I regularly handle print edits, helping to select and sequence every page, but I can also take an existing edit and layout and align it on the page. Such was the case with South African photographer Inge Prins, who designed her own print portfolio and asked us for help bringing it to life.
Little Rock, Arkansas based photographer Karen E. Segrave has a lot to be excited about these days. Back in October, she contacted Wonderful Machine about creating a new print portfolio and print promos, and we were more than happy to help her out.
I’ve been working with Reno-based member photographer, Jamie Kingham, for a few months now and really love his fresh and upbeat approach to Lifestyle and Brand Narrative photography. After getting him listed on our site, the next step was helping him make a portfolio to send out with our Associate Producers during our client-facing Portfolio Events.
In our efforts to promote our photographers for one-on-one meetings with our clients during our research and outreach process, I was grateful to have received a response from the photo assistant of The New York Times Magazine…
Last winter while in sun-drenched Miami, I had the chance to meet in person with Rolando Diaz. Rolando had just joined the site and wanted to do everything possible to improve his profile and help us market his work.
Inti St. Clair recently approached me about making some changes, as she was poised for some major shifts in her business: a move away from stock towards more assignment, and a move from Seattle to St. Louis! Inti’s been a WM member for a long time. I enjoy her work and always love chatting with her, so of course I was excited to work with with her on a web edit and print portfolio.
Samantha Wolov is a beauty and fashion photographer with an art history background so, to her, knowing why is often as important as knowing what. After I sent her the final edit for her mini print portfolio, she replied, “I like hearing about thought processes. Can you tell me why you picked the images you did? You probably see something I don’t,” I was incredibly excited that she was so curious and engaged in the process.
I’ve had the opportunity to consult with many skilled photographers over the years, but when Joe McNally’s studio manager contacted me about working on their print portfolio, I was both excited and flattered. For 30 years, Joe has been busily shooting for LIFE, National Geographic, and dozens of other well-respected publications. With all that on his plate, he hadn’t updated his portfolio in some time.
Columbus-based photographer Matthew Carbone needed to reboot his website and print book, and since he was driving through on his way to client meetings in New York, stopped by to discuss the process. He was also looking to change gears a bit; up to this point Matt’s clients had been mainly architects. While he enjoys this work and will continue to shoot for them, his goal is to market to more commercial clients.
Meet George Qua-Enoo: Whether he’s shooting gorgeous models in Toronto or documenting daily life in his homeland of Ghana, he brings out a richness that stylishly unifies his imagery. Already having a cohesive photographic identity, George came to me looking for a way to strengthen the unification of his presentation, and I happily jumped on board to help.
Last summer, I had the good fortune of editing a gallery of Edgar Artiga’s recent work, and the imagery he sent left my monitor sizzling. So when Edgar recently approached me about putting together an all-new website and print portfolio, naturally I prepared to hit the ground running.
In hindsight, Dom Romney’s portfolio might have gotten a bit out of hand, but this can happen when an enthusiastic photographer is willing to entertain pretty much any idea I throw their way. What started out as a simple portfolio edit is now a portfolio/leave behind/mailer/powerhouse.
I recently completed editing a new print portfolio for Miami-based photographer Dana Hoff. Dana shoots primarily architecture and food and decided his old books were no longer up to snuff. To get a sense of where he was coming from, I browsed through his old portfolios and let him know I thought a new book was a good idea—his old ones seemed, as I put it to him, “a little wacky.” They were longer than they needed to be, and a bit scattered. Often, I find that photographers approach portfolio editing as they would their blogs, just continually adding new work without removing the old stuff.