Cognitive/AI technologies for customer engagement are white hot. No wonder professionals, who had removed AI from their resumes, are scrambling to add it back in!

I am a firm believer in The 7 Habits of Highly Effective People, by Stephen Covey. If you've not read this book, it is worth the time. I mention this because my focus at BA Insight is around Covey's second habit, which is, "Begin with the end in mind." Seems simple, right? Well it is, but it's also quite rare. When approaching any enterprise search project, at any phase, I always try to come back to this idea. What is success? When are we done? What does finished look like? These are all different ways of saying, "Make sure you have goals!"

Enterprise search projects start with intentions to provide ?Google for our organization' but too often fail to deliver on that promise. In our experience, these projects fail due to a lack of sustained effort and governance. The commercialization of next-generation search technologies allows you to fulfill this promise if you take a systematic approach to implementation.

The data, information, and analytics economy runs on well-curated, structured data. No matter your industry?having good curated data and content is critical. It's increasingly important as more data and content are generated. Intelligent tools to sift through content are more robust and at the same time, more "needy." That means modern technology platforms, systems, and even content consumers require well-structured data and content to perform well. As most artificial intelligence (AI) practitioners state?"nothing starts without good data."

Unstructured data, which comprises almost 80% of any enterprise's data, holds untapped value when it comes to addressing challenges and embracing opportunities.

For decades, organizations have tried to unlock the collective knowledge contained within their people and systems. And the challenge is getting harder, since every year, massive amounts of additional information are created for people to share. We've reached a point at which individuals are unable consume, understand, or even find half the information that is available to them.

Artificial intelligence (AI) is one?if not the?key technology of our decade. Technological advances in this field are not only fundamentally changing our economies, industries and markets, but are also exerting enormous influence on traditional business practices, many of which will disappear, while others will be transformed or completely reinvented.

Artificial intelligence (AI) has captured the imagination of a wide variety of businesses. I have this image of CEOs in boardrooms around the globe declaring, "We must have AI! Our competitors use AI! We can't be left behind!" There might be some table-pounding associated with this scenario. There will certainly be corporate minions scurrying around to fulfill the AI dreams of their CEO.

The consumer has spoken. Forrester Research asked 5,000 of them, "What created the biggest pain when you contacted a business for customer service?" They answered lack and consistency of agent knowledge, followed by the difficulty of finding relevant answers on company websites. So, what is driving this dissatisfaction?

A New York appellate court ruled that a worker injured in an accident caused by a falling pipe should have been granted summary judgment on his Labor Law claim. Case: Jara-Salazar…

West Virginia’s Supreme Court upheld a finding of compensability for a worker with a knee injury. Case: P&G Tabler Station v. Hiett, No. 23-703, 10/30/2024, published. Facts: David Hiett worked for P&G Tabler…

The Missouri Court of Appeals upheld a determination that a worker was not entitled to underinsured motorist benefits for an on-the-job injury caused by an inattentive driver. Case: Preston v. Progressive…

An Ohio appellate court upheld an enhanced award of benefits to an injured roofing worker for his employer’s violation of a specific safety requirement. Mauricio Rivera worked for Prime Roof Solutions…

Ganezza’s Visual Identity: A Dynamic Branding Journey

Bien-Être Simple’s Vibrant Branding and Web Design by Impulso

Wildlife photography fans now have a unique opportunity to own a true collector’s piece from renowned wildlife photographer David Lloyd. For the first time, David...

The post Now you can own this rare collector’s edition book set of wildlife fine art photography appeared first on DIY Photography.

We have teamed up with three amazing brands, Accsoon, Saramonic, and SmallRig, to give a lucky winner a break into the filmmaking world. A complete...

The post We are giving away over $1,500 in filmmaking gear appeared first on DIY Photography.

Starting an online art photography business is a huge milestone in your career. As photographers, it’s all too easy to collect hundreds, if not thousands,...

The post How to sell fine art prints like an award-winning photographer  appeared first on DIY Photography.

If you’re looking for a tried-and-true lighting technique, then it doesn’t come much more stress-tested than this one. In fact, this is a lighting technique...

The post Lighting setup: Still life portrait appeared first on DIY Photography.

For many of us creative folks, periods of low inspiration and creative block are inevitable. Max Kent also felt disconnected from his craft, but found...

The post From burnout to breakthrough: Five key steps to breaking the creative block appeared first on DIY Photography.

Finding power on location can be tough, especially when those locations are out in the middle of nowhere. It’s been getting a lot easier in...

The post Bluetti’s new Elite200 V2 wants to power your camera gear on location appeared first on DIY Photography.

The world has changed. Everything we do is more immediately visible to others than ever before, but much remains the same; the relationships we develop are as important as they always were. This post is a few thoughts on self-promotion, and how to have good relationships as a self-publisher.

Meeting people face to face is ace. They could be colleagues, vendors, or clients; at conferences, coffee shops, or meeting rooms. The hallway and bar tracks at conferences are particularly great. I always come away with a refreshed appreciation for meatspace. However, most of our interactions take place over the Web. On the Web, the lines separating different kinds of relationships are a little blurred. The company trying to get you to buy a product or conference ticket uses the same medium as your friends.

Freelancers and small companies (and co-ops!) can have as much of an impact as big businesses. ‘I publish therefore I am’ could be our new mantra. Hence this post, in a way. Although, I confess I have discussed these thoughts with friends and thought it was about time I kept my promise to publish them.

Publishing primarily means text and images. Text is the most prevalent. However, much more meaning is conveyed non-verbally. ‘It’s not what you say, it’s how you say it.’

Text can contain non-verbal elements like style — either handwritten or typographic characters — and emoticons, but we don’t control style in Twitter, email, or feeds. Or in any of the main situations where people read what we write (unless it’s our own site). Emoticons are often used in text to indicate tone, pitch, inflection, and emotion like irony, humour, or dismay. They plug gaps in the Latin alphabet’s scope that could be filled with punctuation like the sarcasm mark. By using them, we affirm how important non-verbal communication is.

The other critical non-verbal communication around text is karma. Karma is our reputation, our social capital with our audience of peers, commentators, and customers. It has two distinct parts: Personality, and professional reputation. ‘It’s not what was said, it’s who said what.’

So, after that quick brain dump, let me recap:

• Relationships are everything.
• We publish primarily in text without the nuance of critical non-verbal communication.
• Text has non-verbal elements like style and emoticons, but we can only control the latter.
• Context is also non-verbal communication. Context is karma: Character and professional reputation.

Us Brits are a funny bunch. Traditionally reserved. Hyperbole-shy. At least, in public. We use certain extreme adjectives sparingly for the most part, and usually avoid superlatives if at all possible. We wince a little if we forget and get super-excited. We sometimes prefer ‘spiffing’ accompanied by a wry, ironic smile over an outright ‘awesome’. Both are genuine — one has an extra layer in the inflection cake. However, we take great displeasure in observing blunt marketing messages that try to convince us something is true with massive, lobe-smacking enthusiasm, and some sort of exaggerated adjective-osmosis effect. We poke fun at attempts to be overly cool. We expect a decent level of self-awareness and ring of honesty from people who would sell us stuff. The Web is no exception. In fact, I may go so far as to say that the sensibilities of the Web are fairly closely aligned with British sensibilities. Without, of course, any of our crippling embarrassment. In an age when promoting oneself on the Web is almost required for designers, that’s no bad thing. After all, running smack bang through the middle of the new marketing arts is a large dose of reality; we’re just a bunch of folks telling our story. No manipulation, cool-kid feigned nonchalance, or lobe-smacking enthusiasm required.

Consider what the majority of designers do to promote themselves in this brave new maker-creative culture. People like my friend, Elliot Jay Stocks: making his own magazine, making music, distributing WordPress themes, and writing about his experiences. Yes, it is important for him that he has an audience, and yes, he wants us to buy his stuff, but no, he won’t try to impress or trick us into liking him. It’s our choice. Compare this to traditional advertising that tries to appeal to your demographic with key phrases from your tribe, life-style pitches, and the usual raft of Freudian manipulations. (Sarcasm mark needed here, although I do confess to a soft spot for the more visceral and kitsch Freudian manipulations.)

There is a middle ground between the two though. A dangerous place full of bad surprises: The outfit that seems like a human being. It appears to publish just like you would. They want money in exchange for their amazing stuff they’re super-duper proud of. Then, you find out they’re selling it to you at twice the price it is in the States, or that it crashes every time it closes, or has awful OpenType support. You find out the human being was really a corporate cyborg who sounds like you, but is not of you, and it’s impervious to your appeals to human fairness. Then there are the folks who definitely are human, after all they’re only small, and you know their names. All the non-verbal communication tells you so. Then you peek a little closer —  you see the context — and all they seem to do is talk about themselves, or their business. Their interactions are as carefully crafted as the big companies, and they treat their audience as a captive market. Great spirit forefend they share the bandwidth by celebrating anyone else. They sound like one of us, but act like one of them. Their popularity is inversely proportional to their humanity.

Extreme examples, I know. This is me exploring thoughts though, and harsh light helps define the edges. Feel free to sound off if it offends, but mind your non-verbal communication. :)

That brings me to self-promotion versus self-aggrandisement; there’s a big difference between the two. As independent designers and developer-type people, self-promotion is good, necessary, and often mutually beneficial. It’s about goodwill. It connects us to each other and lubricates the Web. We need it. Self-aggrandisement is coarse, obvious, and often an act of denial; the odour of insecurity or arrogance is nauseating. It is to be avoided.

If you consider the difference between a show-off and a celebrant, perhaps it will be clearer what I’m reaching for:

The very best form of self-promotion is celebration. To celebrate is to share the joy of what you do (and critically also celebrate what others do) and invite folks to participate in the party. To show off is a weakness of character — an act that demands acknowledgement and accolade before the actor can feel the tragic joy of thinking themselves affirmed. To celebrate is to share joy. To show-off is to yearn for it.

It’s as tragic as the disdainful, casual arrogance of criticising the output of others less accomplished than oneself. Don’t be lazy now. Critique, if you please. Be bothered to help, or if you can’t hold back, have a little grace by being discreet and respectful. If you’re arrogant enough to think you have the right to treat anyone in the world badly, you grant them the right to reciprocate. Beware.

Celebrants don’t reserve their bandwidth for themselves. They don’t treat their friends like a tricky audience who may throw pennies at you at the end of the performance. They treat them like friends. It’s a pretty simple way of measuring whether what you publish is good: would I do/say/act the same way with my friends? Human scales are always the best scales.

So, this ends. I feel very out of practise at writing. It’s hard after a hiatus. These are a few thoughts that still feel partially-formed in my mind, but I hope there was a tiny snippet or two in there that fired off a few neurons in your brain. Not too many, though, it’s early yet. :)

This image shows a particular optical illusion that confronts us every day. Notice the difference between the black text on a white background and the reverse. With reversed type — light text on a darker background — the strokes seem bolder.

Black text on white is very familiar, so we can be forgiven for thinking it correctly proportioned. For familiarity’s sake we can say it is, but there are two effects happening here: The white background bleeds over the black, making the strokes seem thinner. With reversed type the opposite is true: The white strokes bleed over the black, making it seem bolder.

One of the most obvious examples of this is with signs where the letters are punched into the surround then lit from inside. In his article, Designing the ultimate wayfinding typeface, Ralph Herrmann used his own Legibility Text Tool to simulate this effect for road and navigational signs.

One might say that characters are only correctly proportioned with low-contrast. Although objective reality hails that as true, it isn’t a good reason to always set type with low contrast. Type designers have invariably designed around optical illusions and the constraints of different media for us. Low-contrast text can also create legibility and accessibility problems. Fortunately, kind folks like Gez Lemon have provided us with simple tools to check.

As fascinating as optical illusions are —  the disturbing, impossible art of Escher comes to mind — we can design around reversed body type. On the Web, increasing tracking and leading are as simple as increasing the mis-named letter-spacing and line-height in CSS. However, decreasing font weight is a thornier problem. Yes, we will be able to use @font-face to select a variant with a lighter weight, but the core web fonts offer us no options, and there are only a few limited choices with system fonts like Helvetica Neue.

Reversing a logotype

For logotype there are plenty of options, but it makes me slightly uncomfortable to consider switching to a lighter font for reversed type logos. The typeface itself is not the logotype; the variant is, so switching font could be tricky. Ironically, I’d have to be very sure that that was no perceivable difference using a lighter weight font. Also, with display faces, there’s often not a lighter weight available — a problem I came across designing the Analog logo.

The logotype worked well when testing it in black on white. However, I wanted a reversed version, too. That’s when I noticed the impact of the optical illusion:

It looked bloated! Objective reality be damned; it simply wouldn’t do. After a few minutes contemplating the carnage of adjusting every control point by hand, I remembered something; eureka!

Punching the paths through a background image in Fireworks CS4 removed the illusion. (Select both the path and the background then using Modify > Combine Paths > Punch.) Is this a bug? I don’t know, but if it is, it’s a useful one for a change!

I grinned. I was happy. All was well with the world again. Lovely! Now I could go right ahead and think about colour and I wouldn’t be far from done. This is how it emerged:

A final note on logotype design & illusions

Before we even got to actual type for the Analog logo, we first had to distill what it would convey. In our case, Alan took us through a process to define the brand values and vision. What emerged were keywords and concepts that fed into the final design. The choice of type, colour, and setting were children of that process. Style is the offspring of meaning.

I always work in greyscale for the first iterations of a new logo for a few simple reasons:

1. The form has to work independently of colour — think printing in greyscale or having the logo viewed by people with a colour-impairment.
2. It allows for quick testing of various sizes — small, high contrast versions will emphasise rendering and legibility issues at screen resolutions, especially along curves.
3. I like black and white. :)

I realise that in this day and age the vast majority of logos need to perform primarily on the Web. However, call me old-fashioned, but I still think that they should work in black and white, too.

Brands and display faces emerged with consumer culture during the 19^th Century. Logotypes were displayed prominently in high streets, advertising hoardings, and on sign boards. In many instances the message would be in black and white. They were designed to be legible from a distance, at a glance, and to be instantly recognisable. Even with colour, contrast was important.

The same is true for the Web today; only the context has changed, and the popularity of logomarks and icons. We should always test any logo at low resolutions and sizes, and the brand must still have good contrast (regardless of WCAG 2.0) to be optimal. A combination of colour and form works wonders, but in a world of a million colours where only a handful are named in common parlance, having the right form still seems a smarter choice than trying to own a palette or colour.

A final word

This article was prompted by a happy accident followed by a bit of reading. There are many references to optical illusions in design and typography books. The example image at the start of this article was inspired by one found in the excellent Stop Stealing Sheep and Find Out How Type Works by Erik Spiekermann and E.M. Ginger. There’s also plenty of online material about optical or visual illusions you can dive into. There’s also more on . Oh, and don’t forget the work of M. C. Escher!

Human eyes are amazing. In two sets of watery bags we get a wide-angle lens with incredibly sharp focus and ridiculous depth of field. Apparently our brain is even clever enough to compensate for the lag in the signal getting from retina to cortex. I know next to nothing about ocular science. Spending a morning reading and thinking about optical illusions, and contemplating my own view here in the garden office is pretty awe-inspiring. If only my photographs were as good as my eyes, illusions or no.

Wow, this has been a busy period. I’m just back from the Ampersand web typography conference in Brighton, and having a catch-up day in Mild Bunch HQ. Just before that I’ve been working flat out. First on Mapalong which was a grass-roots sponsor of Ampersand, and is going great guns. Then on an article for The Manual which is being published soon, and on 8 Faces #3 which is in progress right now. Not to mention the new talk for Ampersand which left me scratching my head and wondering if I was making any sense at all. More on that in a subsequent post.

In the meantime two previous events deserve a mention. (This is me starting more of a journalistic blog. :)

First of all, an interview with Simon Pascal Klien, the typographer and designer who’s curating the Design Festival podcast at the moment. We talked about all things web typography. Pascal cheekily left in a bit of noise from me in the prelude, and that rant pretty much sets the tone for the rest of the conversation. Thanks for your time, Pascal! If anyone reading this would care to listen in, the podcast can be downloaded or played from here:

Secondly, Daniel Bogan of The Setup sent me a few questions about my own tools. My answers are pretty clipped because of time, but you may find it interesting to compare this designer’s setup with your own:

I should note that in the meantime I’ve started writing with Writer, and discovered the great joy of keeping a journal and notes with a Midori Traveler’s Notebook. The latter is part of an on-going search I’m having to find Tools for Life. More on that, too at some point. Here’s my current list of topics I want to write about shortly:

• Ampersand, the aftermath
• Marrying a FujiFilm X100
• No-www
• Tools for life
• Paper versus pixels

There, I’ve written it!

I’ve shot at this location a few times but for some reason I’ve never seen it from the other side. Literal proof that shooting with other creatives gives you new perspective. ???? (at Toronto, Ontario)

BIG NEWS: My custom Lightroom presets are now available and 50% off for a limited time with discount code HOLIDAY50. Link in profile!

This collection includes two styles (Everyday and Clean) that I use to edit every shot on this feed. I can’t wait to see what you all do with them! Stay tuned to my upcoming tutorials on how to put the presets to good use. ???? (at Toronto, Ontario)

Thanks for all the positive support and reception to my Lightroom presets so far, especially to those who pulled the trigger and became my first customers! I’d love to hear your feedback once you try them out!
.
Still time to enter the giveaway or to take advantage of the 50% sale! See my last post for full details and the link in my profile. ❤️ (at Toronto, Ontario)

I like the philosophy behind shooting with primes; that a photographer shouldn’t stand still but instead, continuously move closer, further, lower, or higher relative to his/her subject as a means of establishing a deeper connection. ????????
—
Save 50% on my custom Lightroom presets with HOLIDAY50. Link in profile. (at Toronto, Ontario)

Bricks are better black. ◾️ (at Toronto, Ontario)

Lights, camera, action. ????
—
A few more days left to get 50% off my custom Lightroom presets! Link in profile. (at Toronto, Ontario)

Missing Berlin’s gorgeous buildings again. ???? (at Berlin, Germany)

And while we’re in the process of missing European architecture… ????
—
4 more days left to catch my Lightroom presets for 50% off! ⌛️ (at Copenhagen, Denmark)

This is from my favourite shoot/photoset of all time. It was spontaneous, serendipitous, and simply beautiful. ☂️
.
The edit: After applying my preset (I used Clean for this one), I bumped up the exposure and desaturated the yellows/oranges a bit. As a finishing touch, I used a graduated filter to brighten the top a bit and a radial filter on @sllychn to brighten and sharpen the focal point. That’s it! ✨ (at Toronto, Ontario)

Preset (Everyday) + transform + exposure + graduated filter + radial filter. If shots like this take more than 2 minutes to edit, it’s probably not worth editing. ⏱
—
Boxing Day will be the last day to get my Lightroom presets discounted, which leaves you only 3 more days! Get on it! ???? (at Toronto, Ontario)

Trying to straighten all the lines on this shot is a sure fire way to go blind. ???? (at London, United Kingdom)

I just realized that I can export my entire story all at once now, which means uploading my tutorials to my Facebook page will be a million times easier (it was tedious to stitch all the individual clips together before). ????
.
Related: I posted a story this morning deconstructing the edit on yesterday’s shot.
.
Also related: I uploaded the 3 tutorials from my November feature on @thecreatorclass to my Facebook page this morning too. More to come! (at London, United Kingdom)

This might as well be a Herschel ad. ???? (at London, United Kingdom)

This trip solidified my conviction to learning photography. A lot has happened since this shot was taken.
Can you pinpoint the moment you decided to pursue photography? (at Toronto, Ontario)

A lot to look forward to in 2017. How did 2016 treat you: ???? or ????? (at San Francisco, California)

Four days from now I’ll be boarding a one way flight to San Francisco to take on the next evolution of my role at @shopify. Leaving the city that I’ve called home my entire life and the people who have defined everything I am was one of the most uncomfortable decisions I’ve ever had to make. But this wouldn’t be the first time I’ve chased discomfort in my career.
.
I wrote about my ongoing pursuit for discomfort this morning in hopes of inspiring others to do the things that scare and challenge them this year. You can find the link in my profile.
.
Happy 2017! ????
.
????: @jonasll (at San Francisco, California)

UX competitor analysis is a valuable user research method that focuses on understanding your products’ competitors, helping you better understand your market and goals. Idea Theorem™ has worked with many clients that required a UX competitor analysis to get actionable insights about their competitors’ strengths, weaknesses, and mistakes to avoid and know what they are doing right.

I had a fantastic conversation with Jem Sophia today (our first actual conversation after years of talking online!) who pointed me in the direction of this fantastic article. I love the sentiment and the metaphor. Creating software to scratch an itch without any ambitions of ScAlInG and turning it into a capitalistic enterprise.

Discover top YouTube channels dedicated to UX design, offering insights and tutorials to enhance your skills in creating intuitive and engaging user experiences. Here are some of the best channels for UX designers.

The right photo effect can transform an ordinary image into a work of art. Adjustments to lighting, color balance, and texture help you create the perfect mood for your project.

If you own an AirPort base station, you can use the Timed Access feature to control the days and times when users access the Internet. This could come in handy in a variety of situations. For example, if you own a cafe and provide free wi-fi access, you can configure the AirPort to block all access to the Internet when your business is closed. And if you have children, you can set time limits for specific devices in your home.

There are two ways to use the timed access feature. You can create a default allow policy to allow all devices to access the Internet at any time, and then specify custom schedules for specific devices. Or you can create a default deny policy to prevent all devices from accessing the Internet according the schedule you specify, and then exempt specific devices by creating custom schedules.

Here's how to control AirPort network access with time limits:

1. Open the AirPort Utility application. (It's in Applications → Utilities.) The window shown below appears.
   
   
2. Click the AirPort Extreme's icon. The status pop-up window appears.
   
   
3. Click Edit. The settings window appears.
   
   
4. Select the Network tab. The window shown below appears.
   
   
5. Select the Enable Access Control checkbox.
   
   
6. Click Timed Access Control. The window shown below appears.
   
   
7. Select the Unlimited (default) option. By default, this allows all of the devices connected to your AirPort to access the Internet all day, every day, but you can change this to block Internet access for all devices (except the ones you specify later) during the times you set.
   
   
8. If you'd like to limit the days and times that a specific device can access the Internet, click the + button under the Wireless Clients field. The window shown below appears.
   
   
9. Enter a name for the device in the Description field.
   
   
10. Enter the device's MAC address in the MAC Address field. You can use the following tutorials to find the device's MAC address.
    
    • How to Find Your Mac's MAC Address
    • How to Find Your iPad's MAC Address
    • How to Find Your iPhone's MAC Address
    
    
11. Use the + button under the Wireless Access Times field to create a schedule for this device's Internet access.
    
    
12. Once you've added all of your devices and customized the schedules, click Save.
    
    
13. Click Update. The AirPort will restart to apply the changes.

Congratulations! You have successfully set time limits for the devices connecting to your AirPort network. The schedule you created is effective immediately.

Meet Your Macinstructor

Matt Cone, the author of Master Your Mac, has been a Mac user for over 20 years. A former ghost writer for some of Apple's most notable instructors, Cone founded Macinstruct in 1999, a site with OS X tutorials that boasts hundreds of thousands of unique visitors per month. You can email him at: matt@macinstruct.com.

When you connect an iPhone to a wi-fi network, the iPhone remembers that network and will automatically attempt to connect to it in the future. This is a great feature for wi-fi networks you trust and use frequently. But mistakes happen. If you connect to the wrong network at a coffee shop, your iPhone will automatically attempt to join that network every time you visit the coffee shop in the future. And if the password for a known network changes, your iPhone might have trouble connecting to it.

What's the solution? Telling your iPhone to forget the wi-fi network. Forgetting a network will remove the network's password and prevent your iPhone from joining it automatically in the future.

Here's how to tell your iPhone to forget a wireless network:

1. From the home screen, tap Settings.
   
   
2. Tap Wi-Fi. The window shown below appears.
   
   
3. Locate the wireless network you want the iPhone to forget, and then tap the blue arrow next to the network name. The window shown below appears.
   
   
4. Tap Forget this Network. The iPhone will forget the wireless network.

You have successfully told your iPhone to forget the wi-fi network. The iPhone will not attempt to connect to the network in the future. And if the network required a password, that password has been forgotten.

Related Articles

• How to Connect an iPhone to a Wi-Fi Network
• Make Your iPhone Ask to Join Wi-Fi Networks

Meet Your Macinstructor

Matt Cone, the author of Master Your Mac, has been a Mac user for over 20 years. A former ghost writer for some of Apple's most notable instructors, Cone founded Macinstruct in 1999, a site with OS X tutorials that boasts hundreds of thousands of unique visitors per month. You can email him at: matt@macinstruct.com.

Rob Ball
Untitled, Margate, England, 2014
From the Dreamland series
Website - RobBall.co.uk

Rob Ball is a British photographer and academic working on self-initiated projects and commissions. His work has been shown at numerous institutions and festivals including The National Portrait Gallery, Ways of Looking Festival, Format Festival and Bonnington Gallery, Nottingham. Interested in areas including materiality, process, landscape and the archive, Rob produces a variety of outputs including the publications Unremarkable Stories and Beyond the View (2014). Rob is Deputy Director of The South East Archive of Seaside Photography (SEAS).

David Wolf
Oranges and Stones, , 2012
Website - DavidWolfPhotographs.com

David Wolf is a devoted film photographer, making both color and black and white prints by hand in the traditional darkroom. His work has been exhibited internationally at such venues as Aperture, The Griffin Museum of Photography, the Photographic Center Northwest, the Lishui International Photography Festival in China, and the Salon de la Photo during Paris Photo. David’s photographs have been acquired by a variety of private and institutional collections, including the Bibliotheque nationale de France, Paris; the Prentice and Paul Sack Photographic Trust of the Museum of Modern Art, San Francisco; the Santa Barbara Museum of Art; and the deCordova Sculpture Park and Museum, Lincoln, MA. He recently won top honors in both the International Photography Awards and the Grand Prix de la Decouverte, International Fine Art Photography Competition. His work has appeared in such publications as Harper’s, aCurator, and Fraction Magazine. A Boston native and Brown University graduate, David now calls San Francisco home, where his work is represented by Corden|Potts Gallery.

Abelardo Morell
Camera Obscura: Early Morning View of the East Side of Midtown Manhattan, , 2014
Website - AbelardoMorell.net

Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree in 1977 from Bowdoin College and an MFA from The Yale University School of Art in 1981. In 1997 he received an honorary degree from Bowdoin College.

His publications include a photographic illustration of Alice’s Adventures in Wonderland (1998) by Dutton Children’s Books, A Camera in a Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (2004) by Bulfinch Press and Abelardo Morell (2005), published by Phaidon Press. Recent publications include a limited edition book by The Museum of Modern Art in New York of his Cliché Verre images with a text by Oliver Sacks.

His work has been collected and shown in many galleries, institutions and museums, including the Museum of Modern Art, The Whitney Museum of American Art, the Metropolitan Art Museum in New York, The Chicago Art Institute, The San Francisco Museum of Modern Art, The Houston Museum of Art, The Boston Museum of Fine Art, The Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Abelardo will be having his first show at the Edwynn Houk Gallery in New York opening October 23, 2014 and will run until December 20, 2014 featuring a selection of new pictures.

““I always hated that word—marketing—and I hate it now. Because for me, and this may sound simplistic, the key to marketing is to make something people want. When they want it, they buy it. When they buy it, you have sales. So the product has to speak. The product is what markets things.””

- Interview with Tom Ford.