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COMMUNICATION ARTS PHOTOGRAPHY ANNUAL 60

Tatsuro Kiuchi Deeplocal Terri & Sandy Strohl 60 Years of Photography Exhibit

July/August 2019 Twenty-Four Dollars commarts.com

JULY/AUGUST 2019 VOLUME 61, NUMBER 3

COMMUNICATION ARTS ��

FEATURES

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28 Tatsuro Kiuchi

by Rebecca Milner This Tokyo-based illustrator provides serene scenes for readers to enjoy moments of quiet contemplation.

36 Deeplocal

by Joe Shepter This Sharpsburg, Pennsylvania–based creative technology agency is engineering wildly fun experiential marketing.

44 Strohl

by Alessandra Wollner From a garret studio in San Francisco, the design duo smoothes meticulous research into effortless brand touchpoints.

COVER

A green tree python was the subject of a new PetSmart reptile project.

Photographer Lennette Newell, p. 92.

�� 52 Terri & Sandy

by Ellen Shapiro Rooted in their kind company culture, the staffers at this New York agency create feel-good ads that reinvigorate brands.

61 Exhibit

The latest and best in visual communication from here and abroad.

67 60 Years of Photography

A sampling of work and commentary by some of the photographers who have been featured in the pages of Communication Arts.

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PHOTOGRAPHY ANNUAL 75 99 108 134 139 161 162 178 194

Advertising Books Editorial For Sale Institutional Multimedia Self-Promotion Unpublished Student Work

FRESH Editor/Designer Patrick Coyne Executive Executive Editor Editor Jean Jean A. A. Coyne Coyne

198

Chung Choon In Seoul, South Korea, two experienced designers keep their work fresh by employing expressive letterforms.

200

Ryan Garcia Guided by flat colors and smooth lines, a Toronto-based illustrator is embarking upon the world of animation.

202

Vicky Grout Inspired by the music and street culture of the United Kingdom, the photographer keeps the beat of her subjects.

COLUMNS 10

11

Advertising Ernie Schenck musters creatives to endure the scrutiny of their peers.

18

Design Culture In Rome, Wendy Richmond listens carefully for the call of new inspiration.

Emerging Media Yolanda Zappaterra reveals the creative process behind three recent generative design projects.

22

Insights In a Q&A, cartoonist and coach Jessica Abel shares how she’s helping others develop creative focus.

14

Creativity In-house creatives show Julie Prendiville Roux how they’re empowering the brands they work for, and vice versa.

26

Voices Rebecca Robertson finds that the photography industry is reckoning with new technology and old challenges.

DEPARTMENTS 5 8 24 204 206 210

Copyright 2019 by Coyne & Blanchard, Inc. All pieces reproduced in this issue are under prior copyright by the creators or by the contractual arrangements with their clients.

Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership.

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Daniel Sambrano Design/Production Associate Isabel Bagsik Design/Production Associate Joni Rivas Production Assistant/Customer Production Assistant/Customer Service Representative Service Representative Khader Yanni Khader Yanni Competition Coordinator/ Archivist Administrative Assistant Nancy Clark Lewis Rachel Whitaker Software Engineers Jiping Hu Archivist Srividhya Gopalakrishnan Nancy Clark Lewis

Technology Administrator Software Engineer Michael Hoyt Srividhya Gopalakrishnan Advertising Director Technology Dirk Moeller Administrator Michael Hoyt Circulation Director Perry Fotos Advertising/Circulation Director Dirk Moeller Accounting Lois Vega Accounting Cesar QueiroloEditors Contributing Sam McMillan Wendy Richmond Contributing Editors ErnieMcMillan Schenck Sam Wendy Richmond Founder Ernie Schenck Richard Coyne (1926–1990)

Contributors/Directory Editor’s Column Favorites Book Reviews Index to Photography Annual 60 Overheard

Volume 61, Number 3 commarts.com COMMUNICATION arts (ISSN 0010-3519) is published six times a year (January/February, March/April, May/June, July/August, September/October, November/ December) by Coyne & Blanchard, Inc., 110 Constitution Drive, Menlo Park, CA 94025-1107.

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Managing Editor Managing Editor Michael Coyne Esther Oh Associate Editor Esther Oh Editor Associate Michelle Yee Editor At Large Anne Telford Editor At Large Anne Telford Art Director/Designer Jessica Reichard Art Director/Designer Production Joni Rivas Manager/Competition Coordinator Lauren Coyne Production Director Lauren Coyne Print Producer

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CONTRIBUTORS

DIRECTORY

Features

Featured in this issue

Rebecca Milner (rebeccamilner.com) writes about people and culture. She’s lived in Tokyo since 2002. For this issue, she interviewed Tatsuro Kiuchi at his studio in the city and found the illustrator to be as thoughtful as his artworks.

Deeplocal deeplocal.com Tatsuro Kiuchi tatsurokiuchi.com Strohl strohlsf.com Terri & Sandy terrisandy.com

Ellen Shapiro (visualanguage.net) is a graphic designer and writer based in Irvington, New York. She is the author of The Graphic Designer’s Guide to Clients (Allworth Press) and more than 200 magazine articles and posts about design, illustration, photography and visual culture around the world. In this issue, Shapiro profiles Terri & Sandy, a New York ad agency igniting good with refreshing campaigns.

Joe Shepter (shepter@gmail.com) is a freelance copywriter and ghostwriter who has written for global chief executive officers as well as for brands such as AT&T, CocaCola and Microsoft. In this issue, Shepter profiles Deeplocal, a creative technology agency in Sharpsburg, Pennsylvania, that’s rewiring experiential marketing.

Alessandra Wollner (alewollner.com) is a writer, radio producer and community organizer based in Oakland, California. For this issue, she visited the San Francisco studio of Strohl, a design duo marrying meticulous research with unbridled creativity.

Columns Julie Prendiville Roux is cofounder of Handmade (handmadeca.com), a full-service creative agency based in Los Angeles. Alongside her work in advertising, she is a screenwriter and author. In this issue’s Creativity column, she notes the agility and purpose with which three in-house marketing teams are moving.

Wendy Richmond (wendyrichmond.com) is a visual artist, a writer and an educator whose work explores public privacy, personal technology and creativity. Her latest book is Art Without Compromise* (Allworth Press). In her Design Culture column, she searches for the sparks of new work in Rome.

Rebecca Robertson is a freelance writer living in the Bay Area. She is a regular contributor to Photo District News, and a former photo editor. In this issue’s Voices column, she reports on how the photography industry is wrestling with new—and old—questions.

Ernie Schenck (ernieschenck.myportfolio.com) is a freelance writer and a creative director. He is an Emmy finalist, a three-time Kelly nominee, and an award winner at Cannes, the Clios, D&AD, the FWAs and the One Show. In his Advertising column, Schenck salutes the power of the critique.

Yolanda Zappaterra (yolandazappaterra.wordpress.com) is a London, United Kingdom–based writer and blogger. She writes about architecture, design, fine art, photography, food and travel for a range of European publications including Time Out and Blueprint. In this issue’s Emerging Media column, Zappaterra explores how designers have utilized generative design for creative projects.

Book Reviews

Exhibit Carpenter Collective carpentercollective.com Design Happy designhappy.co.uk Dieste dieste.com john st. johnst.com Diano Kitanovski diano.xyz Rosie Lee rosieleecreative.com RPA rpa.com TBWA\San Juan tbwasanjuan.com Thirst 3st.com 360i 360i.com

Fresh Chung Choon chung-choon.kr Ryan Garcia ryangarcia.ca Vicky Grout vickygrout.com

Advertiser’s Index Academy of Art Epson JSR MSI Professional Photographers of America Serbin Creative, Inc. Sharp Type Zahara Reps

197 C2 21 209 6 C3, C4 15 12

Call for Entries Typography 2020

23

Submitting Work commarts.com/submissions

Writer’s Guidelines commarts.com/write-us No responsibility will be assumed for unsolicited editorial contributions.

Adam Bell is a photographer and writer based in New York. His books include Vision Anew: The Lens and Screen Arts and The Education of a Photographer. He received a 2018 Individual Artist Fellowship from the New Jersey State Council on the Arts and is on the staff and faculty at the MFA Photography, Video and Related Media Department at the School of Visual Arts.

Michael Coyne is a freelance writer. Having previously worked for Communication Arts, he now plans on attending graduate school for a master’s degree in creative writing.

Communication Arts | commarts.com

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EDITOR’S COLUMN

Patrick Coyne

S

ince photography budgets continue to tighten, we were not surprised to see a decline in the quantity of commissioned projects submitted in the Editorial and Institutional categories. But our biggest disappointment was the Book category, both in the number of submissions and projects selected, after last year’s strong showing. However, we did see an increase in the number of self-commissioned projects submitted and selected in the For Sale, Self-Promotion and Unpublished categories.

“I think it’s getting more real, almost mock-documentary style, and

When the jury reviewed this year’s selections, they saw little of the contentious political discourse and natural disaster coverage that have permeated recent Annuals.

“I didn’t see anything which stood out as far as photography

“Looking at the winners, I am surprised that classic themes are so strong,” juror Marysarah Quinn says. “The photos that move us still transport us to gorgeous landscapes, allow us to meet exotic characters, capture dramatic moments across cultures and elevate our human quests to a heroic realm.”

featured cannabis, especially a number of simple, beautifully lit and

“I was surprised by the Self-Promotion and Unpublished categories and the number of images I loved that have never been published,” juror Rob Haggart says.

“I thought that all of the entries were incredible submissions of artwork,” says juror Anna Alexander. “There were many pieces where I recognized the photographer just from their lighting technique—but so many other new and fresh shooters contributed.”

As in previous years, after just a few hours into the judging process, visual trends began to emerge.

“The color images were more sharp and saturated than I have seen in a while,” says juror George Simhoni.

“The desaturated look of color photography was gone.”

“It’s not necessarily new, but I still love the dramatic lighting, saturated gels and colorful backgrounds photographers are using,” Haggart says.

“There’s a limit of course, but I saw many entries that are employing these techniques smartly.”

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Photography Annual 2019

way less Photoshop,” says Alexander.

“There was definitely an old-is-new theme running throughout,” Quinn says. “Kodachrome, Polaroid, emulsion edges, super saturated colors, diluted exposures—much of it at such a great technical level—were paired with vintage fashion, products and palettes. As observers, are we sentimental or afraid of the future?” techniques or trends, but what looked new to me was the subject matter,” says juror Melissa Le Nicol. “A vast number of entries executed still life images. Who knew pot could be so pretty?”

“Dogs, dogs, dogs. So many entries with dogs,” Simhoni says.

“Perhaps 30 percent of the entries were landscapes with someone standing way in the distance,” says Alexander.

“There were also a number of entries which featured female portrait, empowerment images,” Le Nicol says. “This is

ANNA ALEXANDER is director of photography at WIRED magazine in San Francisco, California. She has been producing photo shoots and commissioning WIRED photographers for almost 20 years; she recently took a twoyear hiatus from WIRED to serve as photo director at Dwell magazine. Alexander is the recipient of several gold and silver Society of Publication Designers awards for photography, and artwork she has produced has appeared in both American Photography and Communication Arts. Alexander holds a BFA in photography from the University of Arizona. She resides in the Marin County city of Novato with her husband and two children.

ROB HAGGART is the editor and founder of the popular photo industry blog aPhotoEditor, and the founder and chief executive officer of PhotoFolio, a customizable portfolio website builder. His clients are editorial and commercial photographers who regularly receive awards for their websites’ design. While spending eight years as director of photography for Men’s Journal and Outside magazine, Haggart reviewed thousands of websites and developed a list of user-friendly features that would become the foundation for PhotoFolio. Haggart works remotely from Durango, Colorado, where he spends his free time skiing and mountain biking with his wife and two children.

Photographs by Steve Castillo

capturing personal experiences and stories and then selling them later.”

understandable given the last couple of years and the sheer number of articles written about the #MeToo movement. Women definitely took the center stage this year with those strong, heroic-looking portraits.”

When asked about the future of commercial photography, several jurors expressed concern about the impact social media and smartphones are having on the profession.

“Every year, Instagram influencers and other self-taught photographers are creeping into the commercial market,” says Le Nicol. “Everyone with a phone believes they can shoot a beautiful photograph.”

“Our phones and computers have devalued photography,” Quinn says. “Everyone thinks they can do it, and budgets are getting tighter. I do think there is money to be made by photographers

MELISSA LE NICOL has more than 20 years of experience in the advertising industry, beginning her career at Leo Burnett as an art producer; moving on to represent photographers, illustrators and CGI talent; and then producing at Ogilvy and DDB. She is currently vice president, senior art producer of Cramer-Krasselt. Le Nicol has produced awardwinning campaigns for Luna Corona, Cotton Council International and more. She enjoys a variety of interests, including being a martial artist, motion-capture talent for a video game, acupuncturist, private investigator, genealogist and DNA hunter. Le Nicol lives in Chicago with her husband, Christophe, and cat Heidi.

“All these tech companies need strong imagery to compete for finite slices of our attention, and they’re beginning to see the value of professionally made imagery,” says Haggart. “It’s only a matter of time before there’s stiff competition for the best photographers.”

“The human thirst for visuals feels insatiable,” Quinn says. “Waiting on the subway platform, everyone is scrolling through their Instagram and Facebook photo feeds, hearting the images that speak to them at a lightning pace.”

A minimum of four out of five votes was required for a project to be awarded in this year’s competition. I would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 60th Photography Annual. ca

MARYSARAH QUINN is senior vice president and creative director of The Crown Publishing Group’s Clarkson Potter, publisher of lifestyle books and gift products.

She has spent her more than 30-year career as an art director at the imprints of Penguin Random House. Her books have been featured in the AIGA 50 Books/50 Covers show, the James Beard Awards, the Book Industry Guild of New York’s Annual New York Book Show, the International Association of Culinary Professionals Cookbook Awards and Print magazine. Quinn’s lifelong obsession with food, books and art made publishing a natural career destination.

GEORGE SIMHONI’s photos have been described as a blend of art and photography. Since cofounding Westside Studio in Toronto in 1985, Simhoni has shot for the world’s most loved and well-known brands, and he has received recognition as a leader in the photography field and winner of numerous awards, including from Communication Arts. He has also mentored many of Canada’s up-and-coming commercial photographers. His philosophy is that if you plan the shoot well, you have the time to “allow the magic to happen.” Simhoni says, “If I can stop someone and give them a momentary thoughtful pause, a smile or a thought, then I have accomplished my mission.”

Communication Arts | commarts.com

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ADVERTISING

Ernie Schenck

Have You Ever Run The Creative Gauntlet?

A

form of punishment in which the culprit was made to run stripped to the waist between two rows of men who whipped and beat him as he passed by. These beatings were extremely severe and the victims often died as a result— and many of those that didn’t may well have wished they had, as survivors were sometimes executed afterwards.”

But if you’re honest with yourself, you run the gauntlet, you take

This, according to the internet, is what it was like to run the gauntlet in ancient times. I know. Barbaric in every sense, right? The very idea of being forced to subject oneself to something like that, well, it’s appalling, I tell you. Sickening. Disgusting. Cringeworthy to a fault.

something? What if I did? What if I’m a poseur? What if I suck?!!!

Except I’ve been there. That’s right. And not just once or twice but many times. Was it painful? Sometimes. Did I learn something?

Always. And here’s the kicker. I think we’d be better off if we all put a little more gauntlet in our lives.

wall, leave them up there, let them simmer and bubble until the

Of course, in the gauntlet I’m talking about, instead of being flogged by metal gloves, ropes and spears, it’s the scrutiny of your peers that is mercilessly beating your ego to a bloody mash. Let me explain.

it’s different. Coming back to your work with fresh eyes is fine. But

your lashings, and you go home that night and you think about it.

At first, you think, what do they know? They don’t get it. They don’t want to get it. They’re envious. They’re bitter. And then it settles in. What if they’re right? What if this amazing, kick-ass idea of mine isn’t nearly as amazing or kick-ass as I think it is? What if I missed Linds Redding was an art director, designer and animator who died of cancer, but not before he did a poignant piece in his blog where he wrote about what he called “The Overnight Test.” He recounted how, early in his career, he’d spend the day tacking ideas up on his next morning, when he’d come in and look at those same ideas, but with new eyes, eyes that suddenly saw things they hadn’t seen before. The same thing happens when we run the gauntlet. But coming back to it after getting spanked by your peers—this is so much more motivating.

Sometimes the gauntlet can be one person. I know a guy who’s a global chief creative officer for an international agency. But once, he was just another writer. He asked me to lunch one day but wanted to know if I could meet him at the office first. He had a new campaign he was working on and wanted to see what I thought. After a few minutes, he couldn’t take it anymore.

Coming back to your work with fresh eyes is fine.

But coming back to it after getting spanked by your peers—this is so much more motivating.

Imagine you work for a place where the creativity bar is insanely high. Where virtually every creative on the payroll is no stranger to the awards shows. Where not a single one of them is easily impressed. Now imagine that despite this, you know that no matter how good you feel about an idea, no matter how killer you believe it to be, you know that until those creatives, those take-no-prisoners peers of yours, ordain that idea, it’s untested. Unblessed. Maybe it’s something. You don’t know. And you won’t know until you go before them. Until you run the gauntlet.

This is no easy thing. With few exceptions, we are all such delicate creatures. I tell you, no matter who you are, no matter how heavily laden your shelves might be with Lions and Pencils, to get a blank stare from one of your own, to get a muttered “It’s OK,” to get a shrug from an intern, this is crushing. And the worst of it is knowing that no matter what you say, no matter how you try to defend your brilliant idea, the gauntlet sees only what the gauntlet sees. Bullshit is bullshit and that is that.

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Photography Annual 2019

Him: Yeah, so?

Me: I like it.

Him: But you don’t love it.

Me: I like it a lot.

Him: What’s wrong?

Me: Nothing.

Him: There must be something.

Me: It’s good.

And it was. But I hadn’t gushed over it. So, naturally, he thought about it overnight, made some changes the next morning and never asked me to comment on his stuff again. That’s OK. Because that campaign went on to win a Gold Lion. And all I said was, “It’s good.”

Like I said. Barbaric. ca

DESIGN CULTURE

Wendy Richmond

Call and Response

L

ast summer, after spending three years developing a multipart sculpture project, I felt that the work was ready for public exposure. By coincidence, I was losing my studio to a wrecking ball. I packed up the bulk of the work for an upcoming installation and a subsequent exhibition. The rest of the pieces, plus materials and tools, went into storage.

I found myself in a transition phase, and it was unsettling. I was not making work, and I didn’t know what I wanted to make next or where I would be making it. On top of that, there was a persistent voice in my head wondering, “Have I finished this body of work?”

As an artist, how do you know when to move on to something new? How do you decide what to leave behind, and what to carry forward? In the past, I’ve practiced a sort of laissez-faire approach, allowing new ideas to appear on their own timetable. But now, my discomfort required action.

My sculpture project was created in response to the illness and death of two family members. I know that the art I made at that time is complete. But the materials (and the emotions) are still demanding attention, like characters in an unfinished novel. Are there more stories to unearth?

At the Palazzo Massimo alle Terme, I spent an hour viewing the frescoes that had been found and transported from the ancient walls of the Casa di Livia and the Villa Farnesina. I was attracted to the colors and style of painting, but the call came instead from what was missing: the areas of the frescoes that had been lost.

I could see where pieces of history had vanished. Later that day, I went to my studio and made a handwritten list of verbs to be used for drawings: erode, cut out, erase, smudge, suppress and so on.

More trips yielded more calls. Some excursions were deliberate: I sought out—and was inspired by—historic artifacts that were preserved and protected in museums. But other experiences were unplanned, like coming upon a garden of broken terracotta urns held together by strips that looked like sutures: fasteners to mend what had come apart. Back in the studio, I ripped pieces of paper and then stitched them up using the needle and thread from my mini sewing kit.

One call was not from what I had seen, but from a vivid description by a fellow artist. An architect described his visit to Cuma Antro della Sibilla, near Naples, and showed me photos of an oculus through which an orb of sunlight poured into the ancient space. In my studio, there was a circular window; every morning, a bright ball of sunlight lit up the wall. My response was not to make anything, but simply to pay attention—to glance up every now and then to see how far the orb had crawled.

As an artist, how do you know when to move on to something new?

Some of the sculptures resemble fragments of broken statues from an archaeological excavation. They hint at damaged pieces of a puzzle waiting to be restored and reassembled. So I applied for a short residency at the American Academy in Rome, with a proposal to explore the antiquities of ancient Rome and investigate their connections to my own “artifacts.” At the Academy, I would be surrounded by artists and scholars, and have access to the extensive library and a studio. All of these factors, I hoped, would help me to move from previous work to the next stage.

I prepared for my two-week residency by planning a daily itinerary of major sites. But soon after I arrived in Rome, I realized that any progress would require a balance between sightseeing and disciplined studio time. What I needed was a routine of “Call and Response.”

“Call and Response” is usually used in music, where a phrase is called out and an individual or a chorus responds. Now think of it from an artist’s point of view: something calls to you, and you respond by translating that spark of inspiration into physical material.

None of these exercises was meant to lock down a direction, let alone produce finished pieces. Instead, they offered metaphors for the transition from old work to new.

With only a few days left at the Academy, I finally got to the library.

I wanted to check out a book of portraits of Roman emperors to make sketches. The librarian helped me open an account, and slid the keyboard to me to type in a password. But the keys were so well-used that the characters had mostly worn away, and were illegible. (I can’t touch type, so she had to enter my password for me.)

I brought the book to my studio, intending to make accurate drawings. But after I completed a few, I rubbed the charcoal until there were only traces. I was starting to decide how much to keep, and how much to leave to memory. ca © 2019 W. Richmond

Communication Arts | commarts.com

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Andy Mahr

Andy Mahr

Ashton Rodgers

Ashton Rodgers

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310 383-1985 zaharareps.com

CREATIVITY

Julie Prendiville Roux

Another Brand of Creative

Frames from “Get Ready” from Dollar Shave Club’s in-house agency. The video shows a variety of men getting ready in the privacy of their bathrooms, positioning Dollar Shave Club as a provider of more than just razors.

L

et’s be honest. Traditionally, the term “in-house agency” has evoked less-than, bland, safe. It’s been judged as the place where creatives go to gasp out their last campaigns, with the sword poised above. And yet, viral marketing and profiles of burgeoning brands are proving that the in-house level of thinking is kicking ass.

It turns out that a deep dive into one brand, that one truly believes in, can forward the thinking of creative problem-solvers, landing them in brain spaces quite unexpected. As Tim Roan, executive creative director at Lyft, puts it, “For the first time, as a creative, you’re not a rock star. Lyft is an engineering company. Here, the spin is product and business.” He’s clearly excited about the fact that the creative department spills over into other areas of the company, seeping into daily decision-making in everything from product line extensions to city ordinances to packaging.

Here are three examples of in-house entities proving that the discussion is no longer in-house “instead of” agencies. It’s now “as well as.”

Dollar Shave Club Looming large over Times Square in Manhattan at New Year’s was a giant billboard showing a wizened old man wearing nothing but an undershirt and his tighty-whities. He peers down into his underpants, taking a look at his “parts.” The headline reads: “Dollar 14

Photography Annual 2019

Cologne for Spraying on Your Neck, Wrists, Clothes or Even Your Junkyard Club.” Companion posters were papered over the entire Times Square presence, all replacing the word Shave in Dollar Shave Club, aka DSC, with a medicine-cabinet-full of the brand’s other grooming supplies.

Founded in 2011 by Michael Dubin and acquired by Unilever three years ago, the manscaping subscription service is clearly aiming, in this campaign, to show it is much more than quality, reasonably priced handles and blades shipped to your home. Seven years in, the brand is the ultimate makeover story, offering eight categories of product lines for all things grooming and thriving out of its Marina del Rey headquarters.

In a video cut to Steve Lawrence’s version of the song “I’ve Gotta Be Me,” a diverse variety of men, including a shop-worn worker, a dad, a drag queen and even Dubin (in a cameo), show how embarrassing, funny, cringeworthy and sometimes painful their bathroom regimes can be. The result is an engaging message that sums up with: “However you get ready, welcome to the club.”

Aptly named “Get Ready,” and running at 3 minutes and 40 seconds, the piece was designed to be edited into social postings, broadcast TV and other showings. Dollar Shave collaborated with production company MJZ director Steve Ayson, noted for his Old Spice campaigns for Wieden+Kennedy.

CREATIVITY

Frames from a 30-second spot by Squarespace’s in-house agency. It ran during Super Bowl 2018 as part of a larger brand campaign starring Keanu Reeves.

Dollar Shave Club’s work is all conceived and largely produced by its in-house creative team. It’s funny, frank and relatable. Matt Orser, senior creative director, says, “We have a core group who have been through the agency journey. We feel we’re doing some of our best work, in-house.”

Alec Brownstein, vice president of creative, executive creative director, was the first creative at the company. It began as a casual helping-hand conversation or project now and again with Dubin, whom Brownstein knew in college. Eventually, Dubin asked the writer to come on board and lead creative. “We’ve always run really lean,” Brownstein says. “Recently, a friend of mine who’s a creative director in an agency asked me about a project. When I told him how few people worked on it, he couldn’t believe it.”

That leanness extends to the overall structure of the company.

“We’re streamlined,” Orser says. “We think of an idea, we walk down the hall, we present it and if we sell it, we make it. People think in-house agencies are less creative and take fewer chances, but it’s the opposite. We’re part of the company—we’re not in any danger of losing the account. We can be even more daring and challenging.”

Matt Knapp, vice president of creative, executive creative director, says, “We’re all on the same team working toward the same goal: growing the business. When you’re in an agency, awards are what motivate you. When you’re inside, it’s the comments you see in social media that fuel you more than any award could.”

The best part about Dollar Shave Club may be that it retains the playfulness Dubin launched the brand with, even through immense growth and a sizable acquisition. That smells nice. (Kind of like DSC Calming Amber and Lavender body cleanser.)

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Squarespace The feedback loop. For Sandra Nam, creative production director, it’s key to efficiently producing on-point work for the website design and building company. “Speed, transparency and knowledge of the product—it’s the trifecta,” says Nam. “The creative team here is nimble and gets to execute very quickly on a lot of concepts that would typically take much longer on the agency side. In-house creatives understand the product better and deliver faster than ever. Especially if you hire people who are Swiss army knives.”

Started by Anthony Casalena in his dorm room in 2003, Squarespace has grown to a team of more than 900 and has provided an easy solution for millions looking to make beautiful websites. The creative department at Squarespace now numbers at nearly 60, and, as in other in-house agencies, it seeps into other areas of the business. “It’s not a silo model,” Nam says. “We’re involved on every level, so we get to be entrepreneurial. Our creative team isn’t part of marketing. Brand is shared by marketing and creative. It’s a very collaborative and mission-driven process, with the entire company working on a beautiful product that will help bring the customers’ dreams to life.”

For Super Bowl 2018, the team proclaimed “Make it Happen” with a Keanu Reeves adventure, in the form of a 30-second spot.

Directed by Jonathan Glazer, known for the movie Sexy Beast, it’s set in the desert landscape of Lancaster, California. Reeves rides his motorcycle down a lonely road—standing on the seat. Rather than avail himself of a stunt double, the actor, who’s known for doing his own stunts, performed the feat himself. Nam recalls, “The bike was moving at 35 miles per hour. Keanu was rigged onto the bike by a process trailer, and the bike was rigged to the process trailer as

From Lyft’s in-house agency. A bus shelter ad (left) publicizes the launch of Lyft’s scooter-sharing service in Denver. A frame from an episode of the Undercover Lyft online series (top right). In the episode, Chance the Rapper drives around Chicago as an undercover Lyft driver. OOH advertising (bottom right) let passersby know that they could access discounted or free Lyft rides to the polls on Election Day.

well. The rigs were removed in post, but he did the stunt and everything was real. Nothing was finished with effects.” Besides broadcast TV, the Squarespace team creates content for YouTube, Instagram and paid social, among other platforms.

Transparency and a unified end goal are the hallmarks of Squarespace’s model. “Our team is constantly iterating and finding ways to breathe new life into our product, enabling our customers to see just how dynamic our all-in-one platform is,” Nam says. “We might have a media buy, for example, but everyone’s open to changing the buy if we come up with a new thought. It’s been really nice to have the process so flat. We are basically laying the tracks together.”

Lyft Having come from Nike and Virgin America, and with a past as a well-known skateboarder, it’s a logical progression that vice president, creative director Jesse McMillin leads the creative efforts at a company designed to move people through space. Even the Lyft logo seems to be on the move, with its swishy letterforms.

Updating the logo was one of McMillin’s first jobs at the ridesharing company when he joined in 2014.

“Jesse is a big thinker who keeps an engineering company realizing that everything we do is a chance for people to love the brand,” says Lyft’s Tim Roan. According to Shachar Aylon, associate creative director, their work demands a 360-view of the brand mission.

He says, “We think about how many touchpoints the creative [has to] influence the brand. It’s this idea that you can come into a workplace knowing that what you’re doing is sustainable beyond work hours.”

The ride-share startup, founded in 2012 by John Zimmer and Logan Green, was originally known for its fuchsia mustache–festooned vehicles riding around town. Today, it’s a publicly traded company encompassing cars, scooters and bicycles. McMillin and his team, which numbers around 50, have grown with the burgeoning company. “I started four years ago, when [the company was] 400 people,” recalls Brian Button, associate creative director. “Now we’re pushing 5,000. Back in the beginning, it was Jesse and me and the cofounders in a meeting. We’d walk away feeling like we were part of something.”

Button likens the traditional ad agency model as “a game of telephone.” He says, “Maybe your creative director or an account person takes your work to the client, but he or she isn’t that familiar with it. At Lyft, we get to sit at the table while the work is evaluated, and we can advocate for it. It makes the work go faster too. When you have to move fast, like with social, we can’t wait a week to hear back.”

McMillin adds, “Social has enlivened us. It’s shaken up the creative landscape. We’re no longer doing a 60-second commercial—we’re now in a nimble environment. As a reaction, a lot of brands are developing their in-house agencies, making them stronger and stronger. It’s become necessary to bring creative closer to the brand.

It’s caused a lot of innovation.”

In a nutshell, from Roan: “I think we’re in a totally new era of in-house creative power. Someone left Wieden+Kennedy recently to go to Twitter.” ca Communication Arts | commarts.com

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EMERGING MEDIA

Yolanda Zappaterra

Redefining the Creative Process Yolanda Zappaterra previously covered the generative approach to design— and the expanding definition of what it means to be a designer—in an article titled “Generative design: Redefining the designer,” published in Communication Arts’ 2017 July/August issue. “Unlike machines, humans have preconceived notions about how things should look and perform,” she wrote. “Yet more designers are realizing thousands of design directions and solutions that we would almost certainly never envision on our own.” What does the work behind such solutions look like? To find out, Zappaterra explores three recent projects that have been enriched with data, algorithms or code, revealing how designers are continuing to experiment with generative design tools and redefine the creative process.

London-based studio MuirMcNeil devised a variable data system to create a unique cover design for each of the 68,000 publications in the 2019 London College of Music Examinations guitar handbook series. Readers can easily tell that the three covers shown above are for the same instrument and grade level—electric guitar, grade 4—through the consistent color palette and the degree of complexity and detail of the geometric design.

London College of Music Examinations 2019 guitar handbook covers, by MuirMcNeil

I

n August 2017, London-based graphic design studio MuirMcNeil caused quite a stir when it created 8,000 unique covers for Eye magazine’s annual typography special issue. Last year, the studio, helmed by Hamish Muir and typographic designer Paul McNeil, decided to go a step further. A very large step further. “We were approached by the London College of Music (LCM) in late 2017/early 2018. They had already embarked on a major revamp of their music

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Photography Annual 2019

examination handbook covers, and were keen to make use of the type of variable data printing we’d used to create the Eye covers for a coordinated instrument series,” says Muir.

For those 8,000 covers, MuirMcNeil had combined different fonts in three layers to generate around 8,500 letter combinations across ten visual fields, or “seed” patterns. For the LCM guitar handbook covers, it was dealing with a much more complex project: six instruments, from bass guitar to ukulele, with up to ten levels of difficulty for each instrument—so, 54 titles in total, and 68,000 publications in

The letters SSE, part of Sydney-based design agency For The People’s branding for the Sydney School of Entrepreneurship, are shaped automatically by different data streams.

the series. “There had to be a clearly visible differentiation across six instruments—six discrete sets of covers that were ‘all the same, but all different’ within the series,” says Muir.

Using “FontLab + InDesign + a calculator + trial + error,” MuirMcNeil set about devising a variable data system to realize its idea, using typefaces from its TwoPoint, TwoPlus and TwoBit type systems to create a series of six multilayered visual fields, or “seed” compositions, sections of which were then zoomed, cropped and color adjusted. The type composition for each instrument uses a consistent color system, modified at the output stage with a color filter overlay unique to each instrument group. To represent the different skill levels in the series, the seed compositions were scaled in calibrated increments, zooming deeper into the artworks for the early levels and revealing more of the textual basis of each composition for the higher levels. Within the parameters of that hierarchical structure, the covers were generated randomly. The final result is a coherent yet completely unique cover design for each of the 68,000 handbooks in the series.

“For us, there are many benefits to working in this way,” says Muir.

“There is the thrill of seeing unexpected features that challenge one’s aesthetic and compositional sensibilities. There is the possibility of avoiding ‘ideas.’ There’s the joy of planting small seeds that grow unpredictably into myriad forms. There’s the fascination of seeing the ‘rules of the game’ being played out autonomously and automatically. There’s a refreshing sense of detachment from the results—you have to let go of individual intentions, which is very good for the ego.”

Sydney School of Entrepreneurship identity,

by For The People When Sydney design agency For The People was commissioned to create the branding for the Sydney School of Entrepreneurship (SSE), a new collaboration bringing together the best student entrepreneurs from twelve New South Wales (NSW) educational institutions, it took up the opportunity with enthusiasm.

Charged with reflecting the diversity, energy and purpose of SSE, For The People began exploring how different data streams could inform the outcome of the identity. The three streams that the agency developed center around the school, its students and the economy; for example, “school” draws on the physicality and day-to-day activities of the school, such as enrollment, the number of courses and social media mentions, and “economy” draws on publicly available data on the state of the NSW economy. These data streams inform how the letters SSE, which make up the school logo, will look by tweaking things like the thickness of the letters and the graphic elements making up the letters. “So, in essence, the logo is a record of how the economy is tracking over time and how the school’s impact might directly affect that. It’s a 20-plus-year experiment, as the whole point of the school is to build up Australia’s entrepreneurial future and help generate future successful businesses that help build a stronger economy,” says Jason Little, executive creative director and cofounder of the agency.

The result is a changing SSE identity, which, on any given day, will have slightly different characteristics shaped automatically by fluctuations in economic activity and the impact of the school. The process of developing the system constantly shifted and was affected by the process itself, Little recalls. “The build and construction were throwing out some unexpected outcomes, which then played back into the development. So the process was informed by the outputs we were getting, and we adjusted and evolved the system accordingly,” he says. “As for the data feeds themselves, we were essentially building a program that could take in a variety of data and generate a very wide number of outputs using a number of constraints within minimal and maximal values. Then, tweaking as we went to make it a feasible identity that could also be usable.”

The resulting brand and experience, pushed out across digital, communications and environmental media, is a vibrant, dynamic piece of generative design that constantly reflects the school, its students and its evolution. Using generative design on such projects, Little enthuses, “is certainly helping us get to more potential Communication Arts | commarts.com

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EMERGING MEDIA

Three posters for the 2018 edition of the Festival Archipel, part of the visual identity by WePlayDesign. The Swiss design studio developed an algorithm that created myriad poster variations. Each of the 500 posters that WePlayDesign ultimately chose is completely unique. Cédric Rossel/Sophie Rubin, art directors; Cédric Rossel, type designer.

outcomes faster and then choose from those. It’s just a question of [how much] time [will pass] before much of what we do is replaced.

Algorithms are now—and will continue to become—essential tools for us to do our jobs more efficiently and more effectively. Time is our most valuable asset, and the ability to off-load certain tasks is a natural progression.”

Festival Archipel posters, by WePlayDesign Swiss design studio WePlayDesign has a strong track record of creating award-winning identities and posters for music festivals.

One such recent project was for the 2018 edition of the Festival Archipel, a series of events and concerts in Geneva, Switzerland. “At the heart of this edition, called Ecce Robo, was the questioning of the relationship between the human and the machine in musical creation,” say the agency’s cofounders and art directors, Sophie Rubin and Cédric Rossel.

With an earlier poster series (for Les Concerts du Mercredi 2017–18), WePlayDesign had developed a generative design approach, which culminated in a series of unique posters and programs. With the Festival Archipel project, the agency wanted to continue working in this generative way, reflecting the theme of the festival by literally questioning the process of creation between man and machine in graphic design. Having learned during the Mercredi project that well-framed randomness can give good results and meet the needs of a communication project in unique ways, Rubin and Rossel felt confident in going further with the Festival Archipel work, delegating more tasks—including the creation of images and more freedom around the layout—to the computer.

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Photography Annual 2019

They began by imagining and defining the initial functions of the algorithm, and then developed it as a parameterizable tool, using a text and code editor for script writing and code development. “It was a more complex project than anything we’d done before because the number of possible combinations, both in the creation of images and in the layout, was far greater than anything we had created before; more permutations than we ever imagined. We were surprised by the posters composed by the algorithm, and our role became that of a curator who has to make choices to arrive at the 500 posters that make up the series,” Rubin and Rossel say.

For them, the balance of man and machine is a fascinating one that intrinsically changes the role of the designer. “As designers, we are used to answering a problem and quite quickly considering the visual form that answer will take. But because the machine performs some of the tasks usually determined and controlled by the designer, writing an algorithm requires thinking and organizing the creative process differently,” they say. “This amounts to defining at the outset the creation process and accepting that you will lose some control over the randomness with which the machine will execute your orders.”

The problems inherent in such a way of designing make the process a new and exciting one. “Too precise a script will result in a surprise-free result and automatically undermine any creative interest,” Rubin and Rossel say. “Conversely, a script that is too inaccurate will generate visuals that will surely be surprising, but will probably not meet the needs of a communication project. The difficulty lies in the balance of the space left to the machine and that left to the designer.” ca

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INSIGHTS Jessica Abel Escaping Idea Debt

Cartoonist and coach Jessica Abel has brought project after project to life, in turn helping others struggling to finish their own. Her graphic novel La Perdida, about a young woman’s experiences in Mexico City, her documentary comic Out on the Wire, which digs into the storytelling techniques of narrative radio, and her graphic novels Trish Trash, a sci-fi adventure about a hoverderby player on Mars, are just a few examples of her steady and creative output as an author. Anyone floundering in the shallows will do well to read Growing Gills, her practical guide on how to clear out anxiety and procrastination and find deep focus. Her guidance extends beyond the pages of books. She is the chair of the Illustration program at the Pennsylvania Academy of the Fine Arts, and outside of the classroom, she offers such resources as her Creative Focus Workshop, which encourages those parched for productivity hacks to instead do the hard work of creating stable systems. Abel is illustrating the story of the sustainable creative life. —Esther Oh

How did you get started making comics?

I started reading comics around what you might call the predawn of the graphic novel era. When I was in high school, a few major works came out, including Maus, Dark Knight and the Watchmen. That was also the first wave of the “Biff! Bang! Pow! Comics Aren’t Just for Kids Anymore!” articles, which were part of a sense © Maria Teicher that this was a turning point for a new medium.

Which it was. It just took a lot longer to turn than I realized it would.

When I got to college, I discovered Love and Rockets by the Hernandez brothers, among other complex and mature works. That was a huge influence on me because I went from being a really big comics fan to wanting to make them myself.

Really, the interesting question is not so much how I got started making comics—because comics are an incredible art form—but why I keep making them now that I’ve figured out how hard they are to do and how hard it is to make a career out of them. I don’t know that I have the answer, but it’s a good question I’ve often asked myself.

How have your experiences in France and Mexico informed your work as a storyteller? I lived abroad in Mexico from 1998 to 2000.

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I was working as an illustrator for American clients and earning dollars while spending pesos, which made those two years the first time since I was fifteen that I’d been able to not have a day job. That was when I began working for myself as an artist, and it was a major step for me.

When I moved to France for four years, the move itself was a much bigger deal. I was a homeowner, married, with two kids, teaching, in the middle of a couple of books, editing The Best American Comics and just absolutely at my limit. My husband was as well. When we left, I went from having an absolutely jam-packed calendar to having a totally empty calendar, and I suddenly felt able to decide what I wanted to do with my time.

In both cases, the freedom I experienced had less to do with the place itself than not having a full, structured life. I artificially created this enormous margin to think and breathe. And in both cases, by the time I left, life was just about as busy and full and crazy as it had been before I arrived.

Gaining margin—time and space—even temporarily is an amazing benefit to living abroad. But, in a larger sense, for any artist or creative person to spend a period of time living abroad—and I don’t mean a few weeks, I mean months or ideally years—is an invaluable

experience, especially when you’re creating narrative art. I wrote a blog post about it, where I came up with a metaphor that I think explains this: bas-relief sculptures.

Characters from your own culture are like bas-relief sculptures. You can describe parts of their outlines and see how they’re different from one another, but they’re built into this bedrock of culture that’s invisible to you because you’re a part of that same substrate. You can’t see all the way around your American-ness—or wherever you’re from–ness—until you can see it from the outside. From the inside, it’s really hard to understand what it means, in my case, to be an American, or an American woman, or a White American woman. But when you can rip yourself from that bas-relief block of stone that you’ve been attached to from birth, so much becomes understandable—and much more useful from an artistic point of view.

You offer advice and coaching to help creative people take full control of their lives. What’s an example of something you’ve written about that’s resonated with others? My best-known article is called “Imagining Your Future Projects Is Holding You Back.” It’s about the concept of “idea debt,” a term that came from cartoonist Kazu Kibuishi. I was interviewing him for my Out on the Wire podcast, and he was talking about how impossible making his huge, seven-part graphic novel Amulet would have been if he’d thought about it too hard.

He said that he sees a lot of younger cartoonists carrying around this huge burden of what he calls idea debt.

He used the analogy of snowboarding. When he’s going down runs, he often sees young snowboarders gathered around the tops of jumps, checking them out. It looks like they’re assessing the situation, making sure they’re going to take the best path. But, as Kazu pointed out, they’re getting colder as they stand there. Also, the overwhelming hugeness of hitting that jump and being cool and making it awesome is getting bigger and bigger as they stand there.

His philosophy is: hit the jump or skip it.

As I see it, there are two kinds of idea debt. What Kazu is mostly talking about is what I call Type P, for perfectionism. You allow something to get bigger and bigger in your mind, and then your ability to actually achieve what you imagine gets weaker as you sit and think about what it could or should be like. The flip side is what I call Type N, for nostalgia, which is when you hold on to an idea for so long that you feel like you owe it to some earlier version of yourself to shepherd it to fruition.

How should creative professionals measure their productivity?

I help people with productivity, but I resist putting productivity as a first concern. We are not machines cranking out widgets. We’re creative professionals, making work that adds sublime value to the world. Part of our job is to create and safeguard space and time to think, and to go into a place of flow where we can create things that will change the world in some way. If you’re producing that kind of work, you are productive enough, and you simply need to continue to guard that time. ca

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Five Photographers Share Their Treasured Finds AMI VITALE

JOSHUA KISSI

Insightful book: The Hidden Life of Trees: What They Feel, How They Communicate—Discoveries from a Secret World. Author Peter Wohlleben shows us how trees are more like us than we could possibly fathom, and that we should have more humility in order to recognize the impressive intelligence of species we view too simplistically. He makes powerful analogies to remind us of the intricate web we share and how connected we all are. Just like a forest, we need to take care of one another for all of us to thrive.

Unexpected inspiration: Going to Broadway plays has been inspiring to me as of late. It’s interesting to see how the crew lights the stage, how actors move and how all of these details impact the audience’s experience. Photography is all around us; it’s important how we take it in.

Missoula, MT

Creative visionaries: Jimmy Chin and Elizabeth Chai Vasarhelyi’s Free Solo. They brought cinema to the documentary world and are pushing the boundaries on so many levels.

Stress relief: Bikram yoga and remembering to breathe.

A massage helps too.

Self-motivation: Walk into the world like someone who has just discovered color and that unicorns exist. Take a brave step into your quest for an extraordinary life. The first step is always the hardest, but it’s going to create a chain reaction for every life decision you make going forward. Become your own catalyst and do it now.

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New York, NY

Go-to planning app: I use Evernote to store all of my thoughts, ideas and plans. It’s amazing because it’s on Google Cloud, so I can access it from anywhere, even if I’m not by my phone or laptop.

Increasing diversity: Photography didn’t fall into my lap. I didn’t know it could be a viable career choice until my midtwenties.

The journey toward everyone having a voice in photography has challenged me. It’s an ongoing process, but as long as there is more representation behind and in front of the lens, this makes the journey—not just for me, but also for others—easier to digest.

Emerging talents: I love what Donté Maurice (@dontemaurice) and Dawit N.M. (@dawit_nm) are doing.

LINDSAY SIU

JUSTIN CARRASQUILLO

JULIA NIMKE

Vancouver, Canada

Los Angeles, CA

Berlin, Germany

Reliable lighting: For projects requiring both stills and motion, I’ve been digging the Arri SkyPanel LED lights. I love its portability, its color temperature range and all the accessories. The remote control is also awesome for when you’ve got your lights set up impossibly high or need to move quickly, or if someone’s feeling lazy and doesn’t want to move her or his feet.

Organizational lifesaver: My file naming structure, which has evolved over the years. In terms of applications, I use three for organization: Adobe Bridge, Adobe Lightroom and Photo Mechanic.

Thoughtful leader: Jill Greenberg is challenging the commercial photography industry with her fight against gender inequality. In editorial and commercial photography, male photographers outnumber female photographers, despite most advertising being geared towards a female audience. So, Greenberg launched Alreadymade, an all-female, curated directory of photographers, directors and branded image creators. She’s also started a conversation about the differences between the male and the female gaze, and what different qualities a female photographer can bring to a job.

Keys to success: The ins and outs of CGI from step A to Z. And working as a professional automotive retoucher for a couple of years.

Enlightening read: I read To Shake the Sleeping Self: A Journey from Oregon to Patagonia, and a Quest for a Life with No Regret by Jedidiah Jenkins earlier this year.

It’s about how Jenkins cycled all the way from Oregon to Patagonia. It was a pure pleasure to read this book and get insights into both the world around and within him.

It was a lovely mixture of a travel documentary and a diary, and it touched on the topics of childhood, dreams, expectations, faith and creativity.

Fun workout: I wish I could tell you that I do some sort of super hip exercise routine.

Instead, I’ll confess that my young kids and I are enrolled in a family kung-fu class together. It’s hilarious, but it’s also one hell of a workout.

Tech resource: CGI. I love it for automotive work, as it’s perfect, but a lot of car shooters don’t seem to be embracing it, which I think is a mistake.

Creative fodder: Behance, Pinterest and Google. I also have a few saved mood boards that I usually go to.

Dream collaborator: Photographer and filmmaker Anton Watts. His work has inspired me for years.

End-of-day reward: Sleep.

Mind-blowing work: I recently stumbled across the work of Michael Novotny, a Czech photographer living part-time in Iceland. His series Iceland – home away from home is intimate and raw.

One to watch: I love the work of Reuben Wu. To me, he is a true artist—someone who not only has extremely clear and beautiful taste, but also finds new ways of defining how to “paint with light.” He uses drones with lights to paint landscapes at night.

Communication Arts | commarts.com

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VOICES

Rebecca Robertson

Photography’s Next Revolutions

S

ixty years ago, in 1959, one of the primary ways Americans understood the world was by looking at photographs in magazines like Life and Look, where multipage photo essays covered topics ranging from the space race to Marilyn Monroe.

But even then the media landscape was changing—that year, Life reduced its cover price to compete with growing television viewership, and by 1972, the magazine had ceased weekly publication. Today, according to a recent Pew Research Center survey, more Americans get their news from social media than from print newspapers, and that online world is becoming increasingly image-driven, with the rise of Instagram and the greater ease of communicating through pictures alone. Photography is again a central component of how we make sense of the world, and more widely used than ever—by some estimates, we take upward of a trillion photos a year. But basic questions about photography’s meaning and its power are still being hashed out, and its future will be determined by the answers to those questions. What will happen when smartphones can take pictures that equal those made by professional cameras, or when computers can make convincing but entirely made-up photos? Whose stories do photographs tell, and who gets to tell those stories? What—and whom—do photographs tell us is beautiful, and what obligation do photographers have to make that beauty inclusive or attainable?

in smartphone cameras—AI-driven software helps make images that look like they came from better lenses or were made with better equipment. “In the past, photography was the domain of those with the expertise of using a DSLR to create different types of images, and what AI has started to do is to make the effects and capabilities of more advanced photography available to more people,” Simon Fitzpatrick, senior director of product management at computational imaging company FotoNation, told Digital Camera World last year.

The photo industry has been through countless ups and downs, but somehow photography always gets reborn, transformed into something new. “There have been so many times something has been labeled the next big thing, or ‘this is going to be the death of photography,’” says New York–based creative director Toby Kaufmann. “But things evolve and change, and really, that’s all you can do as a creative, is continue to evolve and change.”

AI has helped push new developments in image recognition software, which identifies specific types of objects and particular people, automating some of the photo editing tasks once performed by humans. It also helps synthesize new images, inventing human faces and landscapes that never existed. In one of the more startling examples, NVIDIA, the chip maker with an AI research arm, developed a system that produces convincing-looking photos of glamorous but fictional men and women, using a database of celebrity photos as its starting point. “We think we can push this further, generating not just photos but 3-D images that can be used in computer games and films,” Jaakko Lehtinen, one of the project’s researchers, told the New York Times recently. The technology could potentially be applied to other kinds of images, perhaps someday enabling users to generate imagery while bypassing professional photographers—and models—completely.

Along those lines, the past several years have seen the rise of a handful of computergenerated Instagram influencers and virtual models. Perhaps the best known of them, Lil Miquela, has more than 1.5 million Instagram followers. The product of a technology startup called Brud, she has appeared in fashion magazines, puts out her own music and even has a job as a contributing editor for a beauty website. While models like Lil Miquela aren’t strictly made with AI, their success has inspired investment in “digital beings who actually are powered by AI,” Julia Alexander wrote this year on The Verge.

According to many in the tech and imaging worlds, photography’s next metamorphosis will be driven by artificial intelligence (AI).

Articles abound about how AI and machine learning are transforming—or have the potential to transform—field after field, from medicine to transportation. As computers have become more powerful, AI systems have been programmed to use massive databases to improve their performance at a particular task, and “learn” over time. AI has been a crucial part of recent advancements

With its ability to create real-looking fakes, AI undermines photography’s already shaky claim to truthfulness, a claim that took a beating in the Photoshop age, when it became simple and easy to manipulate images. Since then, trusting what you see has only become more difficult. In one of AI’s more notorious applications, researchers at the University of Washington converted existing audio files of things Barack Obama had said into realistic mouth shapes, which were then blended onto existing videos of the

Whose stories do photographs tell, and who gets to tell those stories?

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Photography Annual 2019

president. Taking things a step further, BuzzFeed used Adobe After Effects and FakeApp, an AI-powered face-swapping program, to create a PSA in which Obama appears to be speaking words written and voiced by filmmaker Jordan Peele. (“How we move forward in the age of information,” Peele says as Obama, will determine “whether we survive or whether we become some kind of fucked up dystopia.”) These experiments highlight the danger that AI poses to the long-standing trust we place in video, and by extension, to our trust in all visual media. “More engaging and more believed than text, any and all photos or videos could become as doubted as a Photoshopped magazine cover,” wrote Jared Newman, an analyst at startup platform Betaworks Ventures, in Nieman Lab’s rundown of predictions about journalism in the coming year.

A new diversity Writing in the New York Times Magazine recently about a 19thcentury colonialist photograph, writer, critic and artist Teju Cole described a bleak status quo. “Photography’s future will be much like its past. It will largely continue to illustrate, without condemning, how the powerful dominate the less powerful.” One long-standing cause of this inequality (but certainly not the only cause) is that the majority of photographers and the people who hire them have historically been White men. Women and people of color have been underrepresented in the industry, and their perspectives have been frequently excluded from mainstream visual culture. In the past several years, there has been a push to challenge that and make the photo industry more inclusive, by encouraging photo editors to hire outside their usual networks.

Several projects have focused on making these marginalized voices easy to find. Diversify Photo (diversify.photo) was founded in 2017

by New York Times photo editor Brent Lewis and visual communication and digital media specialist Andrea Wise. The website presents

building networks, hiring, assigning and paying photographers who fully represent our global population.”

In her own work as a documentary photographer, Zalcman has emphasized collaboration with her subjects, making images that are compassionate and evocative rather than neutral or objective. Her ongoing series Signs of Your Identity explores the legacy of forced assimilation policies in the United States, Canada and Australia, through portraits and interviews with Indigenous people who survived them. For her, the drive to diversify photography is connected to a change in how we tell stories—in what stories we tell, and who gets to tell them. “At their core, both conversations are about questioning the lens through which we have seen the world for a very long time—and whether that’s via photojournalism, or history textbooks, or Hollywood films, the most visible storytellers who have shaped our collective worldview have been cisgender, heterosexual, White, Western men,” she says. “There is nothing wrong with that lens, per se—but if it is the only experience that informs how we see the rest of our world, that’s dangerous.

I believe that questioning the journalistic process and many of the traditional tenets of journalism ethics means pushing our understanding of what it means to tell stories responsibly, with empathy and with community involvement.” This approach is one path that Zalcman and others hope will lead to a more equitable future for photojournalism and documentary photography.

For Kaufmann, diversity is a question for fashion and beauty photography as well. Kaufmann has a small creative agency in Brooklyn and is currently the creative director for Pur·suit, photographer Naima Green’s project developing a deck of playing cards that celebrate members of queer communities. While she was executive photo director at Refinery29, Kaufmann was part of a push to change how the media and entertainment company pictured women, focusing on using models (and photographers) who looked more like their audience: racially diverse, with a range of gender identities, body shapes and sizes. The shift came out of “everyone feeling that they were sick of not seeing themselves in the content,” she says. But the results of that shift will only be clear in the future. “I actually don’t think that we’re going to see the full result. The real results will be in teenagers who in the past wouldn’t have been able to fit into the standard of beauty,” but through seeing themselves represented in media images, “will become more confident.”

The photo industry has been through countless ups and downs, but somehow photography always gets reborn, transformed into something new. the portfolios of several hundred photographers of color, mostly based in the United States, and provides their contact information to editors. Women Photograph (womenphotograph.com), also founded in 2017, promotes women and nonbinary visual journalists by bringing together portfolios from more than 800 photographers in close to 100 countries.

Women Photograph founder Daniella Zalcman hopes the project will someday become irrelevant. “I’ve always operated under the hope and belief that Women Photograph will cease to be necessary at some point in the future,” she says. While that point may be further away than she would like, “I truly hope that eventually, across the photojournalism space, editors, curators and gatekeepers will be

Does Kaufmann think that with these changes, photography can overcome its troubled history?

“No, absolutely not. It’s not possible. I think inherently photography has had a very long history of being racist and sexist,” says Kaufmann. The answer will be to work towards reinventing photography once again, image by image. “I think it’s about just doing new things,” she says, “digging deeper and working with new people and challenging yourself constantly.” ca Communication Arts | commarts.com

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atsuro Kiuchi loves old things. His Tokyo studio, Pen Still Writes, is strewn with oddities picked up from online trawls. An old library card catalog case that he has refashioned into drawers. Vintage glass showcases filled with model cars and American advertising memorabilia (a miniature Kool penguin, an oversized, ceramic Planters peanut). There are shelves of books, among them dozens the illustrator has worked on during his 27-year-long career.

On top of the cases are some stacked paper coffee cups— Starbucks ones with Kiuchi designs from the coffee chain’s 2007 holiday campaign. Industrial lights hang from the ceiling. It looks like he’s running a cafe, I tell him.

“I did have an antique shop for a few years, but it didn’t last long,” he says.

At 53, Kiuchi is boyish in an earnest, unguarded way. He dresses comfortably and casually and has a scruffy chin.

His affection for the past makes sense when you look at his work, which has a nostalgic feel to it. Something about his use of tone or texture that seems not quite of this moment, or of any particular moment really, unrooted in both time and place. He assures me that I’m not off the mark, that he sees what I’m saying. He just can’t explain how he has arrived at this particular aesthetic, or why he is so drawn to old stuff.

He gives it a pause, thinks and then shakes his head with an apologetic laugh—“I really don’t know.”

His apprentice, Hiromichi Ito, who also works at Pen Still Writes, offers a helpful prompt: “You hate plastic.”

Kiuchi rolls with it. “Yeah, you’re right. I don’t really like plastic.”

“You like solid things.”

“Like iron.”

“Like wood.”

“You like stuff that keeps its value over time.”

“Stuff that develops flavor over time.”

And there he stops. It’s not Kiuchi’s style to overanalyze things.

Long fascinated with the natural world, Kiuchi studied biology at Tokyo’s International Christian University. Over summer break his sophomore year, in 1986, he traveled around the United States for the first time, visiting a friend in New York City and then taking the Greyhound bus by himself to Niagara Falls and Chicago.

“I fell hard for America on that trip. At the time, America was a really aspirational place for a lot of Japanese,” he says.

By the time he was finishing up his degree, he knew that he didn’t want to continue in the sciences. (Too many formulas, not enough living creatures.) He’d long been a reader of influential Japanese magazine Illustration—a bible of sorts for aspiring commercial artists—and had taken some drawings around to publishing houses. None were accepted, but instead of being defeated, he was determined to study. Or to at least get it out of his system. And if he was going to give it his best shot, he wanted to go all in and study overseas.

He wound up at ArtCenter College of Design in Pasadena— his top choice—graduating with a BFA in illustration in 1991.

(Pasadena’s famous Rose Bowl Flea Market, meanwhile, is where he would first encounter his beloved “junk.”)

Back then, his medium of choice was oil painting, which remains his first love. In a corner of his studio stands an easel and canvas, which he indulges in his spare time. His favorite subject is his Shiba Inu, Chai (short for Tchaikovsky).

“N. C. Wyeth is where it all started for me,” he says of his early influences. He also studied directly with the late, great Phil Hays at ArtCenter.

“From oil painting, I learned about color, shadow and light, and I think that influence still lives on in my current work.”

Kiuchi’s first commissions, in the 1990s, were children’s books, all done in oils—dramatically different from his contemporary work, created entirely in Photoshop. In the early aughts, he began playing around with the photo-editing software, then in its infancy, as a cost-efficient and messfree way to experiment with color combinations for his paintings. He then hit upon a novel use of the program:

Right: “Book cover illustration for Pure Love Moratorium by Michiko Yazuki. This book is a collection of short stories about love: a man who kidnaps a girlfriend’s daughter, a woman in love with a stalker... Although the protagonist in each story is a bit too extreme and takes things too far, everyone is all pure and serious, and these pure emotions are somewhat comical. Love stories of men and women who are yet to be adults. So, I was asked by the editor to come up with a book cover illustration that shows love, but with a comic action that’s a little extreme.” Masato Takayanagi, graphic designer; Kaori Nanbu, editor; Shodensha, publisher.

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© Tatsuro Kiuchi

TATSURO KIUCHI layering color elements, one on top of the other, in the same fashion as printmaking.

He’d never formally studied printmaking, no more than what was covered in elementary and junior high school art classes, but he was pleased with the effect and the process.

What began as play became his signature style. He’s since been commissioned by newspapers like the New York Times, the Guardian and The Washington Post; publishers such as Simon & Schuster and Kodansha; and major corporations like Sony, Panasonic and Japan Airlines. He’s also done a stamp for the Royal Mail, a career highlight, and his work has been recognized

by American Illustration, Communication Arts and the Society of Illustrators.

“What’s great about digital is that you can adjust colors afterwards. So first I block things out, using local colors, and then when I finish it, I might add some filters. Or see what happens if, say, I change the color of the sky to pink,” Kiuchi says.

he explains. And then with a few clicks, he starts deleting, distorting and rearranging things to demonstrate how he goes about creating a composition. A woman grows tall, Alice in Wonderland–style. Trees are defoliated, only to reappear in the first flush of spring green.

I’m visibly pained to watch him mucking up his works for me, but he just shrugs.

Here is another thing you need to know about Kiuchi, Ito notes: “He’ll show anyone his process. He doesn’t conceal anything.” This is true—he posts videos of his works in progress on his website, and step-by-step photos on Instagram.

He also teaches illustration classes at a course run out of landmark Tokyo bookstore Aoyama Book Center.

Color is the most immediately striking aspect of Kiuchi’s work, and it is clear that he has fun with it. Less obvious, but just as critical, is his use of texture. He goes about this in novel ways, too. He moves from desk to table to show me how he creates raindrop patterns on palette paper with watered-down acrylic, brushing it on in broad strokes, watching it bead up and waiting for it to dry (after which he’ll scan it). A thicker coat of paint, on a page of a Moleskine notebook, is smooshed together to create a Rorschachlike blob, which, improbably, when scanned looks like the peaks and valleys of a drone shot of a mountain range.

(And even more improbably, the same image can be stretched to resemble wood grain.) In this way, he continues to experiment.

“Definitely digital media freed up my use of colors. In oil paintings, I tend to use warmer colors, more earth tones.

Reds, oranges and yellows. But when I started doing digital paintings, I tended to use blueish colors—so there was a shift there. It’s easier for me to use more saturated colors in digital.”

“You can create textures within Photoshop too, but it all looks the same,” he says.

At his desk—a drafting table purchased from a local antique store—Kiuchi brings up some examples of his work. An early cover that he did for a Japanese novel, The Wind of Washington Heights. A more recent spread for Golf Digest magazine.

Though he may sketch some works out on paper first, he usually draws directly on a tablet using just Photoshop’s brush and eraser functions. Each element is its own layer,

“These days, I’m really inspired by some of the younger Japanese illustrators coming up. People like Taku Bannai, Tomoko Hara, Shinichi Nakayama, Heisuke Kitazawa, Yoriyuki Ikegami and Hiroki Nishiyama. They still draw using artists’ paint and traditional artists’ materials.”

Kiuchi’s techniques allow for more irregularity and singularity, which gives his work that handmade quality—something he values.

In his own work, he says, he aims “for a kind of elegance, but also for enjoyment.”

Right: “For Block, a design and culture magazine based in Toronto. I was asked to come up with an illustration of an imaginary infill project, as though I had an empty lot between two buildings in an urban context, which I could fill with anything I liked. It didn’t have to be the slightest bit feasible, so I created large stairs and a slide. The entire scene was my imaginary creation, including the two buildings on each side of the stairs.” Catherine Dean, photo editor; Block, client.

“This is one of my cover illustrations for a monthly brochure titled Rhythm of Green, issued by Ishibashi Cultural Center in Kyushu, Japan. The Ishibashi Cultural Center is a large park with museums, a library, restaurants, ponds, flower gardens and a forest. For the brochure covers, I was asked to illustrate scenes or views of the park with a sense of season. This piece, with a lot of greens, was for the August issue.” Kazuhito Watanabe, AXIS, art director; Ishibashi Cultural Center, client.

“An illustration for the New York Times Sunday Review. The article, titled ‘Cancer and Climate Change,’ was written by Piers J. Sellers, a climate scientist and astronaut who, at the time this assignment was offered, was just diagnosed with Stage 4 pancreatic cancer. In the article, he gives his view on addressing the climate change issue. He died in December 2016.” Nathan Huang, art director; The New York Times, client.

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TATSURO KIUCHI Nathan Huang, an art director for the New York Times who has commissioned Kiuchi, recalls his first impression of the illustrator’s work.

“I remember being floored by the sheer beauty of Tatsuro’s artwork, particularly the way he was able to capture a scene or space while also reducing its elements to beautifully composed shapes,” Huang says. “Aside from [his] knack for composition and his ability to draw anything, there is an inherent stillness in Tatsuro’s work that imbues an image with a sense of thoughtfulness and contemplation.”

Kiuchi is adamant that his work doesn’t have any sort of message. “My work is there to support the writer, to draw the reader’s attention,” he says.

I point out that in this case, it’s the opposite. That in this profile, my words will be serving to back up his illustrations.

“You can just write nothing,” he says, laughing.

“Turn in a blank document?”

“Sure, why not?” ca

Left: “Illustration for an article titled ‘It’s Tough Being a Right Whale These Days.’ Life can be hell for giants of the deep—but does it have to be?” Arsh Raziuddin, art director; The Atlantic, client.

“One of my illustrations I made for ‘Fresh Take,’ an article about the 2013 Masters Tournament. Every year, Golf Digest magazine asks one writer, photographer or artist to attend the Masters golf tournament at Augusta National Golf Club in Georgia. I went all the way from Japan to Augusta to attend the tournament and stayed for a week to sketch and watch the game.” Ken DeLago, creative director; Golf Digest, client.

This page: “I was asked by the Tokyo Illustrators Society to create a poster for its group exhibition titled Decolele. For this group show, each society member was provided with a blank wooden ukulele and painted whatever she or he liked on the ukulele.”

Ritsuko Izutsu, designer; Tokyo Illustrators Society, client.

“Illustration for ‘Le chat et le casino’ (The cat and the casino), a short story by famous French writer Françoise Sagan, for French magazine Muze, published by Bayard. What I illustrated here was a scene where a shocked woman—the protagonist—who witnessed her husband’s affair, had been betting on 8 in the casino roulette and earned a fortune, then entered a nearby café and pondered what to do with it.” Delphine Allègre, designer; Muze, client.

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TATSURO KIUCHI This page: “Airbnb was commissioning a series of posters of San Francisco to inform and inspire the way it thinks about travel destinations, and I was assigned to illustrate Muir Woods. Airbnb wanted to celebrate the quirky, human, intimate, vast, imperfect and dreamlike qualities a place could have. The illustrated posters were supposed to be a contemporary update of classic destination posters used by airlines and travel agencies.” Derek Chan, art director; Megan Steinman, creative director; Airbnb, client.

“This is one of my cover illustrations for a complimentary brochure titled Please, issued monthly by Japan Railway Kyushu in Japan. You can find these brochures in many trains and stations in Kyushu.

I was supposed to illustrate an existing scene or landscape from Kyushu with a sense of season, which was assigned as a cover image. This piece was for the December issue.” Kanako Ujiie, GA TAP, editor; Japan Railway Kyushu, client.

Right: “These are excerpted images from a children’s picture book titled Living Express Karl, written and illustrated by me. Karl is a doglike, living creature who happened to arrive on Earth from some other planet. He works with people on Earth as a rail transport vehicle that provides the motive power for a train. In this book, he rescues people from a flood disaster.” Idea Oshima, graphic designer; Natsumi Iwasaki, editor; Iwasakishoten, client.

“For ‘The World Is Flat, Again,’ an op-ed in the New York Times Sunday Review about saving the endangered globe. What’s lost when we lose sight of globes?” Erich Nagler, art director; The New York Times, client.

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O

n a street lined with faded brick factories in Sharpsburg, Pennsylvania, you walk inside the old Fort Pitt brewery building. An antique elevator takes you up to the third floor and opens onto the office of engineering and experiential marketing firm Deeplocal.

The sprawling space, except for the occasional soldering station and pile of circuit boards, looks much like a modern marketing agency, with rows of tables and monitors, exposed brick and ductwork, and fishbowl conference rooms set off by glass walls.

Take a heavy-duty freight elevator two floors down, however, and you step out into a massive, factorylike room. Here, forklifts push around loads of plywood and drywall while fabricators adjust huge machines molding blocks of wood, metal and plastic. In both spaces, you find young people intensely at work in jeans, work boots and hoodies. They may look like they make craft spirits or pour cappuccinos, but half of them are engineers.

From this odd space, Deeplocal sends forth what might be the future of advertising: everything from smart socks and interactive treehouses to swing sets and amusement park–style rides. The surroundings and people seem as working class as nearby Pittsburgh, but the clients are some of the world’s most sophisticated brands, including Google, Netflix and Spotify.

“If you can train engineers to think like creatives,” says founder and chief executive officer Nathan Martin, “they can come up with amazing ideas and make them into reality.

Our creative team is led by two engineers, and they are highly sought-after because they deeply understand the limits of what’s possible.”

The hard-core backstory When talking about Deeplocal, people typically focus on the walking contradiction that is the towering, flannel-clad Martin. In the not-so-distant past, he served as lead singer for the hardcore band Creation Is Crucifixion and was an artist/provocateur at the Carbon Defense League, which styled itself as a “tactical media collective.” Among other things, he was known for coming up with F The Vote, a facetious campaign that purported to trade sex for votes against George W. Bush. In his previous life, Martin has been excoriated by Bill O’Reilly and been in legal trouble with the Ohio elections board.

For many, his abrupt switch to Pittsburgh Technology Council’s 2017 CEO of the Year is hard to fathom. How do you go from arch anarchist to suave capitalist in a few short years? What’s missed in that storyline is that while the output changed, the core remains the same. “I wanted to be in a band, but I wasn’t a talented musician,” he says. “But the other guys were. So I put a band together around them.”

You can take his modesty with a grain of salt, but the formula for Deeplocal is roughly the same as what Martin followed as musician and artist: put talented people together; come up with provocative, media-savvy ideas; build something wildly unexpected; and reap the whirlwind that results.

“We know that we do not make art. We make things that have aesthetic value,” says Martin. “In this world of advertising, we have to simplify. In art, you’re looking to create something where there’s no answer … in marketing, you always have the answer. It’s Google, or Netflix, or whatever.”

Captions supplied by Deeplocal.

Right: “Life at home is full of small obstacles and minivictories. Google Home can help. To show people how, we made a voice-powered miniature golf course where queries to Google Home devices triggered physical changes in the course, removing obstacles so players could putt through to the end.

Google Home Mini Golf popped up in New York City, Atlanta, Los Angeles and Chicago.” MAS Event + Design, production company; Google, client.

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© Desmond Studio

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DEEPLOCAL The accidental CEO

© Cory Morton

Deeplocal began life as a mapping program Martin developed when he was an art and technology researcher at nearby Carnegie Mellon University.

When Motorola became interested in the program, the university convinced its reluctant anarchist to take the call and found a company. The early days of Deeplocal involved a lot of conventional web and mapping work, but in 2009, Martin heard from a friend from his band days, who was now at Wieden+Kennedy. Creation Is Crucifixion always had a tech geek side to it and had once demonstrated a spray can robot. Could Martin do something like that for Nike? Martin called an old friend, Greg Baltus, who was the original engineer behind the robot (today, he is Deeplocal’s chief technology officer).

Together, they created the Nike Chalkbot, which debuted at the Tour de France. Arguably the first use of robotics in advertising, it consisted of a trailer mounted with a speedometer and an array of 48 spray nozzles that acted as a dot matrix printer. People around the world could submit inspiring messages to it, and the bot would spray-paint them in chalk along the Tour’s route.

The bot was such a hit that while it was running, someone told Martin, “You’re going to win at Cannes.” Martin had no idea what that meant, but it turned out to be prophetic.

Chalkbot went on to win a Grand Prix.

For a while after that, Deeplocal worked as a creative/ production company, strategizing ideas and building out concepts with agency partners. However, it soon found that agencies’ nontechnical staff could rarely pitch engineering ideas correctly. So in 2012, Martin and co. cut out the agency middlemen and started partnering with internal innovation groups at leading brands. As such, Deeplocal functions quite differently from agencies, working collaboratively with its clients, often with other vendors thrown in the mix. To date, the firm has grown to about 75 people, along the way

building a reputation for being no-nonsense and down-toearth, in spite of the crazy hype its projects generate.

“Being in Sharpsburg and out of ad world,” says Chad Calcagno, director of client services, “we keep our heads down in the work, and it shelters us from that pressure.”

Its clients agree. “What’s great about Deeplocal is how humble they are,” says Tara Back, vice president of Events and Experiences at Google. “They come in and ideate and become part of the process.”

The work

Deeplocal’s work is driven by its unique perspective on marketing: no matter how technologically complex a project is, the experience must be dead simple. “With art, you want people to contemplate difficult things,” says Baltus.

“Marketing is different because you’re trying to communicate a specific message. Something very clear.”

Early on, in fact, Martin made it a point to explain each project to his father. If dad didn’t get it, Deeplocal didn’t build it. As a result, much of its work, while heavy on invention, is playful and whimsical. Deeplocal’s raft of engineers has dispensed gumballs, made donuts, mixed nonalcoholic drinks, baked cookies and taken an endless number of selfies.

To understand how it all works, we can start with Netflix Socks. The goal of the project was to show how the brand innovates around an intimate understanding of its customers.

Deeplocal built on a central insight: people fall asleep while binge-watching shows and then have trouble remembering where they’d left off. The socks solved the problem, using a movement detector that could sense when you fell asleep, and stopping Netflix at that moment.

Like many Deeplocal projects, this one didn’t reach a lot of people directly. The firm only built a few pairs of the socks (the prototypes were knitted by a 60-year-old grandmother) and published instructions for the avid DIYer. The real payoff came as the story blew up across news outlets and social media, creating more than a billion earned impressions (there was no paid media).

More recently, Deeplocal has set its eyes on bigger and more permanent installations. Google’s AnyPixel Wall, for example, was designed to bring focus and interest to the lobby in the company’s New York office. Consisting of

This page: Chief executive officer Nathan Martin.

Right: “Nike Chalkbot, the project that put Deeplocal on the map, was created to bring an innovative and interactive component to Nike’s Livestrong campaign. Inspired by the age-old tradition of chalking messages along the route of the Tour de France, Chalkbot made it possible for people all over the world to send inspirational messages to Tour riders. People sent tweets and other digital messages to the robot, which used a custom-built array of 48 spray nozzles that acted as a dot matrix printer to transcribe the messages onto the route in custom chalk paint. Chalkbot is often hailed as the first use of robotics in advertising.” Wieden+Kennedy, ad agency; Nike, client.

“To celebrate the Grammys’ 60th anniversary and its return to New York City, we engineered five Lyft cars to play Grammy-nominated songs with their horns, alarms, wipers and door-locking beeps. This roving automated orchestra, dubbed Lyft Auto Tunes, surprised and delighted New Yorkers with street concerts featuring chart-topping hits such as ‘Despacito’ and ‘Humble.’ We turned one of the most annoying and recognizable sounds in the world into a reason for people to smile, dance and celebrate the music of the Grammys.” Lyft, client.

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DEEPLOCAL 5,880 arcade game buttons, it is an interactive “screen” that runs on Chrome.

The experience is insanely touchable. Users walk up, start pressing buttons and watch as the installation reacts.

Behind the fun, though, was serious engineering. The buttons needed to be pressable, kickable and even take the occasional spilled soda. To ensure the wall could run indefinitely, Deeplocal built a button-pushing machine that tested them to a million presses.

For a final project, we can look at Google’s amusement park–style ride at CES 2019. The experience, essentially a Disney ride minus Mickey Mouse, came complete with animatronic characters and a storyline about a busy dad trying to prepare for a surprise party for his kids’ grandma, who herself appeared in the ride’s line as a puppet fitted out with cameras. That way, a remote puppeteer could see people and have the grandmother talk to them as they stood in line (this proved almost as popular as the ride).

Like all Deeplocal projects, this one pounded home a simple message: at each scene in the ride, passengers listened to a song about how the dad used Google Assistant throughout his day—to get where he was going, remember to pick up a cake and, of course, take a group selfie at a party. If you experience it in 360-degree video on YouTube, you’ll find it to be a surprisingly fun experience—in real life, it must have been over the top.

Left: “A viral sensation, these hand-knit Netflix Socks pause your show when you fall asleep. They use an accelerometer sewn into the cuff to detect when you doze off, and then send a signal to your television to save your spot. They garnered more than a billion earned media impressions, with features on Good Morning America, the New York Times and more.” Netflix, client.

“We all know the feeling of turning to Google for help during life’s happily hectic moments. At CES 2019, Google wanted to hero that spirit of helpfulness with a one-of-a-kind experience that was both spectacular and relatable to everyone. That’s what sparked our idea of creating the Google Assistant Ride, a real amusement park–style ride that tells the story of a family’s busy day. The Ride was complete with animatronic characters, interactive train cars, photo ops and even its own song.”

Nexus Studios, director; Sparks, production company; Google, client.

This page: “AnyPixel.js is an open-source software and hardware library that makes it possible to use the web to create big, unusual, interactive displays out of all kinds of things. The first instance of AnyPixel is an interactive display wall in the lobby of Google New York that’s made up of 5,880 arcade buttons. Each LED-lit button acts as a pixel so that images, words and designs can be rendered. The entire wall is interactive at all times, reacting as you press the buttons.

The software runs on the web, and the software and hardware are all open source.” Google Creative Lab, interactive creative director; Google, client.

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© Mo Daoud

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DEEPLOCAL The future Of course, back in Sharpsburg, it’s unlikely there were too many high fives or bottles of champagne drunk over the project (though there is plenty of canned beer in the kitchen). Within a week, Deeplocal had almost certainly moved on to some new challenge and provocation, leaving the last happily behind. As for what’s next in a larger sense, outside of continued slow growth, it’s hard even for the firm’s founder to say.

“We never had a business plan of what to do,” says Martin.

“If I think back on every moment, I never would have guessed we’d have gotten to where we got to. But we believe in creativity and problem-solving, and that we’ll always have the grit and ability to figure out a way to make it happen. That’s inherent and core to what we do.” ca

Left: “With the release of new #MadebyGoogle devices, the Google team wanted to create a pop-up experience that was a connected, on-brand space where people could truly interact with each device. This became the Google Hardware Store, inspired by the get-it-done attitude of classic hardware stores and tool shops, but made interactive and magical with Google’s emerging technology.” Set Creative, design firm; Google, client.

This page: “The National Geographic Genius: Einstein Chalkboard is an interactive homage to the original genius himself, Albert Einstein.

To help launch Nat Geo’s new show about his life, we designed this robotic chalkboard for SXSW. The robotic arm draws user-submitted selfies in chalk on Einstein’s favorite surface, using his handwriting and equations.” National Geographic, client.

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hristine and Eric Strohl collaborate on just about everything—they’re colleagues, coparents, and coowners of a tiny but mighty eponymous design firm called Strohl. Partners in life and business, the couple operates from a small, sunny garret studio on the top floor of their home in San Francisco’s Bernal Heights, which enjoys an unfettered view of Twin Peaks and the city nestled below.

In this small room, the Strohls do big things. They develop strategies and concepts for corporate identities, devise logos, and design the countless touchpoints that comprise a brand’s expression. Their client list is large and diverse, ranging from culture makers, like Dave Eggers’s 826 Valencia, to nationally known companies, like Williams-Sonoma, Restoration Hardware, One Kings Lane, Mattel and Levi’s, to tech behemoths including Google.

But it hasn’t always been this way. Once upon a time, in the late ’90s, Christine and Eric were art students studying graphic design at East Carolina University. Back then, they were secret rivals.

“We’re just really competitive, and he was really good,” says Christine. “I saw that as a benchmark—you follow whoever does the good work. So we just competed with each other fiercely. But not meanly.”

After taking separate paths for a year post-graduation, the two found themselves both living in Eric’s hometown of Winston-Salem.

“We just started hanging out,” Eric recalls. “It was sort of like, well, this is pretty effortless, and it makes a lot of sense.”

The two fell in love, and a year later made the inevitable move to New York City to test their mettle as creatives. Both started working for their design heroes, he at Eric Baker Design, she at Mucca Design.

“We just happened to do the same kind of work,” Christine says. “We both wanted to do fancy food packaging and restaurants, and then the publishing came along.”

Over the next four years, the young couple lived the way so many creatives in New York City do: working hard at their day jobs (which they loved), taking on side hustles to make ends meet, eating up the city’s art and grit in equal measure, and learning the nuances, tricks and foundational skills of their craft and trade.

Then IDEO came knocking. Eric was recruited as a service design strategist, and in 2005, the couple packed up their apartment and moved to San Francisco.

“Working for IDEO helped me see all these hidden things set out inside me,” Eric says. “Like strategy. I wouldn’t have called myself a strategist, although that’s what we really did at IDEO. Today with Strohl, there’s so much thinking about what we’re doing before we do it. It’s not purely an aesthetic exercise.”

“It helped us realize we like doing research,” Christine adds.

“We like making systems before we start doing the graphic design. We like everything to have its logical place. I think that blossomed out of Eric working for IDEO.” While Eric globetrotted and learned the ins and outs of design thinking, Christine served as Mucca Design’s West Coast office, leading and managing the studio’s Californiabased restaurant design projects.

Three years later, it was time for another change.

“It was always going to happen,” Eric says. “That’s just the trajectory; working for ourselves was something that we really wanted to do.”

With 20 years of combined design experience, Christine and Eric Strohl opened their doors for business as Strohl in April 2008, and the once-secret rivals became worthy colleagues.

Captions supplied by Strohl.

Christine Strohl and Eric Strohl were designers on all projects shown.

Right: For Leckerlee. “In 2011, we designed the brand identity for these spicy German holiday cookies and the oversized tins that house them. Every year, we illustrate new tins, using a different style and subject matter for each—last we checked, we were up to 23, and counting.” Christine Strohl/Eric Strohl, illustrators; Leckerlee, client.

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STROHL of paper with logos on them—not ours—just logos specific to their industry. Then we ask them: What do you see?”

© Jen Siska

“What’s modern to your client may not be modern to you,” Eric adds. “Or what feels fussy might differ. We learn a lot from that exercise.”

“We like what happens when we work together,” says Christine. “The collaboration isn’t just in the strategy either— we pass files back and forth all day long. We’ve just found this natural match. What we do is better because of the other person.”

Eric agrees—“There’s nothing that we’ve done that I can think of that one of us can completely claim.”

The Strohls’ specialty and passion is identity and logo design, and their work is guided by three bedrock maxims: longevity over novelty; emotional connection; avoid the expected.

These three principles come to life during the thorough design process the Strohls undertake with each client.

“We spend a long time direction setting with our clients, who are often the founders or C-level executives,” Christine says. “We want to make sure that they understand where we’re coming from and what we’re doing. Then we sit down and we really draw.”

“It always starts with lots of drawing. Fast and loose and messy,” Eric adds.

Before any scribbling begins, the Strohls first endeavor to see branding through their clients’ eyes.

“We have a system,” Christine explains. “When we go to meet a client, we lay out something like 150 to 200 pieces

Then the Strohls return to their garret and get to work, referencing an eclectic collection of inspiration, from antique logo monographs to glossy art books to DIY zines, as well as a formidable amount of travel ephemera collected whilst exploring the world. “We especially like collecting and checking out the design featured on different countries’ currencies,” Eric adds.

“Christine and Eric are amazing to work with,” says Guthrie Dolin, a former coworker of Eric’s from IDEO. Dolin later became a client, hiring the Strohls to work on a number of independent projects over the years.

“They’re both fantastic listeners who ask smart questions that help to surface the critical aspects of every challenge.

They seem to strive to deliver tailored solutions appropriate for the task and project, rather than promoting any particular style or design trend. They respond with great consideration to client feedback, and work tirelessly to integrate their input and perspectives into the final delivery.”

Even in their professional projects, the Strohls look for chances to feed and push their art practice. They get this chance by working with the cookie company Leckerlee, designing the holiday tins for its lebkuchen, a gingerbreadesque German cookie that is traditionally sold in decorative holiday tins at Christmastime.

“We’re given the opportunity to illustrate a new concept every single year. That opportunity never presents itself with commercial packaging or corporate work,” says Christine. “It’s an exciting and kind of terrifying opportunity to push ourselves as illustrators. It’s something that makes us grow.”

“I’ve been so impressed with the wide range of styles Christine and Eric can execute so beautifully,” says Sandy Lee, founder and owner of Leckerlee.

This page: Eric and Christine Strohl.

Right: “18 Rabbits is a San Francisco–based granola company.” 18 Rabbits, client.

“Melt is a New York–based ice cream sandwich company.” Melt Bakery, client.

“Treat is a San Francisco–based online and home visit veterinary service.” Treat, client.

“Hunters Alley is an online marketplace for one-of-a-kind treasures, an offshoot of home decor business One Kings Lane.” One Kings Lane, Hunters Alley, client.

“Delfinia is a line of luxurious bedding and bath items from One Kings Lane.” One Kings Lane, client.

“Automatic is a device and app that connects your car to your phone.” Automatic, client.

“Detour is an app that offers audio tours from unique perspectives and in off-the-beaten-path locations.” Andrew Mason, Detour, client.

“The Catamount is the newest restaurant from Ray Tang, owner of the popular Presidio Social Club. The restaurant is housed in what was originally a schoolhouse, in downtown Los Gatos, California. We designed menus, patterns, a mural, the logo and a special seal for the bar, which we named La Rinconada Bar, an homage to the history of the quaint town.” Ray Tang, client.

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© Sherry Heck © Emily Roth

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STROHL “We’ve worked on 21 tins to date, and I’m amazed when I look at the entire collection. Last year, I wanted to do a Japanese-themed tin because I love Japanese design. This wasn’t the most obvious choice for a German Christmas cookie company, but Christine and Eric took it in stride. They designed the Snow Day tin, which embodies the aesthetic references I was looking for, while fitting right in with the rest of the Leckerlee collection.”

Over their careers as designers, the Strohls have accrued a formidable list of awards and honors between them, including three nominations for the James Beard Award for Outstanding Restaurant Design (Christine) and judging the Type Directors Club annual Communications Design competition (Eric).

© Timbuk2

But despite their acclaim and prestigious client list, Christine and Eric Strohl don’t rest on their laurels.

They’re always tinkering, experimenting with new ways to feed their imaginations, expand their artistic skill sets and discover new entry points into their creativity.

Lately, that looks like new practices in screen printing and collage, and a recently completed DIY backyard deck off their kitchen. Their shared hunger for more input, more inspiration, more artistic rigor, and also more fun is encapsulated in a nearly six-foot-wide sign hanging on the kitchen wall. They made it together after a trip to Scandinavia. It reads “Fiskredskapsfabrik.”

Left: For Just Cook Foods. “We approached the design of this identity and packaging with the goal to separate and elevate the brand above an oversaturated market. The resulting packaging reveals limited color, matte and varnish details, and restrained typography, reflecting the thoughtfulness that went into the spice blends themselves.” Just Cook Foods, client.

“Esters is a wine shop and bar in a refurbished 1937 art deco building in Santa Monica. The shop’s owner wanted to share her extensive wine knowledge with her customers. We created the brand with this in mind, using custom labels, stickers, menus, packaging and wrapping paper to make each customer’s experience both educational and unique.” Rustic Canyon Family of Restaurants, client.

© Timbuk2

This page: “Woodfour Brewing set up shop in scenic Sonoma County, California, at the Barlow—a location known for fresh ingredients and fine wine—with a desire to celebrate these surroundings with the creation of truly local beers. Custom typography, a monogram, packaging and environmental design allowed it to fit right in.” Woodfour Brewing Company, client.

“Timbuk2 has been designing messenger bags for more than 30 years. When it expanded its product lines to more diverse offerings, its identity no longer fit with the new vision. We redesigned a logo that would withstand both the test of time and the constantly evolving product lines. This new mark connects Timbuk2’s roots with its future, and we delivered it along with typographic lockups, color and pattern palettes, and a set of rules on how to use it all for years to come.” Timbuk2, client.

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STROHL “There was this beautiful sign up on this store with this ridiculous collection of letters, right all together in a lump,” Christine says. “We asked a friend what does this mean and she said, ‘Fishing tackle factory.’”

Eric picks up the story, saying, “When we came back, we thought, we should put something up in the kitchen.

We remembered the sign and said, ‘Yeah, we could probably make that.’”

As their studio enters its second decade, the Strohls are charting exciting new territory, taking on work as design partners in new ventures, rather than working simply as hired guns.

“On these projects, we’re a voice in the room,” Eric says.

“We get to make a lot of decisions about the experience design as a partner. We also get to show up more as artists and to let our creative voices come out. That’s when it becomes fulfilling, and really exciting.”

Whatever they turn to next, it’s certain that magical and powerful work will continue to issue from that little garret studio in Bernal Heights, thanks to the formidable combined forces of Christine and Eric Strohl. ca

This page: “Cassia is a Southeast Asian restaurant tucked away in a refurbished art deco building in Santa Monica. Bryant and Kim Ng base their foods on their love of travel, combining ancestral cuisine with a California sensibility. The overall design strikes the same balance, with historical typographic lockups distinctly referencing a brasserie, and strong gridded lines and colorful illustrations recalling the depth and soul of Asia.” Bryant and Kim Ng, Rustic Canyon Family of Restaurants, client.

Right: “American Giant is an apparel brand completely designed and fabricated in the United States, sold only online. We designed its identity with this spirit of true American workwear in mind—strong, enduring, and deeply symbolic of quality and rugged craftsmanship.”

American Giant, client.

“Starbird is a new kind of fast food—fried chicken that is healthier, sustainably raised and doesn’t break the bank. The identity was created with this idea in mind—a fresh approach to the way fast food is branded. This meant no exclamation points, no photography of sauces splashing on midair sandwiches, and no drop shadows or clutter of any kind. The resulting identity is simple and direct— both a chicken and an egg—the photography is clear cut and bold; and the design of the space, the typography and every touchpoint is consistent, allowing the chicken to do the talking.” The Culinary Edge, client.

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© American Giant

© American Giant

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BY ELLEN SHAPIRO

L

ike almost every ad agency, Terri & Sandy has an origination story. This one got its official start in 2010 at Terri’s dining room table in lower Manhattan. Terri Meyer was the art director, Sandy Greenberg the copywriter.

They’d been best friends for 20 years and creative partners for most of that time. Today, they are co–chief executive officers of the independent New York powerhouse named Small Agency of the Year by Ad Age in 2017.

highlighting milk gave the brand a nutritional halo.” Then came a breakaway opportunity to do a Super Bowl spot for Planters, a Nabisco brand. “We have to make the top ten” was the client’s marching order. The Perfume commercial featured a heavyset woman with a unibrow who stopped men dead in their tracks after anointing herself with aromatic Planters’ cashews. The spot was voted number nine on USA Today’s Super Bowl Ad Meter.

Their history together began in 1986 at the St. Louis office of D’Arcy Masius Benton & Bowles, where they worked on Anheuser-Busch, M&M Mars and AT&T. Meyer, a graduate of the University of Texas at Austin, went off to spend six tough months at J. Walter Thompson (JWT) in Chicago. She returned to D’Arcy, this time in New York, where she ran the Mars business and worked on Corning and Kraft. In the meantime, Greenberg, an alumna of Washington University in St. Louis, joined the legendary New York shop Della Femina, Travisano & Partners.

I met with Meyer and Greenberg at Terri & Sandy’s offices just northwest of Madison Square Park, where 50 people work on accounts including Gerber, The Walt Disney Company, Avon North America, CityMD, Freshpet and The Hartford Financial Services Group. The co–chief executive officers’ shared, glass-walled office is in the center of a 9,000-squarefoot space decorated in signature magenta with abstract black-and-white area rugs, a matching Havanese pup and gallery-worthy photos taken on Meyer’s world travels. The office was buzzing with activity; lots of meetings in other glass-walled spaces and at tables where genuinely nice people greeted me warmly—in between packing up homemade cookies to deliver to a children’s hospital. It was clear why the agency motto is “Go where you’re celebrated, not tolerated.”

At D’Arcy, Meyer really, really wanted Greenberg to be hired as her partner, and on her birthday, “there was Sandy with a big bow around her neck!” she recalls. They worked there for three years until James Patterson—“the smartest person ever” and an advertising executive before becoming a bestselling author—lured them to JWT. “Our first assignment was an Olympic spot for Kodak. We felt like two kids in a candy store,” Meyer says. Three years later, an irresistible offer came from Foote, Cone & Belding: to run the Campbell’s, Gerber and Nabisco accounts. They stayed for thirteen years.

Their signature Milk’s Favorite Cookie campaign emphasized “the dunk part of the Oreo ritual,” Meyer explains. “People were worried about trans fats and childhood obesity, so

Unlike agency people who hand out predigested platitudes, Meyer and Greenberg are refreshingly honest. They tend to finish each other’s thoughts, so it’s impossible to identify who said what. And it doesn’t matter. Take a listen: “If men are threatened by a strong, ‘bossy’ woman, imagine if there are two!”

“We never settled for having account people own the relationship.

We insisted on a direct line to fight our own battles.”

Captions supplied by Terri & Sandy.

Sandy Greenberg and Terri Meyer were the chief creative officers on all projects shown.

Right: “This is Boss Life” :60 “Avon is an iconic brand with female empowerment in its DNA. However, the company that opened the door to women in the workplace in 1886 found itself irrelevant in 2016. Avon’s US army of representatives had shrunk by 50 percent, and sales were in free fall. With the brand’s reputation at stake, we launched This Is Boss Life, a dynamic campaign that promised women they could work when, where and how they wanted—all the while being their own boss. The campaign hit a chord with this ‘entrepreneurial’ generation, increasing daily leads by 49 percent and exploding positive social engagement by 55 percent.” Benita Antony/Kirstin Roquemore, art directors; Tiffany Appleton/Natalia Davila, writers; Missy Quick, design; Meredith Schwinder, creative director; Tracy Chapman, strategist; Chris Franklin, Big Sky Editorial, editor; MJ Delaney, director; Patrick Oliver, music; Moe Phillips, executive producer; Moxie, production company; Eclectic Music, music company; Matt Harker/Jara Witt Radom, New Avon, clients.

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TERRI & SANDY

© Sam Sulam

all in this little boat together, and we all succeed together.

There’s no formal division between account and creative.

Everyone’s idea is heard and considered.” When asked about his background, executive assistant Austin Adams jokes that back in high school in Colorado, he was voted “most likely to land a job at a women-owned agency.”

“Because of #MeToo, things are changing. You don’t have to stay in your place anymore.”

“But morale is still a huge problem in the big-agency world.”

“Too many hours and too many levels.”

“Here, we do things differently. People matter.”

“Everyone is empowered to step up.”

The conversations were revealing, but even more revealing is the work. The new The Buck’s Got Your Back campaign for The Hartford, for example, brings the unsung category of small businesses insurance to the forefront by making superheroes out of an accountant, a baker and a barber—all watched over by a magnificent, animated Hartford buck.

Terri & Sandy has been a game changer when it comes to empowering women. Avon was founded in 1886, but there was never much prestige attached to being an “Avon Lady.”

The commercial from the This Is Boss Life campaign repositions a woman who sells Avon as a multitasking mama who gives up a dead-end job for freedom, fun and 40 percent of her gross sales—set to Gloria Gaynor’s “I Will Survive” anthem, with cheeky new lyrics.

Some staff members stepped up from other agencies, with portfolios filled with Effies and CA Awards and Cannes Golds.

Others are second-career professionals who emigrated from publishing and journalism and working at the Genius Bar. Tracy Chapman, head of strategy and planning, ran consumer insights at Everyday Health. Some are design school alumni, but most attended universities including Brown, St. John’s, Syracuse and Brigham Young. Creative director Todd Condie, a graduate of Georgetown University Law Center, left antitrust law to express his more creative side. “Terri mentored me about getting into advertising, and I offered to work for free for three months,” he says. He was their first employee, an account manager who proved himself a worthy creative by dreaming up storyboards at night.

The Terri & Sandy approach is to turn negatives into positives and educate consumers about the positives they might not be aware of. The Dream Big, Princess spots show real girls excelling at diving, speechmaking and conducting science experiments—juxtaposed with clips of Disney princesses. “Millennial moms grew up with these princesses, but now the focus isn’t on tiaras and frills, but on how they change the world,” says Chapman. “Dream Big, Princess is a big, organizing idea for one of Disney’s most important franchises,” explains Marty Muller, a senior vice president at Disney. “The assignment was to reposition the princesses; to show how each one overcame the odds thanks to her kindness, fortitude and courage. The GEM [Gender Equality Measure], which rates consumer perception of how females are portrayed in the media, gave our commercials one of the highest scores ever,” she adds. “We are really proud.”

Everyone at Terri & Sandy has an equally compelling story— and good things to say about the agency, like “It has soul” and “I love working with these two brilliant, passionate women.” Managing director Tony Scopellito sums up: “We’re

Other notable campaigns reposition brands that had lost their luster or were relatively unknown. Gerber baby foods aren’t what they used to be, thanks to Terri & Sandy. The giggly Anything for Baby campaign emphasizes that Gerber

This page: From left to right: Cofounders and CEOs Terri Meyer and Sandy Greenberg.

Right: Posters and video for Strands for Trans campaign. “Every now and again, we agency folks get to work on a project that’s very close to our hearts.

This was the case when we partnered with Barba Men’s Grooming Boutique in Chelsea, New York, to combat the discrimination the trans community faces at barbershops and salons. We launched the campaign with a simple but powerful video—over iconic visuals of barber poles across America, we hear news reporters reading stories of transgender discrimination. Our second video launched Barba’s signature style for Pride: pink, white and blue hair color, inspired by the colors of the transgender flag. A series of posters invited salon guests to get Barba’s pink, white and blue hair color to flaunt for Pride Week.” Jaehyun Cho/Jeein Lee/Simin Lim, art directors; Natalia Davila/Kiersten Utegg, writers; JP Gomez/Sam Mazur, creative directors; Jaclyn Genega, editor; Lukas Chmiel/Sam Sulam, directors; Chris Ryan, colorist; Paddy Giordano, executive producer; Xavier Cruz, Barba Men’s Grooming Boutique, client.

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TERRI & SANDY jars contain “nothing but the best for Baby,” like figs and kale from organic farms. The SunnyD campaign reassures millennials that it’s fine to drink the citrus-flavored beverage, “during treat moments of fun.” And now, almost everyone with a CityMD urgent-care clinic nearby knows that it’s better not to stay home with an injury or bad cold. Perhaps the most telling Terri & Sandy initiative is a global phenomenon that began as a campaign for Barba Men’s Grooming Boutique, a barbershop in Manhattan’s Chelsea neighborhood, home to many LGBTQ individuals.

Creative director JP Gomez, who knew the small account would have big potential, introduced his husband, Xavier Cruz, Barba’s owner, to the agency. A team Gomez heads with creative director/copywriter Sam Mazur launched Strands for Trans, which identifies shops that gladly serve transgender individuals via trans-flag-inspired barber-

Left: “The Buck’s Got Your Back” :30 “Small business owners may not be internationally known celebrities or get flashy headlines in business publications, but these hardworking heroes are the embodiment of the American dream and the backbone of the economy. So, for Terri & Sandy’s first campaign for The Hartford, we set out to reveal these women and men as the noble figures they are.

Inspired by the brand’s 150-year-old logo, we brought to life an antlered icon to celebrate small business owners everywhere and show them that, when you’ve got insurance from The Hartford, The Buck’s Got Your Back.” Todd Condie/Jillian Watkins, creative directors; Tracy Chapman, strategy; Bruce Herrman, editor; Filip Engstrom, director; Moe Phillips, executive producer; Smuggler, production company; Lost Planet Editorial/The Mill, post-production companies; Lori Allen/Kathy Bromage/ Steve Jones, The Hartford, clients.

“Drink to Your Own Beat” :60 “Back when teens watched Total Request Live and moms danced the Macarena, SunnyD was the ‘flyest’ drink in the fridge. But for a new generation of teens raised on iPhones and GIFs, this orange drink from the ’90s was about as relevant as a dead meme. To capture the freethinking minds of Gen Z, we needed to do something boldly original.

So, we combined the unique talents of effortlessly cool teens with the irresistible beats of rising hip-hop star DJ Kass. Put on your headphones.

Best served loud.” Simin Lim, art director; Kelly Cabaniss, writer; JP Gomez/Sam Mazur, creative directors; Tracy Chapman/Molly Thompson, strategy; Adam Marshall, Whitehouse Post, editor; Alaska, Iconoclast, director; Chris Ryan, colorist; Greg Tharp, executive producer; Iconoclast, production company; Jim Gerbo/John LeBoutillier, Harvest Hill Beverage Company, clients.

This page: “Be A Champion” :60 “In a magical moment at Terri & Sandy, we received a call from The Walt Disney Company. The challenge: launch a campaign that captured the many ways the Disney Princesses can inspire girls to reach their true potential. If you had come to the agency during the pitch, you would have seen Disney Princess movies on virtually every screen—Cinderella, The Little Mermaid, Brave, Mulan, etc. Our campaign, Dream Big, Princess, hit the air with this video. Thanks to will.i.am and The Script for helping us encourage girls to be their own champion.” JP Gomez, art director; Ani Munoz, writer; Bruce Herrman, Lost Planet, editor; Henry Alex Rubin, director; Marisol McIlvain/Roger Petrusson, producers; Smuggler/ Yellow Shoes Creative Group, production companies; Marty Muller/ Vincent Vedrenne, The Walt Disney Company, clients.

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TERRI & SANDY pole window stickers. The campaign broke with compelling images of trans individuals who’d been refused service at other barbershops, now with signature pink and blue streaks in their hair. The videos went viral. “It’s more than an ad campaign; it’s a tool for good,” Mazur says.

“Never could I have imagined Strands for Trans would go global,” says Cruz. “The impact and the outpour from the community was wonderful. Challenges from a few transphobic barbershops were buried by love and support from around the world. My business has benefitted tremendously. New clients who appreciate what we stand for have come in. We are messaged by teens with identity issues who now understand that they are no different than anyone else.”

“This makes me want to do more with Terri & Sandy,” he concludes. “They get it.”

“We get it,” says Greenberg. “We’re super proud of the impact of our creative, and of the fact that when Effie Worldwide named the fifteen most effective independent ad agencies in North America, Terri & Sandy was number three.”

“That was back in 2014,” Meyer adds, “when people were still asking, ‘Terri & Sandy who?’ Now they know.” ca

Left: “Our Babies” :60 “Gerber’s most precious equity is the iconic Gerber baby logo. Every mother sees her own child in that simple circle. But there are Gerber babies of another kind too: fruits and vegetables. And, just like mom’s little one, these too should be handled with care. This led us to the visually elegant and powerful idea to parallel babies’ body parts with bold, colorful Gerber fruits and vegetables.” Benita Antony, art director; Todd Condie/Jillian Watkins, creative directors; Tracy Chapman, strategy; Jaclyn Genega, editor; Joe Wright, director; Paddy Giordano, executive producer; Hogarth, production company; Alberto Hernandez/Aileen Stocks, Gerber, clients.

“You Need Some CityMD” :60 “This campaign was born from a simple but powerful cultural insight: nine out of ten millennials would rather let an illness or injury go untreated than go to the doctor (Zocdoc study). This means a lot of sick people are walking around New York City exposing their germs to, well, the rest of us. Achew! In this campaign, the healthy ‘sick shame’ their family, friends, colleagues, online dates, etc. to tell them, ‘You Need Some CityMD.’” Susan Lee, art director; Rebecca Baldwin/Mark Carlson, writers; Chris Cannon/JP Gomez, creative directors; Tracy Chapman/Molly Thompson, strategy; Jim Ulbrich, Nomad Editing Company, editor; Sergio Cilli, director; Sound Lounge, sound design; Chris Lenz, executive producer; Gifted Youth, production company; Richard Gagliano/Julie Kang, CityMD, clients.

This page: “Freshpet was one of our very first clients at Terri & Sandy. As the nation’s only fresh, refrigerated pet food, it was a revolutionary idea; but it had less than revolutionary sales. Our insight? While people were choosing fresher, less processed foods for themselves, they weren’t doing the same for their pets. Our mission? Expose the chemicals, additives and by-products lurking in conventional pet foods. This campaign, Fresh Food for Fido, helped catapult the brand to become the fastest-growing pet food in America.” Mark Forsman, art director; Vinny Garbelano, writer; Scott Morris, Freshpet, client.

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The Brass Onion identity Located in Overland Park, Kansas, the Brass Onion offers a refined, contemporary spin on American comfort food classics. For its identity, Kansas City–based firm Carpenter Collective concepted a design that parallels the restaurant’s fare. “We played with a balance of sophistication and whimsy to set the tone of the identity,” says Carpenter Collective. “Each icon incorporates the onion in a simple and clever way, allowing this slightly elevated identity to also have a subtle, whimsical wink for a more inclusive demographic.” A brassy, golden color palette, combined with a blue inspired by the restaurant’s blue floor tiles, permeates the branding materials, and the ever-present onion graphic takes the form of everything from a rooster’s tail feathers to an eye. “It was fun to incorporate an onion in everything we did,” Carpenter Collective states. “In every type of design application we create, we always put concept first.”

Jessica Carpenter/Tad Carpenter, design/creative directors; Carpenter Collective (Kansas City, MO), design firm; Brancato’s Catering, The Brass Onion, client.

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Macbeth digital projections Expressing a Shakespeare play without words presents quite a challenge, so the Chicago Repertory Ballet tapped Chicago-based design firm Thirst to create a series of unearthly digital projections to accompany its original production of Macbeth. “Since the ballet is performed without dialogue,” says Thirst partner John Pobojewski, “the projections had to express the haunted thoughts and twisted ideals of the different characters as they performed murder, deception and intrigue. Through abstraction and symbology, we believe the key elements came through.” Thirst drew inspiration from the production’s modernist setting and from first-person shooter video games, incorporating motifs such as pixelation, sprite animations and visual glitches. To express key phrases inspired by Shakespeare’s text within the projections, a typeface called DAGGERS was created, with letterforms that feel both sharp and stretched to their breaking point.

Wade Schaaf, Chicago Repertory Ballet, art director; Sarah Lackner, Chicago Repertory Ballet, lighting designer; Thirst (Chicago, IL), design firm; Chicago Repertory Ballet, client.

We’re looking for new, outstanding collateral, packaging, print ads, television commercials, direct mail, books and exhibits. For submission details, visit: commarts.com/submissions.

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Farmers Insurance spot “The More That You See” :60 Dr. Seuss Day celebrates the work of Dr. Seuss and the joy of reading with children, and Farmers Insurance stands for knowledge through experience within its strange-but-true We Know From Experience ad campaign. Seeing a parallel between the two, Los Angeles–based ad agency RPA created a 60-second spot for Farmers in the author’s beloved rhyming style. “Dr. Seuss’s stories are usually based around a central lesson, so we created our own: ‘The more that you see, the more that you’ll know,’” RPA says. “From that, we were able to create our own Seussian story that pans across several true claims Farmers has seen.”

Reid Womack, associate art director; Louie Chang, writer; Perrin Anderson/ Hobart Birmingham/Christian Mills, Passion Pictures, creative directors; Pat Mendelson, executive creative director; Joe Baratelli, chief creative officer; CJ Ballesteros, Bö’s House of Visual Arts, engineering; Kingsley Bailey/Dan Budin/Christina Conradi, Passion Pictures, editors; Filipe Alcada/Laurie Hill, Passion Pictures, animators; Aldo Gagliardi, Passion Pictures, 3-D animator; Rick Bland/Nina Rosner/Mike Turoff, Passion Pictures, producers; Alex Clewell/Matt Valdepeña, digital producers; Josh Hamilton, Bö’s House of Visual Arts, post-production producer; Garry Frost, Passion Pictures/Samuel Klughertz, Passion Pictures/Reuben McNaughton, Passion Pictures/Salim Peerally, Bö’s House of Visual Arts, production artists; Ronnie Mitchell, Passion Pictures, researcher; Bö’s House of Visual Arts, post-production company; Passion Pictures, production company; RPA (Los Angeles, CA), ad agency; Farmers Insurance, client.

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JEKL packaging When it comes to beef jerky branding, JEKL knew there was a world beyond dusty landscapes and equally dusty cowboy imagery. That’s why it partnered with UK firm Design Happy to develop an energetic packaging system that grabs attention on the shelf. “Rather than focus on the product’s heritage, we decided to draw inspiration from the story of each flavor,” says the design firm. “We created modern, picture postcard–themed packaging for each variant, moving away from muted, earthy tones to a more vibrant color palette, appealing to a broader demographic.” The illustrations on the packaging—all created in-house—evoke nostalgic excitement from the jet set era and whet an appetite for exotic flavors.

Richard Bray/Will Jones/Adrian Turnham, creative directors; Design Happy (Kingston upon Thames, United Kingdom), design firm; Russ Klinger, JEKL, client.

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McDonald’s Puerto Rico OOH How do you create fresh OOH marketing for a brand as iconic as McDonald’s? For Puerto Rican ad agency TBWA\San Juan, the answer was simple: point out just how iconic it is. “[McDonald’s] menu items are so recognizable that people barely need to see them to know what they are,” says TBWA\San Juan. “We wanted to invite our audiences to look deeper into images and start a conversation with themselves: ‘Is that a... Yes, it is.’” The Say No More campaign blurs the fast food chain’s renowned offerings and adds textural drips of paint, which give the feel of unfinished paintings. “Photographing art can be difficult, but the post-production team at La Salvación Studio captured all the details we wanted,” says TBWA\San Juan.

Gerardo Figueroa, senior art director; Luis Romero, senior writer; Clarissa Biaggi/José Vallecillo, executive creative directors; La Salvación Studio, production company; TBWA\San Juan (San Juan, PR), ad agency; Ricardo Hernández, McDonald’s Puerto Rico, client.

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Mr.Bee identity Slovenian honey company Mr.Bee needed a visual identity versatile enough to appear on print collateral, aprons and more. Ljubljana, Slovenia–based designer Diano Kitanovski created a system of gold foil and a hexagonal pattern to conjure up honeycombs—without directly referencing bees. “The most challenging aspect of the project was not to guide the identity’s narrative straight to bees as a logo, but rather to subtly communicate the identity through typography while still considering the client’s wishes of including a honeycomb pattern,” says Kitanovski. “The type corresponds well with the sharp, geometrical edges of the pattern, making it look different and playful.”

Diano Kitanovski (Ljubljana, Slovenia), designer; Nika Poslek, Mr.Bee, client.

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Apple-Sport Chevrolet print ad Just as there are designated drivers, Marlin, Texas, car dealer AppleSport Chevrolet suggests young drivers have a designated texter.

Dallas-based ad agency Dieste promoted this alternative to texting and driving while keeping it light; viewers might recognize some familiar Star Wars armor in this print ad. “We were inspired by all types of content in which the main character has a sidekick,” says Ciro Sarmiento, chief creative officer at Dieste. “We decided on three of the most renowned ones in American pop culture, which could widen the audience’s age spectrum: Batman and Robin, Popeye and Olive Oyl, and Darth Vader and a stormtrooper.”

Gustavo Zapata, senior art director; Raúl Méndez, writer/associate creative director; Ciro Sarmiento, chief creative officer; Carlos Nova, illustrator; Anne-Marie Zorad, producer; Masivo, production company; Dieste (Dallas, TX), ad agency; Apple-Sport Chevrolet, client.

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Oreo x Game of Thrones opening titles Oreo and HBO partnered to create limited edition Game of Thrones– themed Oreo cookies and needed a way to interact with fans of both brands. The solution: a collaboration between New York–based ad agency 360i and Santa Monica–based production company Elastic to re-create the original Game of Thrones title sequence in Oreos.

“From the start, we were looking to bring the two brands together without feeling forced or inauthentic,” say Piper Hickman and WeiWei Dong, executive creative directors at 360i. “This film enabled us to focus on nuance and detail, giving us room to sneak in lots of Easter eggs.”

Kirk Shintani, Elastic, art director; Alexis Budejen, senior art director; Anna Wehr, senior writer; Henry De Leon, Elastic, designer; Brian Gartside, design director; Kate Berry/Ian Ruhfass/Jennifer Sofio Hall/Maciek Sokalski, Elastic, design team; Casey Espinoza/Eleni Georgeou, associate creative directors; Tobias Carlson/Andy Hall, Elastic/Jonas Wittenmark, creative directors; WeiWei Dong/Piper Hickman, executive creative directors; Menno Kluin, chief creative officer; Trusha Bhatt, strategist; Rachel Fowler, Elastic, editor; Ben Rosenzweig, photographer; Lucy Kim, Elastic, animator; Jensen Abler/ Bryan Cox/Mason Dash/Paulo de Almada/Mike DuPree/Jose Limon/Evan Mayfield/Dustin Mellum/Joe Paniagua/Aemilia Widodo/Ariana Ziae-Mohseni, Elastic, 3-D animators; Lime Studios, sound designer; Tom Paolantonio, Lime Studios, audio mixer; Michael Ross, Elastic, producer; Susie Boyajan, Lime Studios/Luke Colson, Elastic/Carly Salaman, executive producers; James Lavery, production artist; Andrew Ashton/Daniel Raschko, Elastic, digital imaging; Elastic, design firm; 360i (New York, NY), ad agency; Kamila De Maria, Oreo/Alex Diamond/Krista Jackson/Paige Newman, HBO/Justin Parnell, Oreo, clients.

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EXHIBIT 1

the Goods OOH poster Toronto restaurant the Goods believes in nourishing its patrons with healthy food. To increase brand awareness, Toronto-based ad agency john st. created a series of OOH posters promoting the restaurant’s philosophy. “There’s a lot of evil in today’s world of food,” says Hannah Lee, designer at john st. “Inspired by the Goods’ mission to only use ingredients with a beneficial effect on the body, we created a new tagline: ‘Eat No Evil.’”

Jenny Luong, art director; Martin Stinnissen, writer; Hannah Lee, designer; Mooren Bofill, design director; Stephen Jurisic/Angus Tucker, executive creative directors; Hannah Lee/Jenny Luong, illustrators; john st. (Toronto, Canada), ad agency; the Goods, client.

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Converse store display Launched in 2018, footwear brand Converse’s ad campaign All the Stories Are True features celebrities sharing their stories of connecting with the iconic Chuck Taylor shoe. To bring this campaign to life for shoppers around the globe, the New York office of creative agency Rosie Lee developed a series of installations including window displays and confessional booths. “We wanted to connect true stories to Chucks and give local context by telling real people’s stories,” says Rosie Lee. With more than 100 assets, the multisided window display invites customers to discover other people’s stories and perhaps add one of their own.

Marielle Vargas, designer; Tom Firth/Alex Nicol, design; Mark Fleming, executive creative director; Matthew Divita, project manager; Rosie Lee (New York, NY), design firm; Miguel Carrillo/Michael Donner/Jamie Tolentino, Converse, clients.

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“A photographer sees more than other people do. He is always on the lookout for something interesting.” —Philippe Halsman, 1961

Years of Photography Imaging technology may have dramatically altered the practice of commercial photography in the last 60 years, but it hasn’t diminished the power of a compelling image.

To give you a brief overview of the evolution and diversity of this most visual of media, we’ve selected a handful of influential photographs from our archives, along with comments culled from some of the 198 profiles we’ve published on many of the most esteemed practitioners of the craft.

Otto Storch Portfolio photograph, 1965

Richard Avedon The Beatles for Look, 1968

“Photography is a matter of concentration and philosophy. I must communicate with a blade of grass to show its magnificence.

I cannot do this by shooting at it!”

Art Kane Ad for Pfizer, 1966

Irving Penn Hell’s Angel for Look, 1968 Tom McCarthy Eastern Airlines ad campaign, 1966

1968

1959

—Ruth Bernhard, 1959

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60 YEARS OF PHOTOGRAPHY

“I believe in emotion, whether that emotion is mine or the client’s. If a photograph is going to touch people, it has to make them feel something.”

—Cheryl Rossum, 1977

Jay Maisel For Celebration at Persepolis, a book recording the Persian Empire’s 2500th anniversary, 1975

Victor Skrebneski Portrait of Orson Welles for Warner Bros. Pictures, Inc., 1975 Bert Stern Book cover of Marilyn: A Biography, 1974

“The creative photographer should be able to put the stamp of his way of ‘seeing,’ his personal eye, on whatever material he touches —just as does the creative painter or poet.”

—Clarence John Laughlin, 1977 Henry Wolf Ad for Olivetti typewriters, 1970

“There is something about making pictures day after day, every day, of ideas, using your mind to solve different problems, and then seeing them—it’s a treat, at least most of the time.”

—Ron Scott, 1977

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1969

Pete Turner Photograph for Esso annual report, 1976

“Light moves through a shot. It has a force, a driving force. It pushes into something. I use the dynamics of light to bring you into the picture. It’s like a vacuum that can suck you right in.” —Clint Clemens, 1983 “An idea is just that, an idea. When you actually execute this idea, you may wind up with something completely different than the original visual idea, but the feeling is still there.”

—Barbara Bordnick, 1987

Joe Baraban Cover of Lomas & Nettleton annual report, 1980

Arthur Meyerson Personal photograph, 1985

Annie Leibovitz Record cover of Cyndi Lauper’s What’s Going On, 1988

“People don’t pay you to experiment. They want to know what you can do before they come to your studio. When people start thinking they want to use you, they try to finesse the layouts toward your strengths.”

—Dennis Manarchy, 1981

1988

1979

Phil Marco Photograph for S. D. Scott desk calendar, 1979

Jean Moss Portrait of Walter Cronkite for Esquire, 1986

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60 YEARS OF PHOTOGRAPHY

“Quality and quantity of light, that’s the magic—understanding where it comes from, especially the ambient light and fusing it with a flash. To me, the ambient light is always the hero, the dominating factor.”

—Harry De Zitter, 1990

Sue Bennett Antonio, a Tarahumara Indian, for Natural History, 1994

“I love taking pictures of circuses.

Talk about symbols—the sense of fantasy and humor and irony and tragedy—and theater! It can be John Huet a tough way of life, but people love For a book on street basketball, 1993 it. It gets in their blood.”

—Mary Ellen Mark, 1997 Nadav Kander Ad for Zij, a women’s clothing store in the Netherlands, 1996

1989

Rodney Smith Neiman Marcus magazine ad, 1998

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—Frans Lanting, 1998

1998

Sheila Metzner Uma in a Patou dress and hat for British Vogue, 1992

“My subject matter doesn’t separate me from what my colleagues do in fashion or annual reports. I go out with certain images in mind— very much like a commercial photographer. There’s always serendipity. Luck always takes over.”

“It’s very important to become well read and well educated; read the classics, study mythology, be up on current events so you can talk to the people you’re photographing.” —Rosanne Olson, 2004

“This sounds crazy, but the thing about inanimate objects is that if you listen, they’ll tell you how to shoot them.” —Deborah Jones, 2001

Martin Schoeller Portrait of Christopher Walken for Entertainment Weekly, 2002

David Allan Brandt Image for American Tower Corporation, 2004

Kate Brooks For a TIME article on Najaf, Iraq, after a car bomb exploded at the Imam Ali Mosque, 2004

Bryce Duffy Portrait of rapper and actor Ice Cube for Premiere, 2008

—William Huber, 2006

2008

1999

Craig Cutler For an Audubon article on certifiedwood products, 2001

“If you can get your subject to be unaware of the camera, then you might get some truth out of who they are.”

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60 YEARS OF PHOTOGRAPHY

“I want to show a world people don’t know … where there are moments of transcendence even in a broken place. I don’t want to confirm our understanding of the world—I want to expand it.”

—Glenna Gordon, 2015

“I often use the extreme in my work to speak to the mainstream of the culture.”

Laurie Frankel Cover of a Roost Home Furnishings catalog, 2011

—Lauren Greenfield, 2011

Evan Kafka Print ad for Huggies Natural Care Wipes, 2013

Callie Shell For a TIME article on President Obama on the day he lost the Senate, 2011

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Mark Zibert Actor Hayden Christensen featured on the cover of GQ Russia and in Vanity Fair, 2010

Photography Annual 2019

2018

2009

Art Streiber Portrait of Michael Keaton for Entertainment Weekly, 2015

“The more you shoot and experiment, the more your work will evolve and become refined over time. Just like any craft, it’s something that just gets better over time with practice.” —Dana Neibert, 2016

“

The outstanding images stood out from the rest by having that unique creative edge.” —George Simhoni

“

PHOTOGRAPHY 2019 ANNUAL

I thought most of the work was very strong, but obviously some rose to the top of the list.” —Melissa Le Nicol

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ADVERTISING 1 Raeff Miles, photographer Deborah Budiselich, art director Matt Thompson, creative director Story & Co., ad agency Kicking Horse Coffee, client “This image was used as part of Kicking Horse Coffee’s North American campaign, highlighting instances where imagination is ignited and good ideas lead to inspired action.” Headline: Dream. Then Do.

2 (series) Maltchique, photographer/creative director Magu Marioto/Aaron Sekushi, assistant photographers Thinkers Management, producer André Kawa, retoucher Renato Guedes, production manager Thiago Ferraz, stylist Jake Falchi, makeup artist Fila, client “Images were used on social media, Instagram Stories, and retail and bus shelters around São Paulo, Brazil.” Headline: New Fila Big-F.

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ADVERTISING 1 Hugh Kretschmer, photographer Kevin Gentile, creative director Grey, ad agency Canon, client “Print ad for Canon imagePROGRAF printers.” Headline: Print Without Losing Details in Black. Print Without Problems.

2 Tim Tadder, photographer Jun Liu, art director Yuko Nagasue, producer HLA Jeans, client “Color-packed imagery created for a web and print campaign for HLA Jeans, the largest Chinese clothing retailer.”

3 (series) simon+kim, photographer Roli Misteli, creative director Tatjana Tomovski, designer Fuchs & Corrà, food stylist ARD Design Switzerland Zürich AG, ad agency Froneri Switzerland S.A., client “Smoothie packaging series for frozen food brand Findus. The maximum freshness you can buy directly from the freezer.”

4 Joshua Dalsimer, photographer Kapono Chung, art director Greg Matson, creative director Anyway Reps, producer DCOY, retoucher Verdes, ad agency MakeSpace, client “This portrait, created for MakeSpace, a new kind of storage company, is of a customer of another storage company who’s expressing his sticker shock. It was used for digital media and OOH.” Headline: Storage Without the Struggle.

5 Dan Winters, photographer Christopher Brooks, senior art director Michael Kochman, executive creative director Kathryn Allen, director of creative services Billy Linpinsel, photo editor TBS + TNT Marketing, client “Portrait of Daniel Radcliffe for promotion of his show Miracle Workers, on TBS.”

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ADVERTISING 1 (series) Tony Kelly, photographer Brett Mason, art director Keith Grieger, creative director Michael Kochman, executive creative director Kathryn Allen, director of creative services Molly C. Berry, photo editor TBS + TNT Marketing, client “Photographer Tony Kelly took a series of cast portraits and insert shots for marketing, social and broadcast use on the set of TNT’s Claws in New Orleans, Louisiana.”

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ADVERTISING 1 Will Strawser, photographer Brian Reilly, art director Mast-Jägermeister US, Inc., client “We spent a month shooting imagery for Jägermeister across the United States. This image, taken in Maui, was used for social media platforms, print and web applications.”

2 Michael Kunde, photographer Zach Arnold/Dan Brindley, creative directors Osborn Barr Paramore, ad agency Nutrien Ag Solutions, client “A combine cuts the final row of the fall 2018 soybean harvest. This image was used in a print ad for a 2019 advertising campaign.”

3 Chris Gordaneer, photographer Jackie Dejewski, art director Jordan Mark, writer Noreel Asuro, creative director The&Partnership, ad agency Telus, client “Created for an ongoing print and OOH campaign for telecommunications company Telus.”

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4 Thirza Schaap, photographer Luis Paulo Gatti, art director Adam Lenart/André Nunes Bueno, writers Marcos Mendes Tanaka, senior art director André Felix, creative director Istvan Bracsok/Levente Kovacs, chief creative officers Shamsher Walia, producer Dominik L, digital artist White Rabbit Budapest, ad agency Floss Creatives, design firm Alexa Antal, WWF Hungary, client “For a poster and print campaign calling attention to the fact that the Color of the Year also represents the fragility of our ecosystem.”

Headline: Color of the Year 2020?

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ADVERTISING 1 (series) Raphaël Ouellet, photographer Virginie Brunelle, client “For a campaign for contemporary dancing choreographer Virginie Brunelle’s new show, Les Corps Avalés.”

2 Joe Mazza, photographer/retoucher/stylist Chris Thoren, director of creative services Jerry Miller, model Chicago Opera Theater, client “Ahab, a preproduction image for Moby Dick, was used for print ads, posters, programs, web and OOH.”

3 Joel Grimes, photographer Zarina Lagman, senior art director Edward Chiquitucto, creative director Tom Arato, producer Tom Civitillo, retoucher Kristen Sullivan, project manager The Nature’s Bounty Co., client “Used as the main image for nutritional supplement brand MET-Rx’s exhibition booth at the 2019 Arnold Sports Festival.”

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ADVERTISING 1 (series) Sandro, photographer Brandon Crockett, writer/creative director Action Injury Law Group, client “Used to advertise for the Truth, Hope and Justice Initiative to help mothers find legal retribution for the loss of their sons and daughters to unjust police killings across the United States.” Headline: We are the MothersoftheMovement.com.

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ADVERTISING 1 Norman Jean Roy, photographer Savannah Gossler/Caroline Valette, art directors Melchior Lamy, creative director Amazon, client “This photograph was used for both print and digital purposes to advertise the second season of Amazon’s The Marvelous Mrs. Maisel.

It shows Midge, a not-so-typical woman of the 1950s, stepping into her own light.”

2 (series) Alexander Khokhlov, photographer Veronica Ershova, producer Uliana Makhtyuk/Natalia Pavlova, makeup artists Mousson Atelier, client “Images from the series were used for the client’s annual calendar, exhibition posters and print ads.”

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ADVERTISING 1 (series) Alexander Khokhlov, photographer Christian Bobst, art director Tom Seinige, writer Sandro Nicotera, creative director Veronica Ershova, producer Uliana Makhtyuk/Natalia Pavlova, makeup artists tbd. AG, ad agency SVA Zürich, client “Images used for print ads, posters, digital out-ofhome, displays and social media ads.” Headline: Mental health problems mask the real person.

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ADVERTISING 1 Josh Behan, photographer NAIL Communications, ad agency Lifespan, client “Part of a yearlong campaign documenting patients for Lifespan. It consisted of print ads, online assets, billboards and buses in and around Providence. This photo helped show how the care that Rob received enabled him to get back to doing the things he loves, like fishing.”

2 Stéphan Ballard, photographer National Film Board of Canada, client “Director Patrick Bouchard on the set of his latest film, ‘The Subject.’

Part of the promotional press kit for print and digital media.”

3 (series) Jehan Adahan, photographer Anthony Chelvanathan/Janath Gamage/Athula Kathriarachchi, art directors Nikhila Dissanayake/Athula Kathriarachchi, creative directors Anthony Chelvanathan/Rajdeepak Das/Lalindra Nanayakkara, executive creative directors Judy John/Mark Tutssel, chief creative officers Anthony Chelvanathan/Janath Gamage, designers Jude Benedict, producer Simon Tuckett, retoucher Selonica Perumal, production manager Ranil De Silva, project manager Leo Burnett Sri Lanka/Leo Burnett Toronto, ad agencies JAT Holdings, client “The photographs were used in print ads, as well as posters.”

Headline: Giving discarded flower offerings a new life.

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ADVERTISING 1 Art Streiber, photographer Angelina Battista, art director Comedy Central, client “Used as a publicity image to accompany the ‘Roast of Bruce Willis’ key art.”

2 Lennette Newell, photographer Paul Henson, art director Maggie Parkhouse, creative director Spicefire, ad agency PetSmart, client “This green tree python was the subject of a new PetSmart reptile project. PetSmart expresses its love of all pets—furry and scaly—through vivid photography.”

3 Mark Katzman, photographer Evgenia Egorova/Harald Hansen, art directors Yuri Sali, creative director Visit Norway, client “Teaming up with Visit Norway to promote tourism in the Lofoten Islands, rated by National Geographic as one of the most beautiful landscapes in the world, was a dream opportunity. This image captures the enduring spirit of Lofoten’s rich cod fishing tradition.”

4 Paul Elledge, photographer/art director Lead into Gold, client “Used as album art, promotional materials and social media for the band Lead into Gold’s record release of The Sun Behind the Sun. Paul Elledge has worked with recording artist Paul Barker for 20-plus years, always striving to create new, contemporary and innovative imagery.”

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ADVERTISING 1 Jonathon Kambouris, photographer Terica Walton, art director JWALK, ad agency Shiseido, client “I was commissioned by Shiseido to photograph its new packaging, released in fall 2018. This was used in digital, social and print.”

2 Ashley Armitage, photographer Annie Rosen, senior art director Meghan Kirsch, chief creative officer Samantha Aldeborgh, designer Julie Ruiz, design director Irene Fitzsimmons/Amy Schriefer, producers Katie Kingzett, production manager Raoul Alejandre, makeup artist VICELAND, client “Digital key art for print ads, posters, social photography and digital advertising.”

3 Tim Tadder, photographer

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Matt Crosby, art director Richard Hauge, writer Paul Kinsella, creative director Dahlia Weidmann, producer Havas Lynx, ad agency “Web and print campaign for a flu medication.”

4 Tim Tadder, photographer Jun Liu, art director Yuko Nagasue, producer HLA Jeans, client “Color-packed imagery created for a web and print campaign for HLA Jeans, the largest Chinese clothing retailer.”

5 Brayden Olson, photographer Annie Rosen, senior art director Meghan Kirsch, chief creative officer Samantha Aldeborgh, designer Julie Ruiz, design director Amy Schriefer, producer Michael Altman, production artist Katie Kingzett, production manager VICELAND, client “Digital key art for posters and social photography.”

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ADVERTISING 1 (series) Mac Holt, photographer Daniel Jordan, assistant photographer Sergio Muñoz, retoucher Joseph Bailey/Dylan Gallison/Calvin Grenkavich, models Russell Shrewsbury, Western Towboat Co., client Used on the internet and for social media.

2 Craig Boyko, photographer V Recordings, client “Cover artwork for the album release from Chronic Records presented by DnB royalty Jumpin Jack Frost.

It’s been an absolute honor working with Frost over the years. He’s an inspiration, and I am blessed to call him my friend.”

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Photography Annual 2019

BOOKS 1 (series) Randal Ford, photographer Jared Dunten/Randal Ford/Dan Winters, writers Carla Delgado, designer DJ Stout, design director James Muschett, editor Pentagram Design, design firm Charles Miers, Rizzoli New York, publisher “The Animal Kingdom: A Collection of Portraits aims to explore our emotional connections with animals through the lens of portraiture. From lions and leopards to wolves and horses, the book contains more than 150 in-studio portraits. Randal Ford’s intention was to capture a glimpse of each subject’s true essence, and in return see a reflection of our true selves in the eyes of these animals.”

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BOOKS 1 (series) Matt Eich, photographer Mike Davis, picture editor Sturm & Drang, publisher “This series examines the daily impact of contemporary race and class disparities in a formerly segregated town. The work spans 2010–2017 and is the second volume in the Invisible Yoke, a four-part series of books related to the American condition.”

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Photography Annual 2019

BOOKS 1 (series) Peter Pickford/Beverly Pickford, photographers Geoff Blackwell, art director Cameron Gibb, designer Blackwell & Ruth, design firm Thames & Hudson, client “In more than 200 striking images, acclaimed photographers Beverly and Peter Pickford have created an epic, unparalleled portrait of some of the Earth’s most untouched places. Wild Land spans four years and seven continents, traversing the globe from Namibia and Alaska to Tibet, Patagonia and more. Celebrating the unique species within these landscapes and accompanied by a fascinating text, Wild Land delivers a timely message that highlights the urgent need for humankind to protect the planet’s future.”

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Photography Annual 2019

BOOKS 1 (series) Rick McGinnis, photographer/designer/publisher “STARS is a self-published selection of celebrity editorial portraiture taken over my 30-plus year career.”

2 Jack Kurtz, ZUMA Press, photographer Scott Mc Kiernan/Ruaridh I. Stewart, picture editors Scott Mc Kiernan, director of photography Jeremy Mc Kiernan, art producer Palm Beach Photographic Centre, FOTOfusion 2019, client “After their wedding, a bride and groom walked out, and the Mayon volcano started its eruption. Included in a book about global events documented by 365 photographers in 2018, representing the 365 days of the year. Published in conjunction with the FOTOvision event at the FOTOfusion 2019 conference.”

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Photography Annual 2019

BOOKS 1 (series) Eugene Tapahe, photographer/creative director Erin Tapahe/Dion Tapahe, editors Eugene Tapahe/Sharon Tapahe, publishers “Standing for Unity: The Standing Rock Movement, a self-published book by photographer Eugene Tapahe, features a collection of inspiring images and personal accounts documenting the unity and resilience of the people at the Standing Rock camps in North Dakota. The book is a true account of this historical gathering, which brought thousands of people from hundreds of different cultures and tribes from around the world to protect the water and land. ‘Mni Waconi!’ (Water is life!)”

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EDITORIAL 1 Derek Shapton, photographer Christine Dewairy, art director Daniel Neuhaus, director of photography Toronto Life, client “Portrait of Jade the boa constrictor with her owner, Toronto Raptor Danny Green.”

2 (series) Melissa Groo, photographer Maria G. Keehan, art director Quentin A. Nardi, senior photo editor Smithsonian, client “Scientists are racing to discover why the snowy owl, an ancient icon of the Arctic, is disappearing before our eyes.”

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Photography Annual 2019

EDITORIAL 1 (series) Dylan Coulter, photographer Maggie Murphy, art director Kate Edwards/Caroline Hunter, picture editors The Guardian Weekend, client “A mix of high camp and compassion has made RuPaul’s Drag Race a TV hit.”

2 Ackerman + Gruber, photographer Marisa Schwartz Taylor, creative director The New York Times, client “A guest sizes up a gun before bidding on it during a silent auction for a GOP fundraiser. For an article about a district in northern Minnesota that could possibly flip from being controlled by the Minnesota Democratic–Farmer–Labor Party to the GOP, which it ended up doing.”

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EDITORIAL 4

1 Jimmy Chin, photographer Duane Raleigh, Rock and Ice, photo editor National Geographic/Rock and Ice, clients “Alex Honnold in Yosemite before he free solo climbed the Freerider route on El Capitan. The photo appeared on the cover of the January 2019 issue of Rock and Ice, which published a feature article titled ‘Yes, It’s a Big Deal,’ about Alex’s climb and the film Free Solo.”

2 Joe Pugliese, photographer Robert Festino, creative director Jennifer Dorn, director of photography Variety, client “Portrait of actor, writer and director Lena Waithe for Variety’s Power of Women issue. One from a series of portraits of five women being celebrated for their achievements in Hollywood.”

3 Ahmad Hasaballah, ImagesLive via ZUMA Press, photographer Mark Avery/James K. Colton/Scott Mc Kiernan/Shalan Stewart, picture editors Scott Mc Kiernan, director of photography DOUBLEtruck Magazine/ZUMA24.com, ThePicturesOftheMonth.com, clients “A Palestinian protestor plays a mandolin beside burning tires.

Clashes erupted between Palestinian protesters and Israeli soldiers on the east of the Bureij refugee camp, along the Gaza-Israeli border fence. According to the Gaza health ministry, four Palestinian protesters were shot dead by Israeli fire.”

4 (series) The Voorhes, photographer Maria G. Keehan, art director Jeff Campagna, photo editor Smithsonian, client “In Florida, the war against a devastating wave of venomous invaders is being fought by a ragtag army of salty divers and daring chefs.”

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EDITORIAL 1 Todd Wright, photographer Wesley Watson, art director Distinction, client “For a story on a Virginia falconer and her birds.”

2 (series) Karine Laval, photographer Matt Willey, art director Gail Bichler, design director Stacey Baker, associate photo editor Kathy Ryan, director of photography The New York Times Magazine, client “Fishlake National Forest in Utah is one of eleven places we featured in our Voyages Issue. Karine photographed the Pando, a gigantic grove of linked aspen trees that all grew from the same tiny seed and remain connected by a shared root system. There are more than 40,000 trees, and when the wind blows through them, it makes an unforgettably loud whisper.”

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Photography Annual 2019

EDITORIAL 1 (series) Brian L. Frank, photographer Jacqueline Bates, photography director Celina Fang, photo editor Tom Meagher, editor The California Sunday Magazine/ The Marshall Project, clients “Brian L. Frank photographed the young men incarcerated at Pine Grove Conservation Camp in California and on their journeys to freedom.”

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EDITORIAL 1 Scott Witter, photographer Ron Goodman, creative director Raquel Beauchamp, photo editor Jason Bolden, stylist Dr. Kari Williams, hair stylist Adam Burrell, makeup artist Adweek, client “Portrait of acclaimed filmmaker Ava DuVernay, who was selected for Adweek’s Creative 100 issue.”

2 Nate Ryan, photographer Casie Beldo, senior art director Reed Fischer, senior editor Minnesota Monthly, client “Award-winning novelist and Macalester College professor Marlon James talks about writing Black Leopard, Red Wolf.”

3 Jeff Moore, photographer Wayne Knight/Anja Moore, art directors Russ Lumpkin, editor in chief Gray’s Sporting Journal, client “This photo illustrated Samuel Lucy’s story ‘Fathers and Daughters,’ a reflection of goose seasons past.”

4 Renée C. Byer, The Sacramento Bee/ZUMA Press, photographer James K. Colton, ThePicturesOftheMonth.com, creative director Mark Avery, ZUMA24.com/James K. Colton, ThePicturesOftheMonth .com/Ruaridh I. Stewart, DOUBLEtruck Magazine, picture editors Scott Mc Kiernan, director of photography DOUBLEtruck Magazine/ZUMA24.com, ThePicturesOftheMonth.com, clients “In Paradise, California, a ceramic doll head is perched on a branch near a burnt mobile home. The Camp Fire was the deadliest and most destructive wildfire in California history.”

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EDITORIAL 1 (series) Sandro, photographer Jody Quon, creative director New York, client “Portraits of one of Hollywood’s most interesting directors, David Lynch, for an article about his film career and the new episodes of Twin Peaks.”

2 Carol Guzy, ZUMA Press, photographer Julie Rogers, ZUMA Press/Ruaridh I. Stewart, zReportage, picture editors Scott Mc Kiernan, director of photography James K. Colton, POM/Seth Greenberg, zReportage, producers ThePicturesOftheMonth.com/zReportage, DOUBLEtruck Magazine, clients “Jonatan, his wife and their infant son hitched a ride with the migrant caravan. They endured a brutal voyage from Honduras in the hopes of crossing the border to America. They swam across rivers and walked and hitchhiked through Mexico. ‘We suffered and were hungry. No one told us the risks.’ Tired, but happy and excited to reach the border, Jonatan is grateful that having his wife and son with him provides joy.”

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EDITORIAL 1 (series) Jason Grow, photographer Katie Ellsworth, art director Janet Michaud, creative director Maryelle O’Rourke, Maryelle Artistry/Kim Reyes, Kim Reyes Makeup, makeup artists Politico Magazine, client “A portfolio of the history-making class of 36 women newly elected to the House of Representatives of the 116th US Congress. In the series: Ayanna Pressley (MA-7); Deb Haaland (NM-1); Alexandria Ocasio-Cortez (NY-14); Ilhan Omar (MN-5); and Donna Shalala (FL-27).”

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EDITORIAL 1 (series) Sophy Holland, photographer Karen Frank/Jim Surber, art directors ESPN The Magazine, client “Saquon Barkley is featured in Body 10, the tenth edition of the Body Issue, created in celebration and exploration of the athletic form.”

2 Marc Lester, photographer Anne Raup, art director Anchorage Daily News, client “The coverage of a magnitude 7.1 earthquake that struck South Central Alaska included this image of the heavily damaged Vine Road in Wasilla.

The quake damaged many buildings and roadways in the Anchorage area, but no deaths were reported in the immediate aftermath.”

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EDITORIAL 1 (series) James Day, photographer Gem Fletcher, art director Kei Yoshino, set designer Creative Review, client “Vintage Braun products by legendary designer Dieter Rams. For a feature in Creative Review.”

2 Justin Fantl, photographer Travis Ruse, photography director Inc., client “Profile on Flexport, which lets businesses track their cargo in real time.”

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EDITORIAL 1 (series) Anna Boyiazis, photographer Jason Potterton, art director ESPN The Magazine, client “Mixed martial arts fighter TJ Dillashaw attempts to cut an additional 10 pounds and drop to 125 pounds to face Henry Cejudo.”

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EDITORIAL 1 Christian Blais, photographer Sébastien Levy, assistant photographer Amélie Chamberland, art director L’actualité, client “The popular prime minister Justin Trudeau leaves no one indifferent, despite the recent controversies.”

2 (series) Robert Wilson, photographer Jodie McEwan, deputy picture editor Anna Bassett, picture editor The Times Magazine, client “For an article investigating the past and present of the world-class but controversial male ballet dancer Sergei Polunin.”

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EDITORIAL 1 (series) Karla Gachet, photographer Molly Roberts, senior photo editor National Geographic, client “In the midst of a political climate hostile to immigrants in the United States, the Latino community flourishes in all fields and aspects of American society. This story aims to celebrate the diversity within this community and their fight to make themselves visible and demand their rights.

Although they have different countries of origin, race, social class and education, Latinos are a strong demographic and political force.”

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133

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EDITORIAL 1 Joe Pugliese, photographer Russ O’Connell, picture editor The Sunday Times Magazine, client “Portrait of actor and musician Jeff Goldblum for a profile in anticipation of his new album.”

FOR SALE 2 (series) Peter Samuels, photographer “BB, the Silver Laced Wyandotte, and Phoenix, the Black Laced Red Wyandotte, are from a series called Storybook Animals, which features real-animal portraits inspired by childhood tales. Each story is a whimsical mash-up of the type of animal the subject is and where it’s from, mixed with its actual personality traits. Work from this series is used for commercial promotion as well as fine art print sales.”

3 Dana Neibert, photographer “Early morning light in Nevada’s Valley of Fire. Available as a gallery print.”

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FOR SALE 1 (series) Ian Ross Pettigrew, photographer “Dogs tied to balloons. That’s all it takes to put a smile on most people’s faces. This project was created for stock photography.

Because of its success, it is now being expanded into a book with a variety of animals.”

2 Jon Love, photographer “An image conceived one evening at the well-known Bronte ocean pool in Sydney, Australia. For sale through photo library plainpicture.”

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FOR SALE 1 Peter Samuels, photographer “Jatun the Suri alpaca is one from a series called Storybook Animals, which features real-animal portraits inspired by childhood tales. Each story is a whimsical mash-up of the type of animal the subject is and where it’s from, mixed with its actual personality traits. Work from this series is used for commercial promotion as well as fine art print sales.”

2 Phil Nguyen, photographer Adobe Stock, client “My approach towards photography is to capture things as they naturally occur, documenting moments and still frames in time. I think that as we progress technologically and become better at using software to create the most flawless and stunning images, we lose the sense of authenticity and emotion that comes with seeing things just as they are. So I’d like to retain that rawness in my photography.”

3 Blaise Hayward, photographer “Iceberg Study XI is part of a series of images shot in Antarctica that are available for purchase. This iceberg is more than 120 feet tall and 1,000 feet wide.”

4 James Ransom, photographer “From an ongoing still life series of botanicals for sale as fine art prints.”

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INSTITUTIONAL 5 Jon Rou, photographer Maureen Pacino, art director Loyola Marymount University, client “This photo accompanied an LMU Magazine feature story about alumnus Chris Sullivan, an actor on the TV show This Is Us. It appeared as a fullpage vertical opposite the headline ‘This Is Chris.’”

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139

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INSTITUTIONAL 1 (series) Cole Saladino, photographer Tom O’Quinn, creative director Ted McGrath, design director Drew Swantak, photography director Thrillist, client “The photography in ‘The 101 Dishes That Changed America’ was inspired by the food selected as the most impactful restaurant dishes of the last 101 years. Each dish chosen to be shown in the piece was re-created according to the important details that made it unique, then photographed in a playful and bold style that captures the Thrillist aesthetic while emphasizing that the food—and the article—cannot be taken too seriously.”

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INSTITUTIONAL 1 (series) Victoria Will, photographer Anne Pomeroy, design director Ray Hunt/Brittany Travis, production managers Briana Flynn, project manager VH1, client “These portraits were made backstage during the VH1 Trailblazer award ceremony, which recognizes persons and entities who have made significant contributions towards minority empowerment and civil activism. They were immediately turned around to use during live programming, on the website and on social channels. The images will also be used in upcoming advertisements to promote the 2020 award show.”

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INSTITUTIONAL 1 (series) Andy Anderson, photographer Scott Davis, creative director Todd Albertson, design director Jane Clark, photography director Michael Pérez, retoucher AARP The Magazine, client “Editorial series featuring senior citizens working in dangerous careers.”

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INSTITUTIONAL 1 (series) Larry C. Price, photographer Tom Zeller Jr., designer Undark.org, client “PM 2.5—atmospheric particulate matter less than 2.5 micrometers in diameter—is a particularly dangerous form of pollution that kills an estimated four million people each year. PM 2.5 particles can enter the bloodstream by passing directly through lung tissues and can cause or contribute to asthma, chronic obstructive pulmonary disease, cardiac disease and various cancers.

This was part of a seven-part series that explored the causes and human toll of PM 2.5 pollution in highly polluted locations on five continents.”

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INSTITUTIONAL 1 Quinn Russell Brown, photographer Ken Shafer, art director Jon Marmor, editor Wet Noodles Inc., retoucher Curtis Bright, stylist Lela Wulsin, prop stylist John Lavin, set designer Columns, client “Football player Myles Gaskin ran for more than 1,000 yards in each of his four seasons at the University of Washington. He was the first Pac-12 player to ever do it, and only nine others have accomplished the feat in NCAA Division I history. This image of a dapper Gaskin soaking his feet was for a story called ‘Going Out in Style.’”

2 (series) Dilip Vishwamitra Bhatia, photographer Happy Home and School for the Blind, client “A day in the life of the children at Happy Home and School for the Blind. Used in a brochure.”

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INSTITUTIONAL 1 Jeff Lipsky, photographer Jennifer Britton/Christopher Nichols, assistant photographers Ford Oelman, creative director Drayton Benedict/Mandy Maxwell, art consultants Ryan Velasquez, producer Martina Tolot, retoucher Kelly Fallon, set designer Academy of Motion Picture Arts and Sciences, client “What does it feel like to win an Oscar? We captured the historic moment backstage with Best Supporting Actress winner Regina King for the Academy of Motion Picture Arts and Sciences.”

2 (series) Juan Arredondo, photographer Julianne Varacchi, art director ESPN.com, client “‘No sleep ’til Moscow.’ Fans from all over the world, with little means, descend upon Russia to follow their national teams.”

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151

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INSTITUTIONAL 1 (series) Maya Visnyei, photographer David Taylor, art director Longo’s, client “The images were used in the Winter 2018 issue of Experience magazine for Longo’s supermarkets.”

2 Stephen Voss, photographer Brett Roegiers/Bernadette Tuazon, art directors CNN, client “Part of the photographic coverage for CNN of Mark Zuckerberg’s two days of testimony before congressional committees looking into various Facebook business practices.”

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153

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INSTITUTIONAL 1 Jon Warren, photographer Selena Koosmann, art director Matthew Ip, designer World Vision, client “Marie, a fourteen-year-old girl, waits at the entrance to a local clinic in Kasai Province, the Congo, where her ill mother is a patient. From a series on Congolese children impacted by conflict, used in print and online by World Vision’s 30 Hour Famine, a program where youth fast for 30 hours to understand and respond to global hunger and poverty issues.”

2 Quinn Russell Brown, photographer Ken Shafer, art director Jon Marmor, editor Jordan Hartley, retoucher Columns, client “Kevin Ninh, known as Flawless Kevin on Instagram and YouTube, makes videos that explore gender identity and LGBTQ issues. As a gay, gendernonconforming Asian American, he has become a subversive storyteller who is carving out a space for himself and others.”

3 Karen Kasmauski, photographer Charlene Reynolds, art director Liz Eddy, creative director United States Agency for International Development, Maternal and Child Survival Program, client “This photograph documents how training has enabled these nursing students in Guatemala to help a young mother during an emergency birth.”

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4 Christian Peacock, photographer Tim Sawyer, art director Annie Berlin, creative director Berlin Communications, ad agency Coastal Kids Home Care, client “This image of a twelve-year-old cancer patient holding her new puppy was used in a rebranding of the Coastal Kids Home Care website.”

5 Chris Mena, photographer Adrian Baidoo, model EMULSIVE.org, client “Inspired by Malcolm X and Gil Scott-Heron, I ask, ‘How would Malcolm protest digital addiction?’ This was used in an editorial about social media discord.”

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INSTITUTIONAL 1 (series) Brian Flaherty, photographer Nicolas Ramirez, assistant art director Stefanie Sosiak, art director Lori Morgan, photo editor Jody Sugrue, editor in chief enRoute, client “The region of Santa Marta, Colombia, once guarded by rebel forces, is slowly opening up to tourists and revealing its hidden prize: the spectacular ruins of a city built more than 1,300 years ago. Getting there, though, is a bit of a hike.”

2 John Lok, photographer Pauline Amell Nash, editor Seattle Public Schools, client “This moment between a son and his mother, immigrants from Somalia, was shot at the Rainier Beach High School graduation ceremony in Seattle for online and print use.”

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157

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INSTITUTIONAL 1 (series) Greg White, photographer Paul Kurzeja, Redwood, creative director Aston Martin, client “The images were used in Aston Martin The Book as full-page spreads visually showcasing the Aston Martin V8 Vantage.”

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159

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MULTIMEDIA 1 Hannah Hill/Dylan Kaericher/Christopher Ryan, photographers Monica Buschor, assistant editor Christopher Ryan, director Eric Cloutman/Whitney Gable/Jennifer Ryan, production company producers Once Films, production company John Boos & Co., client “Stainless” 4:00 “Since 1887, John Boos & Co. has been handcrafting the finest butcher blocks, cutting boards and countertops. In the mid-1960s, it made its first stainless steel table. John Boos & Co.’s passionate craftspeople combine the art of stainless steel fabrication and woodworking to create quality products of durability, function and beauty right here in the United States.”

2 Noel Barnhurst, photographer/director/client Cody Rundall, editor/director of photography Emily Caneer, food stylist Dana Chang, producer “Bread” :75 “The video was inspired by English muffins that food stylist Emily Caneer made for the crew. The idea grew from there, and we spent a couple of days shooting stills and video of various kinds of baked bread. These were used in mailers, e-blasts and on our website.”

3 Jason van Bruggen, photographer/creative director/director Blaine Pearson, writer/chief creative officer Graham Chisholm, editor Stuart Cameron, director of photography Dot Dot Dash, production company/ad agency Gymnastics Canada, client “From Here, We Soar” :60 “To celebrate Gymnastics Canada’s 50th anniversary, we created an ode to this golden generation of Canada’s remarkable gymnastics athletes, featuring Olympic and world champions Ellie Black, Rosie MacLennan, Ana Padurariu and many others.”

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161

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MULTIMEDIA 1 Kate Kelley, photographer/director of photography John Lavall, creative director/editor/director Arianna Shining Star, colorist Lou Bopp, contributing artist Audrey Emerson/Kate Kelley, producers Emmett Cooke, music composer Devlo Media, ad agency Canon, client “Storitellah” 3:00 “A short film about Brian Otieno, a Kenyan photojournalist who is documenting the vibrancy of lives in Kibera, the largest urban slum in Africa, under the pseudonym Storitellah. On a recent trip to Kenya, we met with Brian at 5:30 a.m. at his favorite spot to see the sunrise in Kibera. As filmmakers and photographers, we all use Canon cameras, so Canon’s tagline, ‘See Impossible,’ inspired this short film.”

2 Taylor Glenn, photographer/director Après Visuals, production company “River Surfer” 2:30 “We all know people whose dedication to a passion or purpose inspires us deeply. Gannett Horn is one of those whose focus on his sport and love for its community embodies the best in each of us. This short film is a testament to Gannett and those who motivate us to work harder at the things we love.”

SELF-PROMOTION 3 Emily Hawkes, photographer “Personal work used for website and portfolio prints. An exploration in composition, lines and color.”

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163

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SELF-PROMOTION 1 (series) Christian Blais, photographer “The curves of the sand dunes in Chegaga, Morocco, are highlighted for their architectural beauty.”

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165

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Photography Annual 2019

SELF-PROMOTION 1 (series) Alex Farnum, photographer “A visual journey into man’s new relationship with the planet at the dawn of the digital age. A personal project published in promotional materials in 2019.”

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167

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SELF-PROMOTION 1 (series) Nicky Hamilton, photographer “Take Me Away is a photographic series portraying the lonely act of waiting. This project was primarily used for my portfolio and social media for self-promotional purposes.”

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SELF-PROMOTION 1 Matthew Roharik, photographer Jessica Stewart, stylist “Printed on a six-by-six-inch postcard, Mellow Jello is part of an ongoing studio still life collection that explores edible arrangements. It is inspired by the cannabis culture of Los Angeles. Enlightenment achieved.”

2 Mark Mawson, photographer/client “This image is from a series of flowers underwater, which was emailed out to advertising agency creatives in my marketing campaigns. It was also used on social media.”

3 Samantha Isom, photographer Sean Atherton, model “Used for self-promotion on Samantha Isom’s website and social media.”

4 Christian Blais, photographer Marilou Crispin, assistant photographer/model Amélie Chamberland, art director L’actualité, client

5

“Light test shot of my assistant. The inspiration was Portrait of Madame Matisse by Henri Matisse.”

5 Steve Puppe, photographer Denny Medley, assistant photographer Tiffany Matson, retoucher Brandon Adams, model “This project was a self-assignment working with a fitness model and colored gels. The image was posted to my Instagram and other social media accounts. It will be used in future marketing promotions focused on athletic and sports photography.”

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171

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SELF-PROMOTION 1 (series) Ryan Szulc, photographer/art director Ryan Szulc Photography Inc., client “Part of a series looking at various living things with spikes. These images were used as part of a direct mail and email promo.”

2 Simon Harsent, photographer Portrait of photographer Stephen Dupont.

3 JJ Sulin, photographer “Susanna was shot for self-promotional use in emails and as a sourcebook ad.”

4 Andy Goodwin, photographer Hannah Soto, producer Filtre Studio, digital artist Lavi Toma, stylist Kasha Rodig, hair stylist “From a combination CGI/photography project showing the queen in mundane scenarios. Used for self-promotion and fine art sales.”

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173

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SELF-PROMOTION 1 (series) Molly Dickson, photographer/designer “This pop-up promo was mailed to existing and potential clients. Printing by the Odee Company in Dallas, Texas.”

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Photography Annual 2019

SELF-PROMOTION 1 (series) Scott Pitts, photographer Callie Meyer, food stylist “A series of geometric shapes and color contrast in food and the surroundings. Used on websites, social media and in emails.”

2 Scott McDermott, photographer “I interviewed Mr. Letterman for a documentary film I’m directing. He arrived at the studio like this and was nice enough to agree to a portrait of him as he appears in the wild.”

2

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177

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SELF-PROMOTION 1 Andy Goodwin, photographer Hannah Soto, producer Filtre Studio, digital artist Lavi Toma, stylist Kasha Rodig, hair stylist “From a combination CGI/photography project showing the queen in mundane scenarios. Used for self-promotion and fine art sales.”

2 Andy Anderson, photographer Michael Pérez, retoucher “Portrait of world-renowned primatologist and anthropologist Jane Goodall. Featured in a self-promo piece.”

UNPUBLISHED 3 Daniel Peter, photographer “Some of the favorite roads I’ve ridden were not paved.” © Daniel Peter

4 John-Francis Bourke, photographer Al Malonga, creative director “Blue series portrait.” © John-Francis Bourke

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179

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UNPUBLISHED 1 (series) Kremer/Johnson, photographer Jeff Whitlock, retoucher “A modern photographic interpretation of iconic René Magritte paintings.” © Kremer/Johnson

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Photography Annual 2019

UNPUBLISHED 1 (series) Lou Jones, photographer “The mission of panAFRICAproject is to create a contemporary visual portrait of modern Africa.” © Lou Jones

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183

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UNPUBLISHED 1 (series) Dilip Vishwamitra Bhatia, photographer “A series of black-and-white, graphic architectural images of building details.” © Dilip Vishwamitra Bhatia

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UNPUBLISHED 1 Michael Warren, photographer David Kurtis, retoucher “From a personal project documenting the World’s Largest Rattlesnake Roundup in Sweetwater, Texas.” © Michael Warren

2 (series) James Day, photographer Harry Sleightholme, assistant photographer Gem Fletcher, art director Anna Gibson, makeup artist “A series capturing the individuality and natural beauty of a variety of characterful sitters.” © James Day

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187

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UNPUBLISHED 1 (series) Winnie Au, photographer Marie-Yan Morvan, designer “Ongoing series of personal work that helps raise awareness for rescue animals who need surgery.” © Winnie Au

2 Martin Klimek, photographer “A young boy practices his soccer skills in a park in Paraty, Brazil.” © Martin Klimek

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UNPUBLISHED 1 (series) Eric Meola, photographer Gregory Wakabayashi, art director Images Publishing Group, client “An outbreak of five tornadoes photographed on the evening of June 28, 2018, for the upcoming book FIERCE BEAUTY: Storms of the Great Plains, to be published in October 2019.” © Eric Meola

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191

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Photography Annual 2019

UNPUBLISHED 1 (series) Thom Lang, photographer “Smashed cans photographed on the streets of New York City.

From the series New York City Crush.” © Thom Lang

2 James Day, photographer Harry Sleightholme, assistant photographer “A portrait of Archie the day he got his GCSE results.” © James Day

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193

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UNPUBLISHED 1 Kwaku Kufuor, photographer Brian Kirwan, retoucher Olive Grey, makeup artist Dontae, model “Personal work shot for an upcoming promo book.” © Kwaku Kufuor

2 Tim Tadder, photographer Jasmine Pombert, producer “From Glow, a personal series exploring light, shadow, shape and tone.” © Tim Tadder

STUDENT WORK 3 Vic Schwarz, photographer/art director/director Serena Amoroso, makeup artist Demba, model Mert Ozcevik, stylist Simona Murialdo/William Zanardi, instructors Istituto Marangoni (Milan, Italy), school “Blank Canvas” :75 “The concept of the blank canvas, which is eternally versatile and free of conventions and judgment.” © Vic Schwarz

4 Hatem El Akad, photographer Manolo Garcia, instructor Miami Ad School (San Francisco, CA), school “People underestimate the true high music brings to their senses.” © Hatem El Akad

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STUDENT WORK 1 Sona Javid, photographer Denis Gendron, instructor Dawson College (Montréal, Canada), school

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Harmony. © Sona Javid

2 Dee Derusha, photographer Angie Dow, instructor Kendall College of Art and Design (Grand Rapids, MI), school “My former résumé, handwritten.” © Dee Derusha

2

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FRESH CHUNG CHOON

When Goo-Ryong Kang and Jung Ran Kim founded their Seoulbased design studio in 2013, they decided to name it Chung Choon, Korean for “youth.” “I liked this name because I want to carry on this design studio youthfully,” says Kang, who is always trying to find new solutions, whether by checking Instagram every morning, teaching graphic design at a nearby university or using words to stimulate ideas. “Sketching and writing help me find keywords, which spark my creativity,” Kang says. By using words “like line, glasses and transparent” to select images from Instagram and fashion magazines, Chung Choon experiments with mixing together different words and images, tapping into fresh thinking. Today, Chung Choon works on print design, branding, packaging design and more for clients that range from tech companies like Google to cultural institutions like Gimhae National Museum. And, with a goal of working with brands in the fashion industry, Kang and Kim will continue to combine type and imagery in novel ways. chung-choon.kr

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1. “Identity for Tracing Shadows, a painting exhibition at PLATEAU, Samsung Museum of Art in South Korea.” Goo-Ryong Kang, art director; Jung Ran Kim, creative director; PLATEAU, client. 2. “Identity for Changwon Sculpture Biennale 2018, a sculpture exhibition in Changwon, South Korea.” Goo-Ryong Kang, art director; Jung Ran Kim, creative director; Changwon Sculpture Biennale, client. 3. “Leaflet for Next Expert Training, a program organized by the Korean Foundation for International Culture Exchange.” Goo-Ryong Kang, art director; Jung Ran Kim, creative director; Korean Foundation for International Culture Exchange, client. 4. “2017 season’s greeting card for SK Group, one of the biggest telecommunications companies in South Korea.” Goo-Ryong Kang, art director; Jung Ran Kim, creative director; SK Group, client. 5. “Calendar for the Gimhae National Museum in Gimhae, South Korea.” Goo-Ryong Kang, art director; Jung Ran Kim, creative director; Gimhae National Museum, client.

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FRESH RYAN GARCIA

Ryan Garcia was researching ideas on how to brand his rock band when he encountered the world of visual communications. “It was a serious epiphany when I realized that illustration could be a job— I had to dig deeper,” says Garcia, who went on to earn an illustration diploma at Seneca College in Toronto. In the years since, the freelance illustrator has built up a portfolio that includes work for clients like the Hollywood Reporter and Slack. He incorporates handdrawn linework in his digitally created illustrations, harmonizing flat colors and smooth lines into a visual melody. Recently, he completed his first animation project, for the Harvard Business Review, and he sees himself “exploring the world of animation more seriously in the next five years, be it motion graphics, commercials, virtual reality or even music videos.” Besides experimenting beyond the static image, Garcia also hopes to add one more client to his portfolio in the near future: The New Yorker. “It’d be an absolute dream to have a shot at illustrating a New Yorker cover,” he says. ryangarcia.ca

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1. “About Fortune 500 companies’ attempts to break down management techniques rather than focusing on 360-degree performance reviews of their employees.” Daniel Smith, art director; The Wall Street Journal, client. 2. “Personal piece about commuting New Yorkers. Though they may be from different places and cultures, they all have one thing in common: they’re always united and always on the go!” 3. “Even though much progress has been made in equalizing the workload at home, women are still statistically more likely to do the majority of the chores.” Bryan Gee, art director; The Globe and Mail, client. 4. “About the positive effects of wine on athletes, particularly the performance-enhancing effects of red wine on cyclists who ingest it before a race.” Justin Patrick Long, art director; Men’s Journal, client. 5. “Personal piece that comments on the state of fast food and our culture’s ignorance around nutrition.”

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FRESH VICKY GROUT © Paul Akinrinlola

Wide grins. Thoughtful gazes. Relaxed poses. These are just a few of the details that humanize Vicky Grout’s portraiture. Whether capturing models for a lookbook or documenting musicians backstage, Grout has an eye for uncontrived moments that highlight the charm of her subjects. “I like to make my subjects feel comfortable when I shoot them, particularly when I’m trying not to fangirl over a musician I idolize!” the London-based photographer says. While Grout studied graphic design at Central Saint Martins, her passion for music led her to photograph gigs, raves and artists. “Although there are a lot of things I could have learned a lot quicker if I had studied [photography], there’s something very special about learning things through trial and error,” she says. Grout now uses her camera to show viewers the different facets of fashion and United Kingdom music and street culture.

“The most important thing,” she says, “is creating an image that tells the audience something about its subject.” vickygrout.com

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1. “adidas x Refinery29’s Train Together shoot at the adidas fitness studio on Brick Lane in London, United Kingdom, featuring Kaoutar Hannach, Gina Obeng and Eni Adeyemo.” adidas/Refinery29, clients. 2. “Lookbook for Reebok Aztrek’s fall/winter 2018 line, featuring Anaïs Gallagher, Josh Barber Cruz, Portia Ferrari, Wavey Garms, Oneman, Kaner Flex, Nelly Mayele and Tylor Deyn.” Intermarketing Agency, ad agency; Reebok, client. 3. “Sneakersnstuff x Nike Concord London’s lookbook, styled by Charlotte Graham-Moss and featuring Sharkkana and Renzo.” Charlotte Graham-Moss, stylist; Nike, Jordan Brand/ Sneakersnstuff, clients. 4. “Photography for Museum of Londoners, the new Museum of London identity campaign.” KesselsKramer London, ad agency; Museum of London, client.

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Steve McCurry

A Life in Pictures

Painting, Photography, Film

By Bonnie McCurry and Steve McCurry

Bauhausbücher 8

By László Moholy-Nagy 134 pages, hardcover, €40 Published by Lars Müller Publishers lars-mueller-publishers.com

Originally printed in 1925 as part of a series of books associated with the Bauhaus, László Moholy-Nagy’s Painting, Photography, Film was one of the most influential photography books of the era. Long out of print, it is available again in a beautiful facsimile edition, enabling us to revisit this visionary book and be reminded of how prescient Moholy-Nagy was about the possibilities of photography and film to revolutionize modern perception, vision and communication.

Part treatise and part visual essay, Painting, Photography, Film opens with a roughly 40-page essay, divided into twelve chapters. In this opening text, Moholy-Nagy forcefully argues that photography and film, in contrast to traditional painting, form the foundation of modern perception, and outlines the achievements and opportunities of these lens-based mediums. The second section, inseparable from the argument of the first, offers a kaleidoscopic sequence of images that includes aerial photographs, X-rays, microscopic imagery, time-lapse photographs, photomontages and more. The deliberate sequencing and pairing highlight certain characteristics of these related mediums and force readers to constantly refocus their attention and contend with the multiple strands Moholy-Nagy is weaving together. Concluding the book is a graphically illustrated film script, Dynamic of the Metropolis. Bold and frenetic, the script recalls the “city symphonies” of the era (e.g., Man With a Movie Camera) and demonstrates the potential of image, text and design, ending the book in dramatic fashion.

As we near the 100th anniversary of its publication, Painting, Photography, Film remains essential reading for anyone seriously interested in the lens-based arts.

—Adam Bell

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Written and compiled by Bonnie McCurry, the photographer’s sister, Steve McCurry: A Life in Pictures offers an intimate and comprehensive view of the well-known photographer’s 40-year career. McCurry’s text, interspersed with images and revealing personal ephemera, traces her brother’s life from their early childhood in Pennsylvania to his travels abroad, often pausing to discuss his many iconic images. While McCurry’s photographs at times rely on colorful clichés that essentialize his subjects, revealing less than reaffirming, fans of McCurry’s work who have been searching for a single volume or who simply want an insight into the worldtraveling documentarian should look no further. 392 pages, hardcover, $70, Laurence King Publishing. —A.B.

Bystander A History of Street Photography

By Colin Westerbeck and Joel Meyerowitz

Spanning from 1846 to 2016, the revised edition of Bystander: A History of Street Photography, first published in 1994, takes the pulse of those who took to the street to capture its rhythms, including Diane Arbus, Henri Cartier-Bresson and Walker Evans. It brings those behind the camera in front of it, shining a light on their backgrounds, personalities and approach on the street. Bystander is not a complete or objective view of street photography, with its Eurocentric focus, but the writing is a joy to read and provides a wealth of information. It should be on the shelf of any photographer looking for history and context. 400 pages, hardcover, $65, Laurence King Publishing. —Esther Oh

Photographers on Photography How the Masters See, Think & Shoot

By Henry Carroll 128 pages, hardcover, $19.99 Published by Laurence King Publishing laurenceking.com

I haven’t touched my Nikon 35mm since 2008, and Photographers on Photography: How the Masters See, Think & Shoot made me want to pick it up again. I don’t know if there’s any more glowing praise I can give than that.

Of course, Photographers on Photography’s content makes it a nonlinear read, and that’s how it should be treated. You can’t truly absorb all of the book’s content if you don’t go through it at a slow pace, and that’s exactly the reason why some readers may dismiss this book as a fluff piece or “inspiration porn.” But if there’s anything at all that drives you to get out there and take photos, it’s worth getting.

Now, I’m pretty sure I kept a roll of film in my camera bag...

—Michael Coyne

You may recognize author Henry Carroll from his Read This If You Want To Take Great Photographs series, and this book takes a similar approach, but to a much different question: Why do photographers take pictures the way they do? Carroll has gathered a collection of photographers’ statements and interviews that quickly dive into their practices. And it’s a varied selection of philosophies, from Wendy Red Star decentering photography from Whiteness to Ishiuchi Miyako revealing the inherent violence underlying photojournalism.

Some will resonate with you more than others—I personally found Olivia Bee’s interview on photography as “giving away moments and keeping them forever” the most touching—but, ultimately, there’s something in this book that will inspire any photographer.

Of Love & War

By Lynsey Addario 272 pages, hardcover, $40 Published by Penguin Press penguin.com

Of Love & War is a hard read and an easy read. Some of the moments captured by photojournalist Lynsey Addario make you want to look away, yet still you are compelled to look closer.

recounts working with Addario and videographer Francesca Trianni on a yearlong story following refugee mothers raising newborns.

“Several times I watched Lynsey’s hand reflexively grab her camera when a perfect shot appeared, only to set it back down again, photo untaken because she had not yet requested permission,” Baker writes. “But her patience paid off.”

With patience, with grit, with care, Addario has brought us evidence of love and war. —E.O.

In the introduction to her book, Addario estimates that she has taken millions of photos. Most of the more than 200 chosen for inclusion in Of Love & War were delivered from war zones around the world. They bear witness to moments like Afghanistan under the Taliban and civil war in Libya, giving texture to war and all its aftershocks—rape, hunger, displacement… There is the blood of combat, as in her images of soliders shot in the stomach. But there is also resilience and heart.

A close-up of a letter found at a port where refugees disembarked is captioned with its translation: “‘Be well my love.’”

Tucked amongst the images are personal emails and letters written

by Addario as she was chasing various stories; they are filled with her struggles, fears and hopes. There are also some short essays contributed by Addario’s colleagues. In one, journalist Aryn Baker Communication Arts | commarts.com

205

INDEX TO PHOTOGRAPHERS

a

Ackerman + Gruber 111 mail@ackermangruber.com ackermangruber.com Adahan, Jehan 91 jehanadahan@gmail.com Anderson, Andy 144, 178 andy@andyandersonphoto.com andyandersonphoto.com Armitage, Ashley 95 asharmitage@gmail.com asharmitage.com Arredondo, Juan 151 info@juanarredondo.com juanarredondo.com Represented by The Verbatim Agency lauren@theverbatimagency.com theverbatimagency.com Au, Winnie 188 me@winniewow.com winniewow.com Represented by This Represents natalie@thisrepresents.com thisrepresents.com

b

Ballard, Stéphan 91 stephan.ballard@gmail.com stephanballard.com Barnhurst, Noel 161 info@noelbarnhurst.com noelbarnhurst.com Behan, Josh 91 josh@joshbehanphoto.com joshbehanphoto.com Blais, Christian 130, 164, 171 info@christianblais.com christianblais.com Represented by FH Studio info@fh-studio.com fh-studio.com Bourke, John-Francis 178 johnfrancisbourke@gmail.com jfbourke.com Boyiazis, Anna 129 aboyiazis@earthlink.net annaboyiazis.com Boyko, Craig 96 cb@craigboyko.com craigboyko.com Brown, Quinn Russell qbrown31@uw.edu quinnrussbrown.com

149, 155

Byer, Renée C. 118 reneebyer@mac.com reneecbyer.com Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com

c

Chin, Jimmy 113 jimmychin@rxsports.com jimmychin.com

206

Photography Annual 2019

Coulter, Dylan 111 studio@dylancoulter.com dylancoulter.com

d

Dalsimer, Joshua 76 joshua@dalsimerphoto.com dalsimerphoto.com Day, James 127, 187, 193 studio@jamesdayphoto.com jamesdayphoto.com Represented by Levine/Leavitt liz@llreps.com levineleavitt.com Derusha, Dee 196 deederusha@gmail.com deederusha.com Dickson, Molly 174 molly@savemolly.com savemolly.com Represented by Sisterbrother Mgmt jennifer@sisterbrothermgmt .com sisterbrothermgmt.com

e

Eich, Matt 101 studio@matteichphoto.com matteichphoto.com El Akad, Hatem 194 hatemadel_ahmedelakad@ miamiadschool.net hatemelakad.com Elledge, Paul 92 studio@paulelledge.com paulelledge.com Represented by Candace Gelman & Associates candace@candacegelman.com candacegelman.com

f

Fantl, Justin 127 jf@justinfantl.com justinfantl.com Represented by Giant Artists info@giantartists.com giantartists.com Farnum, Alex 167 studio@afarnum.com afarnum.com Represented by DSREPS deb@dsreps.com dsreps.com Flaherty, Brian 156 info@brianflahertyphoto.com brianflahertyphoto.com Ford, Randal 99 rford@randalford.com randalford.com Frank, Brian L. 117 bfrankimages@gmail.com brianfrankphoto.com

g

Gachet, Karla 133 kgachet@gmail.com karlagachet.com Glenn, Taylor 162 tg@taylorglennphoto.com taylorglennphoto.com Goodwin, Andy 172, 178 andy@agoodwinphoto.com agoodwinphoto.com Represented by Doug Truppe doug@dougtruppe.com dougtruppe.com Gordaneer, Chris 81 chris@westsidestudio.com chrisgordaneer.com Grimes, Joel 82 joel@joelgrimes.com joelgrimes.com Groo, Melissa 108 melgroo@gmail.com melissagroo.com Grow, Jason 123 jason@jasongrow.com jasongrow.com Guzy, Carol 120 Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com

h

Hamilton, Nicky 168 nicky@nickyhamilton.com nickyhamilton.com Represented by Process Photography kim@processphotography.com processphotography.com Harsent, Simon 172 harsent@me.com simonharsent.com Hasaballah, Ahmad 113 Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com Hawkes, Emily 162 hello@emilyhawkes.com emilyhawkes.com Hayward, Blaise 139 info@blaisehaywardstudio.com blaisehaywardstudio.com Represented by Heather Elder Represents heather@heatherelder.com heatherelder.com Hill, Hannah 161 info@oncefilms.com oncefilms.com Represented by Kathy McGuireMullins kathy@kathyreps.com kathyreps.com

Holland, Sophy 124 studio@sophyholland photography.com sophyhollandphotography.com Represented by Levine/Leavitt agents@llreps.com levineleavitt.com Holt, Mac 96 mhp@macholt.com macholt.com Represented by Randy Cole Represents randy@randycole.com randycole.com

Isom, Samantha 171 samantha@samiamphoto.com samanthaisom.com

Jones, Lou 183 fotojones@aol.com fotojones.com

k

Kaericher, Dylan 161 info@oncefilms.com oncefilms.com Represented by Kathy McGuireMullins kathy@kathyreps.com kathyreps.com Kambouris, Jonathon 95 jk@jonathonkambouris.com jonathonkambouris.com Kasmauski, Karen 155 kkasmauski7@gmail.com kasmauski.com

Katzman, Mark 92 mark@markkatzman.com markkatzman.com Represented by The Gren Group paula@thegrengroupinc.com thegrengroupinc.com

Khokhlov, Alexander 87, 88 alhimeg@gmail.com alexanderkhokhlov.com Klimek, Martin 188 mklimek@comcast.net klimekphoto.com

Kunde, Michael 81 michael@michaelkundephoto .com michaelkundephoto.com Represented by Sidecar info@sidecarww.com sidecarww.com Kurtz, Jack 105 jack@jackkurtzphotography.com jackkurtzphotography.com Represented by ZUMA Press, Inc. licensing@zumapress.com zumapress.com

Javid, Sona 196 sona.javid@gmail.com sonajavid.com

Kelly, Tony 79 info@tonykellyworld.com tonykellyworld.com Represented by Copious Management megan@copiousmanagement .com copiousmanagement.com

Kretschmer, Hugh 76 hugh@hughkretschmer.net hughkretschmer.net Represented by Sidecar susan@sidecarww.com sidecarww.com Kufuor, Kwaku 194 kwaku.kufuor@gmail.com kwakukufuor.net

i j

Kelley, Kate 162 audrey@devlomedia.com devlomedia.com

Kremer/Johnson 180 info@kremerjohnson.com kremerjohnson.com

l

Lang, Thom 193 thomlangphoto@gmail.com thomlang.com Laval, Karine 114 karinelavalstudio@gmail.com karinelaval.com Lester, Marc 124 marcjlester@yahoo.com marclesterphoto.com Lipsky, Jeff 151 jeff@jefflipsky.com jefflipsky.com Represented by foureleven michelle@foureleven.agency foureleven.agency Lok, John 156 john@johnlokphoto.com johnlokphoto.com Love, Jon 136 jon@jonlove.com jonlove.com Represented by Deborah Brown & Associates debby@debbybrown.com debbybrown.com

m

Maltchique 75 rodrigo.maltchique@gmail.com rodrigomaltchique.com Mawson, Mark 171 mark@markmawson.com markmawson.com Mazza, Joe 82 joe@bravelux.com bravelux.com

McDermott, Scott 177 scott@scottmcdermott.com scottmcdermott.com

p

Peacock, Christian 155 chris@christianpeacock.com christianpeacock.com

McGinnis, Rick 105 rick@rickmcginnis.com rickmcginnis.com

Peter, Daniel 178 info@danielpeter.com danielpeter.com

Mena, Chris 155 hello@chrismena.com chrismena.com

Pettigrew, Ian Ross 136 ianrosspettigrew@gmail.com ianpettigrew.com

Meola, Eric 191 eric@ericmeola.com ericmeola.com

Pickford, Beverly 103 bernie@afripics.com wildlandphoto.com

Miles, Raeff 75 raeff@raeffmilesphoto.com raeffmilesphoto.com

Pickford, Peter 103 bernie@afripics.com wildlandphoto.com

Moore, Jeff 118 jeff@jeffmooreimages.net jeffmooreimages.net

Pitts, Scott 177 scott@armstrongphoto.com armstrongpittsstudios.com

n

Neibert, Dana 134 info@dananeibert.com dananeibert.com Represented by Fox Creative info@foxcreative.net foxcreative.net

Price, Larry C. 147 lcprice@mac.com larrycprice.com

Roy, Norman Jean 87 studio@studionjr.com normanjeanroy.com Represented by Art + Commerce artists@artandcommerce.com artandcommerce.com

Streiber, Art 92 artstreiber.com evan@artstreiber.com Represented by Giant Artists jen@giantartsits.com giantartists.com

Ryan, Christopher 161 info@oncefilms.com oncefilms.com Represented by Kathy McGuireMullins kathy@kathyreps.com kathyreps.com

Sulin, JJ 172 jj@jjsulin.com jjsulin.com

Ryan, Nate 118 photography@nateryan.com nateryan.com

s

Saladino, Cole 140 csaladino@thrillist.com colesaladino.com Samuels, Peter 134, 139 peter@petersamuels.com petersamuels.com Sandro 84, 120 sandro@sandrofilm.com sandrofilm.com

Newell, Lennette 92 mail@lennettenewell.com lennettenewell.com

Pugliese, Joe 113, 134 studio@joepug.com joepug.com Represented by Bernstein & Andriulli info@ba-reps.com ba-reps.com

Nguyen, Phil 139 phil@philnguyen.co philnguyen.co

Puppe, Steve 171 steve@stevepuppe.com stevepuppe.com

Schwarz, Vic 194 victoriaschwarz@gmx.at vicschwarz.com

o

Olson, Brayden 95 studio@braydenolson.com braydenolson.com Represented by Redux Pictures lauramcclintock@reduxpictures .com reduxpictures.com Ouellet, Raphaël 82 info@raphaelouellet.com raphaelouellet.com

r

Ransom, James 139 james@jamesransom.com jamesransom.com Roharik, Matthew 171 matthew@roharik.com roharik.com Rou, Jon 139 jon@jonrou.com jonrou.com

Schaap, Thirza 81 mail@thirzaschaap.com thirzaschaap.com

Shapton, Derek 108 derek@derekshapton.com derekshapton.com Represented by Westside Studio agents@westsidestudio.com westsidestudio.com simon+kim 76 kim@werbefotografie.ch simonandkim.work Strawser, Will 81 will@willstrawser.com willstrawser.com

Voss, Stephen 153 steve@stephenvoss.com stephenvoss.com

w

Warren, Jon 155 jonc.warren@gmail.com Warren, Michael 187 michael@warrenphotography .com warrenphotography.com

Szulc, Ryan 172 ryan@ryanszulc.ca ryanszulc.ca

t

Tadder, Tim 76, 95, 194 mail@timtadder.com timtadder.com Tapahe, Eugene 107 tapahe@tapahe.com tapahephotography.com

v

van Bruggen, Jason 161 jason@jasonvanbruggen.com jasonvanbruggen.com Represented by Dot Dot Dash hello@dotdotdash.ca dotdotdash.ca Vishwamitra Bhatia, Dilip 149, 184 dilipvb@gmail.com dilipbhatia.com Visnyei, Maya 153 info@mayavisnyei.com mayavisnyei.com Represented by FUZE Reps connect@fuzereps.com fuzereps.com The Voorhes 113 nicki@voorhes.com voorhes.com Represented by Candace Gelman & Associates candace@candacegelman.com candacegelman.com

White, Greg 159 greg@gregwhite.tv gregwhite.tv Represented by Webber newyork@webberrepresents .com webberrepresents.com Will, Victoria 143 victoria@victoriawill.com victoriawill.com Represented by Fox Creative paige@foxcreative.net foxcreative.net Wilson, Robert 130 robert@robertjwilson.com robertjwilson.com Represented by TM/AR info@tmar.com tmar.com Winters, Dan 76 info@danwinters.com danwintersphoto.com Witter, Scott 118 scott@scottwitter.com scottwitter.com Represented by Redux Pictures reduxpictures.com Wright, Todd 114 todd@toddwrightphoto.com toddwrightphoto.com

INDEX TO INDIVIDUALS AND FIRMS

a

AARP The Magazine 144 Academy of Motion Picture Arts and Sciences 151 Action Injury Law Group 84 Adams, Brandon 171 Adobe Stock 139 Adweek 118 Albertson, Todd 144 Aldeborgh, Samantha 95 Alejandre, Raoul 95 Allen, Kathryn 76, 79 Altman, Michael 95 Amazon 87 Amell Nash, Pauline 156 Amoroso, Serena 194 Anchorage Daily News 124 The&Partnership 81 Antal, Alexa 81 Anyway Reps 76 Après Visuals 162

Arato, Tom 82 ARD Design Switzerland Zürich AG 76 Arnold, Zach 81 Aston Martin 159 Asuro, Noreel 81 Atherton, Sean 171 Avery, Mark 113, 118

b

Baidoo, Adrian 155 Bailey, Joseph 96 Baker, Stacey 114 Barnhurst, Noel 161 Bassett, Anna 130 Bates, Jacqueline 117 Battista, Angelina 92 Beauchamp, Raquel 118 Beldo, Casie 118 Benedict, Drayton 151 Benedict, Jude 91

Berlin, Annie 155 Berlin Communications 155 Berry, Molly C. 79 Bichler, Gail 114 Blackwell & Ruth 103 Blackwell, Geoff 103 Bobst, Christian 88 Bolden, Jason 118 Bopp, Lou 162 Bracsok, Istvan 81 Bright, Curtis 149 Brindley, Dan 81 Britton, Jennifer 151 Brooks, Christopher 76 Brunelle, Virginie 82 Budiselich, Deborah 75 Leo Burnett Sri Lanka 91 Leo Burnett Toronto 91 Burrell, Adam 118 Buschor, Monica 161

c

The California Sunday Magazine 117 Cameron, Stuart 161 Campagna, Jeff 113 Caneer, Emily 161 Canon 76, 162 Chamberland, Amélie 130, 171 Chang, Dana 161 Chelvanathan, Anthony 91 Chicago Opera Theater 82 Chiquitucto, Edward 82 Chisholm, Graham 161 Chung, Kapono 76 Civitillo, Tom 82 Clark, Jane 144 Cloutman, Eric 161 CNN 153 Coastal Kids Home Care 155 Colton, James K. 113, 118, 120 Columns 149, 155

Comedy Central 92 Cooke, Emmett 162 Creative Review 127 Crispin, Marilou 171 Crockett, Brandon 84 Crosby, Matt 95

d

Das, Rajdeepak 91 Davis, Mike 101 Davis, Scott 144 Dawson College 196 DCOY 76 De Silva, Ranil 91 Dejewski, Jackie 81 Delgado, Carla 99 Demba 194 Devlo Media 162 Dewairy, Christine 108 Dickson, Molly 174

Communication Arts | commarts.com

207

INDEX TO INDIVIDUALS AND FIRMS Dissanayake, Nikhila 91 Distinction 114 Dontae 194 Dorn, Jennifer 113 Dot Dot Dash 161 DOUBLEtruck Magazine 113, 118, 120 Dow, Angie 196 Dunten, Jared 99

Henson, Paul 92 HLA Jeans 76, 95 Hunt, Ray 143 Hunter, Caroline 111

i

Images Publishing Group 191 ImagesLive via ZUMA Press 113 Inc. 127 Ip, Matthew 155 Istituto Marangoni 194

e

j

Eddy, Liz 155 Edwards, Kate 111 Egorova, Evgenia 92 Elledge, Paul 92 Ellsworth, Katie 123 Emerson, Audrey 162 EMULSIVE.org 155 enRoute 156 Ershova, Veronica 87, 88 ESPN The Magazine 124, 129 ESPN.com 151

JAT Holdings 91 John Boos & Co. 161 John, Judy 91 Jordan, Daniel 96 JWALK 95

k

Kathriarachchi, Athula 91 Kawa, André 75 Keehan, Maria G. 108, 113 Kelley, Kate 162 Kendall College of Art and Design 196 Kicking Horse Coffee 75 Kim Reyes Makeup 123 Kingzett, Katie 95 Kinsella, Paul 95 Kirsch, Meghan 95 Kirwan, Brian 194 Knight, Wayne 118 Kochman, Michael 76, 79 Koosmann, Selena 155 Kovacs, Levente 81 Kurtis, David 187 Kurzeja, Paul 159

f

Falchi, Jake 75 Fallon, Kelly 151 Fang, Celina 117 Felix, André 81 Ferraz, Thiago 75 Festino, Robert 113 Fila 75 Filtre Studio 172, 178 Fischer, Reed 118 Fitzsimmons, Irene 95 Fletcher, Gem 127, 187 Floss Creatives 81 Flynn, Briana 143 Ford, Randal 99 FOTOfusion 2019 105 Frank, Karen 124 Froneri Switzerland S.A. Fuchs & Corrà 76

l

76

g

Gable, Whitney 161 Gallison, Dylan 96 Gamage, Janath 91 Garcia, Manolo 194 Gatti, Luis Paulo 81 Gendron, Denis 196 Gentile, Kevin 76 Gibb, Cameron 103 Gibson, Anna 187 Glenn, Taylor 162 Goodman, Ron 118 Gossler, Savannah 87 Gray’s Sporting Journal 118 Greenberg, Seth 120 Grenkavich, Calvin 96 Grey 76 Grey, Olive 194 Grieger, Keith 79 The Guardian Weekend 111 Guedes, Renato 75 Gymnastics Canada 161

h

m

Hansen, Harald 92 Happy Home and School for the Blind 149 Hartley, Jordan 155 Hauge, Richard 95 Havas Lynx 95

208

Photography Annual 2019

L, Dominik 81 L’actualité 130, 171 Lagman, Zarina 82 Lamy, Melchior 87 Lavall, John 162 Lavin, John 149 Lead into Gold 92 Lenart, Adam 81 Levy, Sébastien 130 Lifespan 91 Linpinsel, Billy 76 Liu, Jun 76, 95 Longo’s 153 Loyola Marymount University 139 Lumpkin, Russ 118

MakeSpace 76 Makhtyuk, Uliana 87, 88 Malonga, Al 178 Maltchique 75 Marioto, Magu 75 Mark, Jordan 81 Marmor, Jon 149, 155 The Marshall Project 117 Maryelle Artistry 123 Mason, Brett 79 Mast-Jägermeister US, Inc. 81 Maternal and Child Survival Program 155 Matson, Greg 76 Matson, Tiffany 171 Mawson, Mark 171

q r

Maxwell, Mandy 151 Mazza, Joe 82 Mc Kiernan, Jeremy 105 Mc Kiernan, Scott 105, 113, 118, 120 McEwan, Jodie 130 McGinnis, Rick 105 McGrath, Ted 140 Meagher, Tom 117 Medley, Denny 171 Mendes Tanaka, Marcos 81 Meyer, Callie 177 Miami Ad School 194 Michaud, Janet 123 Miers, Charles 99 Miller, Jerry 82 Minnesota Monthly 118 Misteli, Roli 76 Moore, Anja 118 Morgan, Lori 156 Morvan, Marie-Yan 188 Mousson Atelier 87 Muñoz, Sergio 96 Murialdo, Simona 194 Murphy, Maggie 111 Muschett, James 99

n

Nagasue, Yuko 76, 95 NAIL Communications 91 Nanayakkara, Lalindra 91 Nardi, Quentin A. 108 National Film Board of Canada 91 National Geographic 113, 133 The Nature’s Bounty Co. 82 Neuhaus, Daniel 108 New York 120 The New York Times 111 The New York Times Magazine 114 Nichols, Christopher 151 Nicotera, Sandro 88 Nunes Bueno, André 81 Nutrien Ag Solutions 81

o

O’Connell, Russ 134 Oelman, Ford 151 Once Films 161 O’Quinn, Tom 140 O’Rourke, Maryelle 123 Osborn Barr Paramore 81 Ozcevik, Mert 194

p

Pacino, Maureen 139 Palm Beach Photographic Centre 105 Parkhouse, Maggie 92 Pavlova, Natalia 87, 88 Pearson, Blaine 161 Pentagram Design 99 Pérez, Michael 144, 178 Perumal, Selonica 91 PetSmart 92 ThePicturesOftheMonth.com 113, 118, 120 Politico Magazine 123 POM 120 Pombert, Jasmine 194 Pomeroy, Anne 143 Potterton, Jason 129

Quon, Jody

120

Raleigh, Duane 113 Ramirez, Nicolas 156 Raup, Anne 124 Redwood 159 Reilly, Brian 81 Reyes, Kim 123 Reynolds, Charlene 155 Rizzoli New York 99 Roberts, Molly 133 Rock and Ice 113 Rodig, Kasha 172, 178 Roegiers, Brett 153 Rogers, Julie 120 Rosen, Annie 95 Ruiz, Julie 95 Rundall, Cody 161 Ruse, Travis 127 Ryan, Christopher 161 Ryan, Jennifer 161 Ryan, Kathy 114

s

The Sacramento Bee 118 Sali, Yuri 92 Sawyer, Tim 155 Schriefer, Amy 95 Schwartz Taylor, Marisa 111 Schwarz, Vic 194 Seattle Public Schools 156 Seinige, Tom 88 Sekushi, Aaron 75 Shafer, Ken 149, 155 Shining Star, Arianna 162 Shiseido 95 Shrewsbury, Russell 96 Sleightholme, Harry 187, 193 Smithsonian 108, 113 Sosiak, Stefanie 156 Soto, Hannah 172, 178 Spicefire 92 Stewart, Jessica 171 Stewart, Ruaridh I. 105, 118, 120 Stewart, Shalan 113 Story & Co. 75 Stout, DJ 99 Sturm & Drang 101 Sugrue, Jody 156 Sullivan, Kristen 82 The Sunday Times Magazine 134 Surber, Jim 124 SVA Zürich 88 Swantak, Drew 140 Szulc, Ryan 172 Ryan Szulc Photography Inc. 172

t

Tapahe, Dion 107 Tapahe, Erin 107 Tapahe, Eugene 107 Tapahe, Sharon 107 Taylor, David 153 tbd. AG 88 TBS + TNT Marketing 76, 79 Telus 81 Thames & Hudson 103 Thinkers Management 75 Thompson, Matt 75

Thoren, Chris 82 Thrillist 140 The Times Magazine 130 Tolot, Martina 151 Toma, Lavi 172, 178 Tomovski, Tatjana 76 Toronto Life 108 Travis, Brittany 143 Tuazon, Bernadette 153 Tuckett, Simon 91 Tutssel, Mark 91

u v

Undark.org 147 United States Agency for International Development 155

V Recordings 96 Valette, Caroline 87 van Bruggen, Jason 161 Varacchi, Julianne 151 Variety 113 Velasquez, Ryan 151 Verdes 76 VH1 143 VICELAND 95 Visit Norway 92

w

Wakabayashi, Gregory 191 Walia, Shamsher 81 Walton, Terica 95 Watson, Wesley 114 Weidmann, Dahlia 95 Western Towboat Co. 96 Wet Noodles Inc. 149 White Rabbit Budapest 81 Whitlock, Jeff 180 Willey, Matt 114 Williams, Dr. Kari 118 Winters, Dan 99 World Vision 155 Wulsin, Lela 149 WWF Hungary 81

y z

Yoshino, Kei

127

Zanardi, William 194 Zeller Jr., Tom 147 zReportage 120 ZUMA Press 105, 118, 120 ZUMA24.com 113, 118

Editor’s Note Every effort has been made to ensure that the credits comply with information supplied to us.

If, for any reason, a misspelling, omission or other error has occurred, notify us within 30 days and we will be able to issue corrected award certificates.

“Photography is the story I fail to put into words.”

Destin Sparks

“It’s a bad time to be a photographer, but a great time to be a photographer with vision.”

Tyler Mitchell, via Twitter

“There is no need for me to appeal to nice—I’m not making an advert for a perfume!”

Maisie Cousins, via Dazed

“The light is my thing.

I love working with it.”

Ditte Isager, via Communication Arts January/February 2015

“Available light is any damn light that is available!”

W. Eugene Smith

“I always say that your work is your passport.”

Lauren Greenfield, via Rookie

“I don’t understand why it’s so hard to credit photographers. Do people think these photos just appear out of thin air?

Give credit where credit is due.”

Dana Scruggs, via Twitter

at-edge.com /

FIND YOUR NEXT ASSIGNMENT PHOTOGRAPHER.

atedge

Ph o t o g r a p he r / D i re c t o r

R e p re s e nt e d b y :

Noel Barnhurst

JK &

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jkand.com

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FIND YOUR NEXT ASSIGNMENT PHOTOGRAPHER. atedge

Lucian McAfee

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