied with a good friend of mind down there, Debora Hunter, and I was super-impressed by ATN’s art practice, which includes video, performance, sculpture, photography, and food.




Brendan Rowlands

Brendan is English, but lives with his wife, Carmen, in Mexico City. (The series is titled after her.) Carmen suffers from rheumatoid arthritis, which afflicts many people, but is not well known. As Brendan and Carmen were cooped up during Covid, they made a project together in her honor.



Rainer Hosch

Rainer is from Austria, and his wife is from Ireland, but they live with their two children in Topanga Canyon, outside LA. We hit it off, and chatted NFT’s, (as it was shortly after my NFT article dropped here,) and Rainer has had some serious success in the field, if I understand things correctly. That said, he showed me images shot from his favorite beach, where Topanga meets the sea, and they’re seriously gorgeous.



Oriana Poindexter 

Oriana is a classic Californian, based in La Jolla, and seems like the type of character someone would invent, if they wanted a cover for a female James Bond, or Indiana Jones. (I’m not kidding.) In addition to being a talented artist, she’s also a marine scientist, trained at Princeton, and scuba dives deep down into the ocean, to study kelp forests and other creatures. During her forays, she makes images which become cyanotype prints. Just remarkable stuff!



Perry Hambright

Perry is based in Santa Barbara, and he and I had the inevitable talk about taste. I wanted to know if he was in on the joke, and realized these pictures are about as tacky/kitschy as it gets. He loves working this way, and knows the pictures are bonkers, so really, I’m down with it. Self-aware and weird-as-shit is fine by me!



David Comora

David was in from the East Coast, and showed me some images made in an abandoned house. But really, it wasn’t the exact story of a dilapidated, haunted structure, but rather he knows the owner, and they let him in. That’s a bit different, and the awkward feeling extends to the black and white prints, which I thought were really well made.



Robert Welkie

Robert had a bunch of small projects, and when I just went to his website, I remembered I liked his color diptychs. But this group below is also very cool, as the textures and tonality are strong. This micro edit is almost creepy, if you ask me. (Then again, I edited it.)



Alexander Drecun

Last but not least we have Alexander, who had a really odd, but very cool project. Though he’s not Jewish himself, Alexander learned of a tradition in which physical boundaries are created by string, to cheat the Sabbath rules for Orthodox Jews. It’s called an Eruv. So he photographed these lines around LA, which are otherwise totally unseen by the outside world. Love it!




Hope all is well, and see you in two weeks.



The Art of the Personal Project: Cheryl Clegg

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:  Cheryl Clegg

The Endangered Lobstermen

On September 8, 2022, the non-profit, Monterey Bay Aquarium put American lobster on its seafood watch “red list,” telling all to avoid buying lobster.  The reason was not because lobster is over fished, it is because of the endangered North Atlantic Right Whale.  There are 350 endangered North Atlantic Right Whales left and the non-profit believes less lobstering will save more Right Whales. The claim is that the whales are constantly getting entangled in fishing gear.  As a long time, Maine visitor for over 30 years, I know the fishermen have changed gear in order to protect the Right Whale. They have not only changed the type of rope but have put in weak links for the whale to break through. The last time there was an entanglement of a Right Whale attributed to Maine fishing gear was 2004, 18 years ago.  Immediately following the “red list” announcement of lobster, businesses such as, Hello Fresh & Blue Apron, eliminated lobster as one of their offerings.

In my new series, “The Endangered Lobstermen” I am putting the human faces that are at risk of losing their livelihood and their way of life. It is not just one person in the family who fishes, it is the entire family whose livelihood revolves around the lobster industry.

Lobstering is a family business. If you are part of a lobster fishing family, most likely your parents, grandparents, great grandparents and great great grandparents were also lobstermen. You started out on the boat in some cases as an infant sleeping in a crate, with Mom & Dad pulling their traps.  As you got older you were up before the sun with your mother, father, grandparent or Aunt & Uncle, filling the bait bags as the traps were hauled.  You learned how to fish responsibly, not keeping any lobster that wasn’t mature enough, and you notched the females, so the population would thrive.  You took the apprenticeship classes in high school and got your junior lobster fishing license to continue the family tradition.  You saved your earnings from your catch & bought your first boat, traps and worked the 9 years to get your full license. The early mornings continued as you started your family, and the cycle began again.

There are close to 5000 commercially licensed lobster fishermen & 1085 licensed student lobster fishermen in the state of Maine who are facing new regulations that will threaten their livelihood.  The impending new regulations are asking for a 90% risk reduction to the 350 endangered Right Whales that are left.  The lobstermen and supporting businesses are facing an uncertain future and the whole state of Maine will be impacted.

“I moved to Stonington at 16 as an emancipated adult. This small fishing town has given me opportunities in my life that I never thought I would have. When I found out I was going to be a father, this town helped me to overcome addiction of prescription pain killers. Lobster fishing has given me the opportunity to provide for myself, my two children, my stepson and it has allowed me to become a foster parent to my nephew.
Without the lobster industry there are no other options for me to provide for my family in the community o the surrounding communities.
-Justin Betts
Has been around lobstering his entire life, has been active on the water for 11 years.
1st generation fisherman
“My dad won’t be able to work and do something he loves. This is something I would’ve thought about doing in my future. I’ve always enjoyed it and wanted to do it, I’ve never been forced to get on a boat.”
-Davyn George Betts
“This directly impacts us in all aspects of our business. We catch our product, process our product, pack our products to ship and serve our products. This is not only our livelihood it is a lifestyle passed on from each generation. This is our way of life. Not a day has passed in my life that hasn’t had lobster in it. Some of my children, the next generation may not have the opportunity to fulfill their dreams someday fishing they way they have been taught to do. This is in their blood.”
-Chris Chipman
Lobster fisherman for 45 years
Got his fishing license when he was 3 years old
“Having our product, “lobster” red listed has persuaded a few businesses to stop buying our lobster. This has lowered the price and the supply is down. In all of my years fishing, this has to be the hardest due to the rising cost of fuel and bait being the most expensive it has ever been. That limits what we have money for: food, home heating fuel and various other amenities- all of this because of the whales.”
-Tomi Colson
5th generation lobstermen
25 years fishing.
“The red list means less consumers buying lobster because they think we cause harm to right whales. This therefore lowers prices, dealers are not able to get rid of the product and this could potentially shut us down for good, not to mention the low price of lobster and the rising prices of bait, diesel, traps, rope etc. This if pushed forward with all of the cards against us, it could be the end of lobstering.”
– Adam Colson
– 5th generation lobstermen
– 33 years fishing
“This is our life. How we support ourselves and many others- sternman & family, co-op workers, trap makers, boat builders, car salesman bait dealers, etc, The list goes on…..”
-Bruce Crowley
5th generation fishermen
Fishing 60 years
Pictured here are 5th, 6th & 7th generation lobster fishermen
“The “red List” promotes the idea that fishermen are doing something wrong. It doesn’t acknowledge that we are the most sustainable fishery in the U.S. The “red list” means less people buying lobster and more people spreading false information”
-Leigh Farnsworth
1st generation lobster fishing woman
Fishing 26 years
“I don’t know what I would do without lobstering. I’ve invested my life into lobstering. It’s more than a job to me,it’s my heritage. It’s in my blood from my father and grandfathers before me. We are defined by the lobster industry.”
-Billy Bob Faulkingham
5th generation fisherman, fishing 40 years.
“I have been around the industry my whole life and fishing since I was 11 years old. I have known my whole life I have wanted to be a fisherman (woman). It is not only how I support myself and my son, it is our way of life. It is all I have every known. Now it is all I know how to do, and all I will ever do. What they are trying to do will impact ours and so many lives with devastating affects. With everything that is happening, the future of fishing is really worriesome for me and my son.”
Cassie Floyd
5th generation fisherman
“I have complied with all of the regulations by NOAA (whale safe rope, weak links & color marking rope). Being red listed is a real disheartening and a stressful situation. We are being penalized for doing an excellent job of all that we have been forced to do (for the right whale). If this 90% reduction in gear goes through, it will be impossible for me and all fishermen to support our families. Lobster fishing is all I have known, all of my life, it’s a way of life that my family loves and enjoys. Zero deaths or entanglements in 20 years should speak for itself but it doesn’t seem to.”
-Charles Kelley
58 years a lobstermen
4th generation fishermen
4th, 5th generation fishermen

To see more of this project, click here


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. She has a Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSeaseInstagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

Announcing The Kurt Markus Photography Scholarship Fund

Portrait of Kurt Markus at Eaves Ranch in Santa Fe, © Christopher Michel

The Kurt Markus Family and Santa Fe Workshops are pleased to continue Kurt’s legacy as a teacher and role model for young photographers by awarding an annual scholarship in his name.

The Kurt Markus Photography Scholarship recognizes artistic promise coupled with a desire to live a photographic life by awarding a full scholarship to a one-week workshop in Santa Fe each summer to a young imagemaker.

Kurt Markus was a visual poet of the American West, creating authentic portraits, classic landscapes, and beautifully seductive fashion images. His photographs touched all strata of humanity and left a lasting imprint that will endure for many generations.

Equally important to Kurt was his role as a mentor. Starting in 2008, he made time each year to teach at Santa Fe Workshops. Instructing solo, co-teaching with Norman Mauskopf, or joining Jimmy Chin and Robert Maxwell for a Santa Fe Workshops/Outside Magazine Master Class, Kurt was dedicated to passing on his knowledge and passion for photography to the new generation of photographers.

The Kurt Markus Photography Scholarship Fund offers the financial support for a young photographer to attend the workshop of their choice to include travel expenses to Santa Fe and return, workshop tuition and fees, car rental, meals, accommodations, and $500 for photographic supplies and miscellaneous expenses. In addition to the workshop in Santa Fe, the recipient will forever be linked to the spirit and accomplishments of Kurt as they traverse their own path forward in photography.

Photographers under 30 years old are encouraged to apply (contact Reid Callanan for more information). Applications for this scholarship will be available on December 1 and due by January 15. There is no fee to apply for this scholarship. Jurors to award this annual scholarship are Laurie Kratochvil, Andy Anderson, and Reid Callanan.

Donations to this fund to honor Kurt and his legacy as a teacher and a mentor are now being accepted. Tax-deductible donations should be made to CENTER, a 501(c3) not-for-profit organization based in Santa Fe. CENTER, founded in 1994, honors, supports, and provides opportunities to gifted and committed photographers.

A generous lead donation of $25,000 has been made to inaugurate this fund.


Suggested Donation Levels: $250, $500, $1000, $2500, $5000.

$7500+ will receive a limited-edition digital print of Monument Valley by Kurt Markus. For details inquire to Reid Callanan at

Please mail donation checks to CENTER, PO Box 8372, Santa Fe, NM 87504 with a notation “For Kurt Markus Scholarship Fund”, or make a donation online at

The Daily Edit – Kenny Hurtado: National Geographic and Landscapes

Photographer: Kenny Hurtado

Heidi: You started out as a surf photographer, and now you’re on terra firma, what have you brought forward creatively?
Kenny: So, in 2020 I decided to primarily focus on landscape. It’s where I naturally feel the most comfortable as a photographer. Being outside consumed by nature looking at the details and its changing moods is very satisfying for me. I did a big life check-in with the path I was on as a photographer in 2020. I thought, what is most sustainable for me, It’s connecting to nature and spending time outside in the elements. Like how it was in my surf photography days. I enjoy portraits but I haven’t actually made a portrait since 2020, realizing I was only inspired to make portraits for the sake of attracting commissioned work which I enjoy, but I found myself only doing that for a potential outcome rather than enjoying the process. I get so much more out of being outside interacting with nature than I do anything else. Looking at my website now it’s all mostly portrait based stories. I still enjoy that work but it’s exciting to still be exploring other territories and focus on photography. Focusing on landscape in 2020/2021 started to pay off, a life long goal shooting for NatGeo came about in 2021 photographing the Redwoods of California last year, it was my first proper landscape story. It was so damn enjoyable. I’ve photographed landscapes for years but never solely focused on it. Still feels new and exciting to me which is a good thing to have after almost 20 years of on and off shooting. Hence on and OFF cause I took nearly all of 2022 off from photography. Mostly because we packed up and moved to Missouri. It took far longer to get settled in than I thought.

Now that you’re truly part of saving someone’s life, does creating photography feel different?
Absolutely, so, yes I work as an EMT on an ambulance meaning we see a lot of very sick people and unfortunately death. I never thought about how being a first responder would impact photography for me. I always wanted to be an EMT and now that I’m a father I needed something a bit more stable in my life, I can no longer be the dirt bag broke photographer I once was. But also having a license in a field that will always be there is reassuring to me as well, even if I find my way back to full time shooting I know there is something on the other side if need be. So, yeh being exposed to the sick and dying has 100% made my experiences in nature much more enjoyable. I find myself making photographs of things I never would have 5+ years ago like flowing streams and leaves, calendar-esque photography, ha like the ones you might find in your Aunt’s office. Scenes I just shoot for myself without the annoying ego attached.

What have you been photographing recently?  
I moved to Missouri exactly one year ago from West Sonoma County, Ca. Since moving here I hadn’t photographed much until recently. It took some time to get settled in and adjust to a schedule while working full time on an ambulance as an EMT, and chasing around a small child at home. Recently I Fixed up my 4×5 camera. I have been exploring the back woods and streams of the Ozarks, been really enjoying that slow meticulous process especially working in a whole new environment.

Have you been back to India, since that was a trajectory altering experience and how did that experience in India inform you and continue to guide you?
I have not been back to India since my last trip back in 2007. I feel like everyone who goes to India comes away with some kind of life altering experience or at least a new outlook on life. I was quite young when I went to India. Up until that point my world in my young adult life was all wrapped up in surfing, photography and all the comforts of western culture. I had done a decent amount of traveling, fortunate enough to do so, I had experienced lots of different cultures and seen how other people live. India was so far beyond what I had seen before most of my past travels were in 3rd world countries known for their surf destinations, but India was not. We were sent out on an exploration mission to find new waves in uncharted surf territory. We got the chance to spend time in towns nowhere near an ocean and the beach towns were not like beach towns I was used to in central and south america with Acai bowl huts and yoga retreats. This was culture at its purest. We saw thousands of people who truly had nothing, yet we saw smiles and kindness, we felt welcome even in the deepest parts of Southern India. These experiences inspired me to turn my lens from years of looking at the ocean and surfing to what was happening on land. It is obvious I know, India is so culturally vibrant and rich and an easy place to be inspired to make photographs, but for me it was the first time I truly looked at the land and took pictures of landscapes and people that I did not know. Remind you I was on a surf trip for a Surf Magazine, the story was about India’s unexplored waves. I ended up taking far more photographs of India’s culture and landscape than I did of surfing. India opened my eyes up to a new way of making photographs and suddenly I felt bored of simply just being a surfing photographer.
What finally made you say yes, I’ll do this video?
I was very hesitant to do it at first, but Caleob, the director of En Route was very passionate about telling that story. He had read an article Surfing Magazine did on my experiences working as a young surf photographer back in 2010, for some reason it stuck with him. I appreciated his vision and respected his willingness for the project, despite me being very camera shy and not wanting a spotlight.

What did you learn about yourself in front of the camera?
Well, guess I’m not as camera shy as I thought. Enjoyed the collaboration part, actually I didn’t mind being on the other side of the camera. Watching it now almost feels like a different person to me. En Route was filmed in 2 days in February of 2020 just a month shy of the pandemic. A few months after that I found out I was going to be a dad and a year later we were moving to Missouri and I ended up going back to school to get my EMT license. Would of never guessed all of that would happen a year later during the filming. To be honest I never even watched the whole thing from start to finish, I’ve only seen clips. It’s too awkward for me to watch, but it did inspire some ideas for the future.

Featured Promo – Daniel Brenner

Daniel Brenner

Who printed it?

Who designed it?
I did, with some guidance from Ben Rasmussen.

Tell me about the images.
This is a personal project I’ve been working on for a few years. When I transitioned from a newspaper photographer to freelance, I lacked a project I cared about. I met an addiction counselor with an unconventional approach to treatment. He fosters relationships while bonding on a cliff or revisiting a traumatic setting. His experiential therapeutic program is designed for tormented, traumatized, drug-using and self-sabotaging young men.

How many did you make?

How many times a year do you send out promos?
Once a year.

Do you think printed promos are effective for marketing your work?
Most certainly. It’s a critical tool to connect with editors, especially now when we are separated by zoom screens and the oversaturation of images on social media.