Have you ever been curious to learn which images will be accepted for publication from a working photo editor at a wedding magazine? Well, here's your chance folks!

Kristi Drago-Price was the top Photo Editor of BRIDES magazine for over 13 years, lectured at the International Center of Photography, has been quoted in the wedding issue of Photo District News, was a presenter and panel member at PhotoExpo Kristi currently produces photo shoots for freelance clients such as Architectural Digest, Glamour, Self, BRIDES and The Knot all while continuing to advance her own wedding photography career and raise two small children.

I spoke with Kristi, in advance of her presentation at Inspire. Give this a listen (sadly the video connection was poor and so this is only available as an audio interview).

Kristi will be presenting at Inspire Photo Retreats, which takes place from February 9th through the 11th, in Portland, Maine. Learn more about her business, Editor's Edge.

Find Kristi on Pinterest, Facebook and Twitter.

You don't want to miss Kristi's presentation at Inspire Photo Retreats. Who is coming? Comment below … yes, you may win something cool if you see me at Inspire and mention this post!

Last week, I had the pleasure of interviewing Elizabeth Krist, Senior Photo Editor at National Geographic magazine. We discussed photographers, photo editing and the workshop she will be teaching from July 31 to August 3, in Vermont.

She is joined at this wonderful retreat for photographers by other photo editors and decision makers:

June 19-22: Sam Barzilay, UPI and Photoville
June 26-28: Angelika Hala, Stern Magazine
July 10-13: James Estrin, New York Times
July 24-27: Denise Wolff, Aperture
August 7-10: Whitney Johnson, The New Yorker
August 21-23: Emily Keegin, Bloomberg Businessweek Magazine
August 28-30: William A. Ewing, Thames and Hudson

“This summer, FotoVisura is hosting a unique 3-day intensive workshop in Stowe, Vermont that features an impressive list of guest editors. The workshop includes editing, sequencing, design layout, and final presentation. Photographers will be paired with a guest editor in one-on-one and group sessions to help consult photographers on their goals – whether it’s a photo essay, portfolio, multimedia, book or exhibition.”

I first heard of the Foto Visura photo editing and post production workshops through Photoshelter and so I want to thank them (and Lauren Margolis, in particular) for introducing me to Elizabeth.

Foto Visura was founded by Adriana Teresa and Graham Letorney. Learn more about Foto Visura here. As I express to Elizabeth, if I were in town, I would definitely sign up to be a part of her program as she appears to be open to making it about either photography or photo editing.

Check out the video below and if you have any questions or comments, please pen them below.

Learn more from Elizabeth through this wonderful webinar coordinated by Photoshelter's Allen Murabayashi. If you do decide to go to Vermont, please let me know what your thoughts are about these workshops. It's important that we share, in equal measure, the successes and challenges of photography and photo editing workshops everywhere.

And here is the image, Elizabeth and I discussed in the video:

This is Ingrid Spangler's second guest blog post for Tiffinbox. She is responsible for all the social media, as well as copywriting, promotions and marketing for AdoramaPix. She has been an avid photographer from the time she was a child, and studied film at Temple University in Philadelphia, where she learned about film theory and visual aesthetics. Her first post was about finding the perfect photography printing lab.

Hardcover photo books are fast becoming the best choice to present and distribute your portfolio. It’s a more permanent way to display your images, and while that is a definite plus, it also requires much more care when organizing and designing than just slipping your prints into the plastic sleeves. There’s also something about having your images in a book that leads the viewer to believe that the images should hold together and tell a story more than a traditional portfolio.

Here’s a general portfolio tip from my buddy Joe Holmes of joe's nyc focus on one style or genre of photography that you do best, such as landscapes or street photography or portraits. You can always do separate portfolios/books for each genre.

Another tip: Don’t let the design of your book overwhelm your images. Keep it simple. This rule goes for any photo book you make, but is especially true for portfolios.

From speaking to photographers and photo editors, it seems that the general rule when organizing your images into your portfolio is “put your best images in the front and the back; make a strong first impression, then give them something to remember you by.” While you can still use this tenet to start to set up your book, what do you do with all the prints in the middle?

Here are some suggestions for how you can sequence the images to have them hold together as something cohesive.

Organize Your Images By Color

Allow the dominant color in one image to dictate what the next image will be. This is very subtle and works very well for images that are largely disparate. Take for instance these images with lots of red tones, the next images could be something with orange or deeper red as the dominant color and so on.

Keep moving through the color spectrum until you are close to the end of the book, where you’ll place your second set of strong images to leave a lasting impression on the viewer.

Organize Your Images Graphically

Look for the strong, dominant lines in your images and pair them accordingly. This image with strong diagonal and horizontal lines is matched by an image with similar lines. For diagonal lines that go off the page, try as much as possible to have them point to the center of the book. This pairing also works because of the similar colors.

Or these circular shapes:

*Images courtesy of Brandon Remler: Fall Trees, Boys on Beach, Bridge, Guggenheim and Tunnel. Red Table courtesy of Ingrid Spangler.

Group like with like: black and whites together, images that depict the same subject, etc.

Above all, choose a high quality lab to make your photo book portfolio! AdoramaPix photo books are printed on real photo paper, so they are the closest thing to a traditional portfolio. Unique lay-flat bindings ensure that none of your images are lost to a gutter in the center, plus you don’t have to worry about matching up halves of an image that you want to span both pages. PixPublisher, the online book creation and editing program, is easy to use and powerful, you can design your portfolio exactly the way you want, sizing and positioning your images precisely on the pages, down to the pixel!

Remember, it’s your work, don’t gamble with the presentation. You may only get one chance to impress someone, make it count!