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Katee McGee is a California-based international award winning editorial and commercial photographer, serving the wine industry! Since 2005, Katee has specialized in wine-related photography and has shot in some of the world’s premier vineyards and estates in California, Italy, and France. See more of her work on her website: www.pendergast-mcgee.com.
My first paid professional gig was as a unit stills (set) photographer for Universal Pictures on location for the movie The Hitcher II. It was exciting and so fun to be a (albeit small) part of a larger group of creatives. Great energy – I learned a ton on that shoot. Most exciting was that they chose one of my images as the hero image for the poster and DVD cover.
I grew up in the wine industry, running through vineyards and playing hide-and-seek with my brothers on the weekends in the enormous 4-acre barrel room of historic Almadén Vineyards. Back in those days it was still listed in the Guinness Book of World Records as “the World’s Largest Covered Wine Cellar”.
My dad has worked in the wine industry in sales and marketing since before I was born – and still does. Through that exposure to the industry, I began noticing the imagery inherent to wine and its culture at a really young age. In addition, my father always brought a lot of enthusiasm to whatever his latest projects were and I think it rubbed off. In a sense I think I was “sold” on wine and the wine country culture long before I was ever able to actually partake.
Of course. I have had the privilege of not only photographing incredible wine locations around the world, but also have had the opportunity to taste the amazing wines at those locations. Wine culture is really all about sharing. Sharing stories, sharing your hospitality and sharing something you’re proud of. Artistry and craftsmanship is appreciated and communal in wine culture – everyone wants to share what they’ve made, so my palate was educated by some of the best “teachers” in the world.
I can’t say I have a favorite. Each place needs something different. Sometimes it’s simple, like just capturing the beauty of the location of the architecture. But sometimes it’s more of a challenge. A lot of times, big producers want to look small and artisan and give off a boutique vibe, while some of their smaller boutique counterparts want to present the image of being bigger players than they are, so that make things interesting. I genuinely like the problem solving involved in delivering what each client wants and needs – each client is different and I think it’s one of the best parts of what I do.
Wine photography really requires you to be multi-disciplined. There are so many aspects to it – you need to be able to do a lot of it well. You need to be able to produce striking landscapes, make interesting images reflecting nature and architecture, work as a photojournalist during harvest and crush and around the winery, connect with owners and winemakers to create compelling portraits, and then have the technical studio and lighting skills to create clean product shots.
Most of all, you need to be a storyteller. I know it’s cliched but it’s still true, because at the end of the day you are hired to tell the unique story of the client and their brand.
In pursuit of that unique story, you can also get some strange requests. Frequently, I am asked to visually represent elements of the terroir (For those who don’t know – “terroir” is the unique natural environment in which a particular wine is produces, this includes factors such as the soil, the topography, and the climate in that area.) I remember one gig where the creative brief requested that I show “wind”. lol
But in the end – this is their life’s work. There is only one harvest a year and each vintage is unrepeatable, so creating images that help tell the story of that brand, that vintage, that location, is paramount, and a good wine photographer needs to really understand that on an innate level. Understanding that and respecting that is critical.
I have a creative collective called Garage Industries and I coordinate and art direct multi-disciplined creative marketing projects. For example, for one client I’m currently working on a promotional project that includes photography, letterpress printing, original oil-paintings and comic book art, copywriting, video and digital media and my task is to keep all of that coordinated and aligned with the creative direction of the project. I have a deep network of creatives from my years in the business and it’s been great to be able to assemble dream-teams of professionals and work together on specific projects. It’s a great outlet for my more grand creative concepts.
Since my daughter was born, I have become slightly obsessed with children’s portraiture. After she was born, I found myself spending a lot of time in the world of kids in addition to the world of wines, and I was always kind of put-off by typical children’s portrait photography. I wanted to have images of my daughter that were cool and contemporary and modern – print large. Not something that would look dated and be embarrassing to either of us in 20 years time. I would look at adverts for Gap Kids or Crewcuts and think, “Why can’t I get pictures like THAT of my daughter?” I didn’t find anyone making them so I decided that I would just make them myself. (Years ago I had worked as a Creative Director for two first-generation skate/streetwear contemporary clothing companies in Southern California so the idea wasn’t a stretch.)
Based on that spark, I started putting together custom children’s portrait shoots that follow more of a fashion editorial trajectory, with all the bells and whistles of a commercial fashion shoot – but for “regular” kids who aren’t professional models. (Although in truth, I think many of them could be if their parents wanted to go that direction.) You’d be amazed at how awesome these kids are! I love creating images that are genuine reflections of their unique personalities – no stiff poses, cheesy props or strained, fake smiles – just capturing their pure, beautiful spirits. It’s magic.
I have found that there are other parents like me out there that want images of their kids that are cool, timeless, and done to the highest professional standard. It’s great to be able to offer this level of production and quality to the parents that “get it”. (I knew I couldn’t be the only one!)
To some it might seem a bit incongruous to do both wine photography and children’s fashion portraiture, but if you know me – it makes perfect sense. And anyone who has kids knows that a glass of wine can often be your very best friend.
My name is Kari Alana Heron. I am a storyteller. I tell three-dimensional stories about food, culture, people, travel, and life using images and words. My portfolio site is www.kariheron.com and award-winning food blog is www.chefandsteward.com.
I started out taking photos of food when I decided to delve into my ambition to start a food blog with my chef husband some six years ago. As expats, it was a great way for me to introduce myself to Dubai, which was my new home and to merge our skills, expertise, and interests. I have been shooting since I was 9 on a 24 mm and eventually inherited my father’s 35 mm in my teens. I trained in photography from age 16 and went pro when I left the Caribbean and moved to Dubai. Why food? It doesn’t talk back. Seriously though, food is one of the most challenging subjects and I love the reward of conquering something that is so dynamic. Food and culture have always intrigued me.
I have a mad love for the Middle East. I fell in love some years ago. There is so much there – even though it may seem very basic to Western eyes. I felt I had my greatest personal growth in the Middle East. Jordan has been my most sacred place to shoot so far.
Since I have an extensive background in Media and Communication, I have learned that relationships are everything in business. It is the same with small clients and those names that make your client list look lush. Waldorf Astoria was a brilliant brand to work with and their Ras Al Khaimah, United Arab Emirates location is one of the most spectacular hotels I have ever shot in or had the pleasure of staying at. Red Bull is a fun brand and I headed up Marketing Communication for their largest Soapbox Race in Latin America.
I consider a perfect food photograph one that makes you want to reach through the screen and take a bite or want to go to your kitchen to cook or book a reservation immediately for that restaurant. A perfect food photograph is an invitation to treat.
Like most creatives, I am multi-talented. The body of my work that I am most passionate about includes photography, video production, writing recipe development, and food styling. I am a content producer. It is a blessing to be able to move seamlessly through the arts and not only express my God-given gifts, but earn a living income internationally from them. I love to travel for work and hop across the Atlantic up to three times a year. Travel is the best school life can offer.
I was commissioned to collaborate on a book which will be published soon. My husband and I are looking for some cookbook deals as we have got a few great books inside us. Food is a universal language that unites people from all over the world and as people who have lived our adult lives outside of our home country, it has been an integral part in our travels in our travels. My work is based on my respect for food, people, their culture and where they live. I am pretty big on social media and love connecting with people on Facebook, Twitter, Pinterest, YouTube, Vimeo, Instagram, and Periscope.
Christopher Paul Brown is an abstract photographer that has dedicated his time to capturing fascinating artwork. His work has appeared in numerous shows as well as having a one-man show in 1985. To see more of his work, visit his website: www.christopherpaulbrown.com.
In January of 1978 I used student loan proceeds to purchase a Contax RTS camera with a Zeiss lens. I was attending film school, but my intentions there were to work commercially and pay my bills. I needed a strictly artistic outlet and photography suited me best.
The reception to my marketing was strong. I was in numerous juried shows and publications. The Standard Oil Company bought one of my photographs for their collection and I had my first solo show by 1985. Shortly thereafter, for a host of reasons, I let go of the marketing side of photography. I continued to shoot and eventually replaced my 35mm Contax with a Mamiya medium format camera, began shooting in color, and by 2013 moved into digital photography. It was my excitement with the digital arena that helped me decide to market my photography once again in 2013. Shortly afterwards, I discovered liveBooks, which perfectly suited my web presence.
I consider myself an alchemist. The early alchemists focused primarily on matter. They were the precursors of today’s chemists and their belief was that hidden qualities lay within mundane matter. Unlike today’s chemists, they saw their own personal power as affecting the outcome of their alchemical investigations. In the 20th century, the surrealists and psychotherapists such as Carl Jung and Otto Rank took alchemy to a new level and applied to art and people what the older alchemists had applied to mundane matter. In my own view, consciousness is something shared not only among plants and animals, but also among ordinary items such as grains of sand, cars, and tables. Consciousness is all there is, but our world is wrapped up in a great masquerade.
With my photography, I experience myself as less of a creator of images than a conductor of energies beyond myself. Just as a lens conducts light and a wire conducts electricity, I invite and allow energies beyond my conscious understanding to flow through and co-create these images. My job is to stand astride a polarity: on the one hand I am open, accepting the serendipity of the unexpected, of whatever appears that is beyond the surface of things, but at the same time I am focused on creating a strong image that reveals a depth that is beyond words. With these two intentions, polar opposites though they are, powerful energies are often released. When I am lucky, they manifest images that offer depth and richness.
My work is the opposite of a mental construct. I don’t begin with a series in mind of a title for a photograph. Rather, the series or title reveals itself afterwards. Each image, and series of images, has a consciousness of its own, related to my consciousness, yet also independent of me. In many ways, I am like a paleontologist who unearths pre-existing bones from the earth. In my case, the earth is a metaphor for the unconscious and the unexplained.
I believe these images tell non-linear stories. They seem to be both subterranean and unconscious. I think of them as the wordless shards of dreams that have survived awakening.
Chuck Haney is a professional freelance photographer/writer based in beautiful Whitefish, Montana. He travels extensively across the United States and Canada in pursuit of the finest and most intriguing images. His provocative use of natural light in landscape, wildlife, and outdoor sports images have drawn national acclaim and have landed him many assignments including advertising campaigns.
Chuck’s finest images grace the walls of many residential and public spaces. His travel and outdoor lifestyle articles have been featured in numerous national and regional publications; adding to 13 coffee table books, over 190 magazine covers, and numerous sole-photographer calendars to his credit. Chuck enjoys teaching a series of popular photography workshops across the country each year. To view more of Chuck’s work, please visit his liveBooks website: www.chuckhaney.com. Follow Chuck on Facebook and Instagram!
My career in landscape photography began gradually. I would go for bicycling excursions in nearby Glacier National Park and see all these wonderful scenes unfold before my eyes. Soon, I was returning with my SLR camera in tow. This was in the early 1990s when I learned to shoot with film and manual settings.
For me, a perfect landscape image is one that places the viewer into the scene by using a wide angle lens and lots of depth of field. The best shots have fleeting magical light that happens briefly during stormy weather patterns and invoke an emotion. It’s also important to carry the correct equipment. I, for one, cannot leave my home without a sturdy tripod. I always mention to my workshop students that a good tripod is your friend for life.
As for my projects – there is no single one that I can choose as my favorite. Actually, whatever I’m working on at the time is my favorite project. The scope of my portfolio is wide and vast and I enjoy the fact that I work on such a variety of subject matter. One week I am shooting city images for my new book, “Portrait of San Francisco” and the next week I find myself searching for interesting barns for stock use in calendars.
I shoot at a wealth of interesting places; my favorites vary based on the time of the year. I love shooting in the deserts in Spring, the Great Plains in early Summer, hardwood forests of the Midwest in Fall and ski action or quite winter scenes near my hometown of Whitefish, Montana.
I am passionate about my craft. I think this is well-represented in my Portfolios pages on liveBooks, which highlight my favorite and most popular images. I think a photographer does best when he/she shoots subjects that they enjoy…You can tell that I have a zest for many subjects!
One piece of advice that I can give to fellow landscape photographers is to get to know your location by being patient and to take a closer look at what is really around you. You will discover a whole new world that could easily just slip by without careful consideration and reflection.
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Living in Melbourne, Victoria, Australia, Joshua Holko is a full-time Professional Nature Photographer who specializes in polar photography. Joshua is a fully accredited AIPP Master of Photography and member of the Australian Institute of Professional Photographers (AIPP). He has won countless awards for his photography including being names the 2015 Global Arctic Photographer or the Year.
Joshua is officially represented by Philip Kulpa and the Source Photographica Gallery in Australia and Aspen, Colorado.
To see more of Joshua Holko’s work visit his website: www.jholko.com.
Photography is at its core a still medium that we use to tell stories. The problem with much of the photography that is referenced in the blog post “Will the Real Landscape Photography Please Stand Up” is that there is no story being told by the photograph. Or rather, the story is one of technical perfection and a pretty picture.
Photography is the art of observation. It’s about finding something interesting in an ordinary place or thing. It frequently has little to do with the things you see and everything to do with the way you see them. And that brings us to the art of seeing. An art that is being lost in a sea of technical perfection. Sure it takes technical skill to set up a camera and tripod in a beautiful location with great light and make a pretty picture. It takes artistic skill, however, to create an evocative photograph with emotion and mystery.
Creating images with mystery and emotion starts with seeing with better eyes. Weather, light, and composition all play a vital role in the process but the real emotion is going to come from the story you are trying to tell with your photograph. I wrote in my book review of La Nuit du Cerf (Night of the Deer) about how photography is a subtractive process and what we exclude is often more important than what we include. Photographs are often successfully emotive because of what the photographer chose to exclude, rather than what he or she has included. Giving a sense of something is often far stronger than showing the whole thing. Leave something to the imagination of the viewer in your photographic compositions and you will find your images become stronger, more emotive and mysterious. The story does not have to be completed in a wide-angle frame that encompasses absolutely everything. It is often well worth letting the viewer fill in the blanks in their minds’ eye. After all, no photograph can compete with the stimulated imagination. The more you can fire the imagination of the viewer the more successfully emotive your photograph will become.
I cannot recall who it was who was first quoted as saying “Don’t photograph what it is. Photograph what else it is” but this statement is great advice we should all keep in mind when we are out taking photographs.
I have judged many photographic competitions over the last few years and without a doubt those photographs that are more successful are the ones that tug on my emotional strings. These photographs create a connection with the viewer that is deeper and more meaningful than the feeling a pretty picture might impart.
Learning to see with better eyes takes time but is something we can train ourselves to do. Looking at photography books or attending galleries (not just photographic galleries) and exhibitions are two good ways to improve your vision. Look at how other photographers whom you admire interpreted a scene or subject and analyze what it is that created the connection for you to the work. Think about what is is you are trying to say with your photography before you click the shutter. I frequently ask workshop participants what their photograph is about when they ask for feedback on their images – I often receive a blank stare in return. If the photograph doesn’t know what the image is about, how is the viewer supposed to know? It might be a photograph of a Penguin and that well be the answer, but the real answer should be about what the photographer is trying to say about the subject.
Lets look at this photograph of mine on Gentoo Penguins in the sea ice near the entrance to the Lemaire Channel in Antarctica as an example. This photograph is about “being left behind”. It tells the story of the Gentoo Penguins in their environment. We know (even though they are small in the frame) that there are penguins because of their distinctive shape. We know they are in Antarctica because of the giant icebergs in the background. We know they are in their natural environment as they are walking across the sea ice. Yet, it is that one lone penguin that is lagging behind that creates the emotion in the photograph. When this photograph was judged at the 2014 APPA Awards, the judges giggled and commented about the story being told. The mere fact the photograph elicited giggles speaks to the emotive content. The photograph subsequently received a Gold Award.
Now, if you put your thumb over the screen and cover up that lagging penguin then suddenly the story is now nowhere near as strong and the real power and emotion of the photograph is gone.
The same applies to the overall composition of this photograph. To the left of the large iceberg just out of frame is a large island. To the right-hand side is a mountainous peak, likewise just out frame but neither of these elements are important to the photograph so I excluded them to simplify the frame and distill it down the essence of what I wanted the photograph to be about. I wanted to tell the story about the penguins on the ice with the little feller playing catch-up. Excluding these extraneous elements not only cleaned up the frame, but it also left the imagination to fill in the blanks about what might lie just to the left and right. Our mind’s eye fills in the blanks and at least in my own case, I imagine the sea ice continually stretching out in both directions. This is far stronger than seeing the Island and mountain that are just out of frame.
Learning to see with better eyes is a core aspect to creating emotion in your imagery. Learning to use the elements available is another. Those who have travelled with me to the Polar regions know I relish bad weather. Snow, blizzards, and dramatic weather provides the perfect canvas to create emotive imagery. It doesn’t have to be Polar though – a breaking rain storm or the edge of weather will almost always provide an opportunity to tell an emotive story. The take-away to remember is that the weather provides only some of the feeling and drama to the photograph. It is your composition and choice of what you include and exclude that is going to tell the story. Remember, like all good stories, a photograph should leave the viewer wanting more. That is the key to getting emotion and mystery into your photographs.
I tumbled into photography while I was struggling to stay in New York after arriving from India with less than a dollar in my pocket and a visa that only lasted a month. In 1968, my plans were to become a fold singer; New York City was full of hippies and music was everywhere. This lady was listening to me sing in the village and asked me if I would come and audition at the United Nations’ choral group. I got the part and she got me a job as a messenger and took care of my visa problem. I won the grand spires in a photo-contest that led me to a job in the United Nation’s Photo Unit as a darkroom technician.
I had worked for 20 years as a photojournalist and I had a nervous breakdown after my coverage in Rwanda in 1994. At that point, I wanted to turn my camera towards nature and wildlife. Since I come from India and tigers are endangered, I decided to turn my photography towards documenting the tigers. I am also very fond of cats.
This tiger documentary was a coincidence. Mary Fereira who is a United Nations Television (UNTV) documentary producer approached me and asked if I would be willing to share my tiger images and let them follow me while I was in the jungle in India and film with me. So last year they did the filming in India. During the 30 years I worked with the United Nations, I was a photojournalist covering crisis around the world of less fortunate people who suffered during wars and natural disasters. So to be featured as a wildlife photographer was a challenge and thrill.
I want people to be aware of the delicate situation of these tigers existence in our ever changing world and needs. I want people to realize that we all have an obligation to protect our wildlife and the land we live in. There is an ancient saying that this Earth is given to us on loan and we must take the responsibility to nurture and safekeep it for our children and their children.
Even though I have retired from my regular job as a photojournalist, I still work everyday in my studio in Yonkers. I make presentations at universities, schools, conduct workshops, and teach photography. As I am writing this, I am getting ready to leave for China on an invitation to make a presentation to 1,400 students in Beijing next week.
To see more of John Isaac’s work, visit his website: www.johnisaac.com
Gretchen Bell is a wardrobe and prop stylist based in Seattle. Her client list includes Kraft, Levi’s, Target, Chevrolet, Amazon, Omni Resorts and Tommy Bahama. To see more of her work, visit: www.gretchenbell.com
In some ways, I feel I was destined to become a stylist. As a child, I was always wearing fashion trends before anyone else and modeling in local fashion shows. When I was about 13, I remember reading an article in Seventeen Magazine about the woman who was the stylist for The Cosby Show and thinking that would be my dream job, little did I know!
In college, my major was television Communications, so my career began working in video production as a production assistant and doing graphics for the news at the NBC station in Minneapolis. I then spent several years working as a modeling agent, before taking a job as a studio manager and producer for a successful advertising photographer, Craig Perman. It was there that I began styling commercial photo shoots for many large national and international clients and really learned about all aspects of production. So my whole career has really been about seeing things in a visual way.
In a great photograph everything matters, the color of a shirts, the kind of coffee cup, the style of the shoe, the position of the elements to one another. Everything in a photograph is helping to convey a client’s message or tell a story and that is my job. That is the fun and the challenge of being a stylist. What is going to make a photograph funny or moody or nostalgic and how are my props and wardrobe going to help do that? People don’t realize I might spend hours looking for just the right underwear that will be funny on teenage boys or searching for the perfect feathers for a still life shoot because it all matters. That is why stylists bring so many choices to the set for every shoot, so we can figure out what best helps tell the story.
It is very much a collaboration to tell a great story and it’s not always successful. Everyone is bringing something to the table at the shoot and when we all have a clear and concise vision, I think then it makes for a great photograph. As a stylist, I am coming to a shoot with my interpretation of what my client wants, but also run through a filter of my personal style. If a client wants playing cards, there are lots of playing card options out there. It is really fun to see a shoot come together successfully and see how elements from each member of the crew helped create that moment.
To me being a stylist is really about being part of a team; I can’t do my job without the rest of the crew. My props and wardrobe are only as good as the talent booked for the shoot, the lighting, the photographer, the makeup artist, the vision of the client and the layouts. Again, everything matters.
Lauren Keskinel is a photographer based in Los Angeles. Her background in film production, extensive travels through the developing world, and affinity for sports and adventure give her a unique perspective on the people and places she shoots. When not working in the world of sports entertainment, Lauren enjoys partnering with organizations to help document their humanitarian efforts, both domestically and abroad. Her work has been recognized through numerous awards including the APA Awards and PDN’s Photobook Cali. She was also a proud participant in the Eddie Adams Workshop XXIV. To see more of Lauren’s work, visit www.laurenkeskinel.com.
I always say that I took the long road to photography. When I was 19, I got a job on a movie set and spent the next decade going from film to film. It was an amazing time in my life and allowed me to learn the ins and outs of entertainment production, while providing me the ability to travel the world in between shoots. After a while, I started craving something more creative of my own. Photography had always been something I was interested in and I took the opportunity to go back to school and learn more about it. I was hooked.
I was lucky to meet another photographer early on in photography who worked in the equestrian world shooting high level competitions. I had ridden and competed as a kid so it was an easy transition into shooting horses. It was a wonderful way to hone my skills and allowed me the flexible schedule I needed when my kids were young. Now that they are a little older, I’m focusing more on editorial and commercial opportunities, particularly related to entertainment.
Much of my commercial and editorial work is in color and I think certain images lend themselves beautifully to it, but I absolutely love black and white. I am lucky enough to have learned photography when film was still hanging on as a standard. I explored a lot with the classic black and white films and spent a lot of time in the darkroom. Now I love taking those same techniques and applying them digitally. I find that when it’s just me and an image in post, with full creative freedom, I still lean towards black and white.
I consider myself to be a street photographer at heart. I have always been an observer and joke sometimes that I am a professional people watcher. Whether it’s a well-planned, production-heavy commercial shoot or a quick shot with my iPhone, I love to capture that perfect moment that reveals something about life and humanity.
For commercial or editorial work, I will often use a medium format Hasselblad or Phase One with a digital back. For sports and travel, I always use the professional line of 35mm cameras from Canon. Personally, I obsessively shoot with my iPhone. I know it may be blaspheme in some circles, but it has been one of the most creatively freeing tools that I’ve used. It allows me to capture moments that I would never otherwise have my camera for, and helps avoid the wall that can go up with a subject as soon as you pull out a real camera.
If you’re just a beginner and want to get into photographing, I would tell you to take classes. You don’t have to go to an expensive art school. There are so many great local programs throughout the country. I did the commercial photography program at Santa Monica College here in Los Angeles and it was amazing. I think when you first start out in photography, it’s easy to underestimate how much technique and knowledge goes into the beautiful shots you see. You look and think ‘I can do that’ and then you try and it looks like your crazy uncle Bob took it. I think it’s really the technical skills that separate you from the pack these days. I will also give the same advice given to me and to generations of photographer. Shoot. Shoot. Keep Shooting. Then shoot some more. I learn something every time I shoot. Often it’s what doesn’t work, but slowly, with every mistake and failed concept, you get better. I guarantee you one thing about photography, there is alway more to learn. Keep at it.
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Deborah Depolito is a skilled stylist that has 15+ years of experience under her belt. Working with world-renown clients such as Under Armour, Uber, McDonald’s, and Microsoft, it is clear why she is so sought-after in her industry. Her strong relationship with photographers and clients have allowed her to work with on various commercial and editorial campaigns. See more of her work at www.deborahdepolitostylist.com
When people think of styling, they quickly assume that it’s only related to getting the perfect outfit together. What most fail to see is that without a proper styling professional onboard an editorial project, the message being conveyed can be lost. Styling is so much more than it seems – it not only includes props, hair and make-up but also matching people to fit brands and products.
(Director: Gary Land // Executive Producer: Abe Sands // Photographer: Nick Taylor)
My keenly trained eye for the client’s mission and ever-evolving awareness of color and style ensures that my clients are happy with the end product, every time. This may seem like an easy task – in fact, it’s very difficult. When you’re styling, you not only have to put yourself in the company’s mindset but also in the client that they are gearing the service and/or product to.
I believe that it is my warm nature and sense of humor that allows me to complement my ability to dress talent in an authentic and beautiful way. Without this light-heartedness, the work would seem inauthentic and it would create an end-product that my clients would not be happy with.
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