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Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it. Achim: the rough idea comes mostly from the agency, the client wants my point of view as well as how to bring the ideas  to life with casting, location, setting, light, angels and so on. Achim: yes, actually we had a animal wrangler on set and we shot 15 chicken in many different positions and angels. Susanne Bransch ( US Rep): Achim is booked for many ad-campaigns in the USA and frequently shoots for American Eagle, Target, Calvin Klein and Kenneth Cole. APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world.
Geof Kern has been in the business for years and still continues to create beautiful and fresh images. NOTE: When I asked Geof this question he sent me to a link where he already answered the question on his reps blog.
Of course, translating magical moments into memorable images doesn’t just happen by chance. Fortunately, orchestrating the impossible is photographer Geof Kern’s idea of a “very fun project.” “I absolutely loved working with Team One on this,” says Kern. Geof Kern is based in Dallas where he maintains a studio to organize his shoots at home, New York, and elsewhere in the world. Suzanne:  After going to your site, I can see the campaigns done for Quantus and Shell were perfect inspiration for this campaign. Suzanne: I love the personal work on your website (his agent shows more commercial work), how have you felt showing that work is helping you secure  great commissioned assignments? I am a true believer of doing pro-bono work, because it is not only for a great cause, but it is usually the most creative work.
Suzanne: There is a lot of propping in this ad campaign- did you shoot it in Washington, DC or Minneapolis?
Shawn: This campaign was created to raise awareness for a special King Tut sponsored by National Geographic and exhibiting at the Science Museum in Minnesota. Suzanne: This campaign seems to have your funny quirk to it- were you able to add a lot of your creative input to this campaign? Shawn: As is sometimes the case, there were no layouts, just an idea so I did pitch some of my thoughts to the creative director and we took it from there. Suzanne: It is really refreshing to see a hometown agency using the talents of the local photographer.
Shawn Michienzi is an award-winning photographer whose work has been featured in everything from Cannes to Communication Art.
Suzanne: This is a great campaign for Converse, who looks to be a very loyal client that allows you to create amazing campaigns.
We started in the picture taking business by shooting our friends who just all happened to be doing rad shit.
I would say our “big break” was from Natalie Flemming who pushed hard for us for a Nokia campaign back in 2006, maybe 2007?
Most of our clients are repeat clients and they have been very loyal to us for the most part. As a husband and wife team, does this confuse art directors and buyers and how is your creative process in pre-pro and on set? We’ve been together since we were teenagers and met when we both first started taking pictures, so our whole picture taking life has been spent together. How do you keep such lose and natural feeling with your subjects when you still have to produce the work?
Still Images In Great Advertising, is a  column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it. In today’s feature, I reached out to Bryce Boyer, because the ads he shot show great lighting, clever concepts and the importance of showing your talent to an agency and creative person using a pro-bono campaign to establish a working relationship. Through this process, I had the privilege of teaming up with Jennifer Hohn, a fantastic art director at Burns Marketing, who was in charge of developing a marketing campaign to get creatives to submit ideas.
And as a bonus, I thought this was a good time to give back to this vibrant, active ad community. Suzanne: Tell me about the lighting on this as the drama of the image makes the viewer stop versus a great headline with supporting image. Bryce: For years I have built a style around complex lighting that requires a sizable crew and carts of equipment. Suzanne: Since this ad was targeted to creative people, did you see an increase in awareness to your work?
Bryce Boyer is a commercial photographer based in Denver, Colorado who specializes in photographing dynamic images of people for ads and a few select magazines. Still Images In Great Advertising, is a new column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it. Great Advertising is not only a print ad or billboard, it can be a vehicle that is not considered conventional. There are many people in this industry includes photo editors, art buyers and art directors who will watch and see Danny Christensen at work photographing and directing models. Suzanne: How did you get the opportunity to be the photographer of record for this program? The meeting went really well and Thursday morning they contacted us and asked if I was interested and able to do all 8 episodes – with pre-production meeting the following Monday! Suzanne: I have several clients who have been the photographers on Americas Next Top Model and it has been great for their careers.
I shot everything on the RED EPIC camera, so everything was shot in motion and we pulled still photos from the motion film with amazing results.
Suzanne: Most the time you are working with young talent who have never been professionally photographed and to make it even more difficult, photographed for the first time on television.
When ever I could, I would go and say hi to them and introduce myself when they were in hair and make-up and I would explain a little about what we were going to do, but it was primarily to just break the ice before they came on set. In most cases, due to the production and time challenges, I didn’t even meet the girl beforehand and she would walk on set with the tv cameras rolling. What You don’t get a feel of on the show, because of the editing of the tv footage, is that I only had max 45 min filming time with each girl where we did 2-3 different looks. Danish-born Danny Christensen discovered his love for the visual arts working in advertising and PR in Copenhagen and New York. The ad is a wonderful mix of John’s landscape style and humor- but this time instead of a person we have a humorous prop- Did John have a lot of say in the propping of the typical Hula Doll?
Initially, we thought surely a witty toy maker would have already made a geriatric hula girl, but no such luck. Brunner discovered John through a mix of personal relationships, direct mail and online marketing.
John studied at Brooks Institute in Santa Barbara, CA and presently works out of Savannah, Ga. Suzanne: I understand this is a pro-bono campaign but did the client realize the costs involved to pull this off? Suzanne: You have a photojournalistic style that does get you hired for campaigns like IBM, Intel, BAE Systems and ESPN- how do you create that natural feel while staying true to your documentary roots?
I’ve been lucky enough to do most of my campaigns with the same producer (Tricia Moran) who has helped me take the projects to the highest level possible. Frank: All the clients you mentioned and American Express hire Ron based on a rather simple premise. Our producer, Tricia Moran and Ron work extremely well together as they both see the world the same way. Ron Haviv is the co-founder for the photo agency VII and has been producing images of conflict and humanitarian crises since the end of the Cold War. Michael: Wing is one of the top 20 agencies in Hispanic advertising and have been a great client.
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Bonus offer: FREE four-color coupon in savings section of Official Visitors Guide and Bold listing in business directory. I wanted to finish my series of my favorites from CA Photo Annual with the work of Tom Nagy and his award winning campaign for Swiss. Tom: The art director Swen Murath saw the personal series I did 3 years ago and wanted me to shoot the whole campaign exactly this way.
Suzanne: I like “Making of” verses behind the scenes because you show more technical aspects which I think is nice. Suzanne: I see when you are doing personal projects, you like to shoot more people in the images. Tom: I prefer to have people in my pictures and I?m always happy when clients book me for projects where people are involved. Suzanne: What is so nice about your advertising work is that you are hired to large campaigns not just one ad. Born in Germany, Tom started with photography at the age of 15, when his father gave him his old Minolta camera. As I search for great ads for this column, I was intrigued when I stumbled across this campaign for Absolut Vodka. Suzanne: When I look at this campaign, I see images from a casino, a campaign with a shield and several others that tell the art director that you could work well with props and retouching. Erik: I’m sure an art director could see the translation of the Union Pacific shield standing tall in a landscape to the Absolut Vodka bottle doing the same but I don’t think this parallel were the reason I got hired to do this Absoult campaign. The creative team on Absolute came from a different perspective and approach… In the great tradition of the Absolut campaigns these images are also executed with actual sets built around the bottle.
Through my agent I got introduced to the agency and we were the ones that, proud, lucky and honored, got the job and got to be a part of the Absolut Advertising Campaign. Suzanne: I was talking to another well-known photographer and he said the best projects that took him out of his comfort zone, created the best results. Erik: In general I think repeating oneself will rarely be considered great in our own eyes.
Suzanne: Can you tell me about this campaign and all the elements to it that were later composited to this campaign? It’s great that the Absolut team went for building sets as it ensured the bottle being the real thing and completely integrated into the environment. Having been introduced to digital technologies in the latter part of his academia, Almas quickly discovered this equipment was the future to brining the old-fashioned qualities of film characteristics and darkroom techniques to his images. In addition to commercial assignments, Erik brings his sought after sensibilities of art and beauty into creative collaborations for fashion, travel and fine art. I stumbled across Erik Madigan Heck’s work while looking for great work for this column and I am thrilled I did.
Suzanne: I read in your bio that you love to mix the influences of photography and illustration and this campaign really showcases that.
For this particular campaign I was looking a lot at Matisse’s later works, and thinking about his use of body positioning, as well as furthering my own interest in the use of frontal primary colors. Suzanne: Looking at your work you present the work that is true to your vision and talent. Safety only comes when one is scared of being uncomfortable, and work should always come from a place of discomfort- otherwise you’re not creating, you’re simply regurgitating.
Suzanne: You got your MFA from Parsons in 2009 and you have all this work created including Neiman-Marcus hiring you in 2012 to shoot their Art of Fashion portfolio and short films.
It was extraordinary to work with a company of this scale and reach, and to work with such a legendary creative director such as Georgia Christensen. Suzanne: I love looking at personal work and I was intrigued by “Undercover” What is this story about? Undercover is a Japanese brand actually, its designed by Jun Takahashi, and this was something I created to really push the boundaries of my own idea of high fashion merging with streetwear. Suzanne added to above: I am thrilled that I thought the project was a personal one when in fact it was client assignment. Suzanne: How do you continue to push your vision while keeping your work so fresh and energetic? I’m constantly searching for that balance, I tend to do a lot of research in the history of both photography and painting, while also looking a lot to contemporary music, and especially electronic and subversive music cultures.

Cade Martin has been a long time client of mine and I have been more than thrilled at his continuing success and growth. We had a number of scenarios and the two locations were perfect in that they allowed us multiple looks that were all completely different. Suzanne:  I know that it is wonderful to be doing National and International assignments, but you still love your local clients and the work they do. Cade Martin is an award-winning photographer for advertising, corporate and fashion clients worldwide.
Suzanne: I look at your interior work a lot but I wonder if you were considered for this project because of the portraits in interiors that you did for GQ and the woman sitting in the chair with the pink curtains.
Jason: I recently asked the art director at ABC, Angela Gruszka, that very question, and because I do shoot everything, I was curious as to what portion of my portfolio appealed to her for this project.
Suzanne: I read in your bio that you were raised in a visual arts family, does that help you when you are shooting an interior or a figure in an interior? Jason: My upbringing has absolutely inspired me and the work that I do, and how I approach each job. So to answer your question, yes, when I approach ?an interior or a person in an interior, I look to what I learned through my years of living in other countries, studying contemporary art, traveling, and inspirations way beyond photography.
Jason: When ABC contacted me about this job, they showed me scout images of an old house located in Hudson, NY.
Apparently no one had lived there for years, but the last tenant had painted all the walls the colors that you see today.
Jason: I get this question a lot, and it seems to be a scary thing for most – the idea of showing different kinds of work in one portfolio.
Raised in Los Angeles by a music, film, and a visual arts family, Jason Madara’s cinematic vision of the world was instilled long before he ever picked up a camera. Formally trained at the Brooks Institute in Santa Barbara and professionally practiced across the globe, Madara’s deft balance of lightness and darkness brings beauty and tension to glimpses both ordinary and extraordinary.
Suzanne: I see Rudolph was not at the shoot, was this because Santa wanted him to rest for the Big Night since he does guide the sleigh?
I don’t want to ‘claus’ alarm here, but I overheard Donner and Blitzer snickering about Rudolph getting injured while training for the 2013 Reindeer Games.
Suzanne: Were you surprised that Santa was able to leave the workshop so close to the holidays? Suzanne: I see on your website that you have done a lot of award winning ads, do you think this helped you secure such famous talent who doesn’t like to seen out in public?
The black envelope aside, it would be nice to think that my previous work and reputation also played a part in securing Mr.
Suzanne: I think we should add on the question about Santa being on set with you that he had Hanukkah Harry supervising the elves!
Philip Rostron, photographer and digital imager, is one of the leading commercial photographers at the forefront of the industry.
Praised for his collaborative approach and problem solving abilities, Philip delivers quality and exciting results that raise the bar for industry standards.
The theme for the next couple of posts for this column is winners in the 2012 Communication Arts Photography issue.
Suzanne:  John, you have been a consistent photographer and you continue to challenge yourself in how you shoot.
Suzanne:  I remember when we were considering you for the Wrangler project, it was your personal work that sealed the deal. On the court, in the rink, on the links or in the water, John captures the intensity of both athletic performance and the intimate athletic portrait with ease. He lives with his wife and two children in Manchester, MA and is represented by Marilyn Cadenbach.
Suzanne:  Thomas is based in Germany I and love that the American office of JWT hired a still life photographer. Suzanne:  Did Thomas shoot this campaign here in the States, did the agency come to him or was it done over the Internet?
Thomas Mangold lives in Dortmund, Germany, and has been working as a freelance photographer and photographic designer since 2001. As I continue to showcase my favorite advertising winners in this year’s Communication Arts Photography annual, I wanted to showcase the ad by Saverio Truglia for Pan Am accessories campaign. Suzanne:  When I go to your site, it is hard to figure out what is self assigned and what is assignment. Suzanne:  The interesting thing about this winning image is that it is a combination of your period work but with a fashion flare.
She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. The creative team wanted a photographer whose work was as elegant and nuanced as a posh hotel chain. The ads ran around the holidays, a topical time for the issue at hand, and I hope it made an impact. Converse has been great to us, that was our 7th campaign for them and at this point we all know each other so well we just go out and have as much fun as we can and take some photos in the process. I’d say 75% of our shoots this year have been 2nd or 3rd shoots with the agency or brand.
We have worked with the same team for years and we all know each other so well that it makes the environment relaxed and attitude free. I think our photos look natural because it’s very laid back and our subjects are actually having a great time. To honor the spirit of this contest, we developed posters behind the concept “Great Ideas Can’t Hide.” In other words, if you won’t submit your ideas to this show, Ad Club Denver will find them. What better way to advertise how you shoot on set and then the final results in printed images. That was on a Tuesday, 7 days before the planned start of the filming the NYC part of the show.
I guess I fit the bill of who they were looking for and I think a big part of it was my non-traditional look and feel to my work and my experience with motion, that Michael Flutie was keen on integrating in the shoots.
Especially the first couple of weeks here in 2012, where Season 1 episodes are coming to an end. I’ve worked with brand new talent many times before but as you mention, there is a crew of 30-40 people and 3-4 cameras on set for these shoots so most girls just froze like a deer in headlights when they came on set.
That was really challenging ,but most of the girls warmed up after the first shot and we got beautiful pictures and videos. This passion for advertising led him to transition into fashion, portraiture, and fine-art photography during the following years. We did our casting via high school students and with some great casting contacts from our producer, Tricia Moran from Branching Out Productions.
This too was a major factor is the success of the campaign. Having a recovering addict on set was in an intriguing way a stabilizing force. In the five print and TV bids that the agency received no one else put in for a drug consultant. This idea and results were so well received by the client and agency that they reached out to us for his contact information – they hired our guy for the TV shoot! Working with a light footprint and letting the subjects, whether models or real life, become immersed and unaware of the camera is about as true to my documentary roots as I can be. Let’s face it, being one of the most respected photo journalists of our time is heavy stuff.
The Pantene ads were done for a test market but were very well recieved in the award contests. The Official Visitors Guide lists all area businesses and attractions, is printed twice a year with a total circulation of 500,000 and an estimated impression rate of over 1,250,000.
After highschool he opened his first studio and has been assisting for 5 years before he went to Hamburg and officially started his career. He won numerous awards like ADC, AOP, PDN, ONE SHOW, GRAPHYS, COMMUNICATION ARTS, BFF, LURZERS 200 BEST and many others. I think that if you don’t challenge yourself somehow in the pictures you take you will very quickly become irrelevant in today’s increasingly visual and restless culture. The crew at NewDeal Studios started with a 1 liter bottle and scaled everything around it so that the bottle would feel over sized. The image of the bottle being unveiled from the wrapping paper is as captured but for wire removal and simple darkroom work and for the other 2 images the shot glasses is the only composite element.
By embracing Photoshop, he had access to a creative tool that continues to evolve as a key part in the extension of his style. I’m interested in how reducing colors to block forms creates a sense of flatness, which is more akin to illustration than to photography.
I felt very honored, and also felt that I had something original to offer Neiman Marcus- that resonated with what they needed as a brand to differentiate their idea of luxury from the rest of the market.
It came from a place of referencing photo history with Weegee’s newspaper photographs, as well as bringing in overt political issues such as race and cross continental misunderstandings of what the term “street” even means today. A lot of my work is actually influenced as much by experimental music as it is by art history.
He earned his MFA in Photography and Film Related Studies from Parsons School of Design in New York in 2009- where he currently lives and works.
They were collaborative as well as super supportive of anything I wanted to try, and gave the time and space to push it a little bit further and experiment.  For this project I pulled together a team with a lot of feature film experience, which helped take it in the direction I wanted. When I first started I worked on a couple of projects for National Geographic & Discovery Channel and I was considered a reportage photographer. His meticulous attention to detail helps shape an environment that echoes the real world, but with a heightened emotional focus.
I grew up in an older neighborhood in Baltimore with houses from 1880’s so I have loved incredible details in interiors. She said she wanted a photographer with a good sense of light, depth and dimension to balance the wild kaleidoscopes of color she wanted to create in the ads. My father has been in the music business for the past 50 years, and music has always been in my life and a huge inspiration for how I see the world.
For the ABC project, I wanted the light and color to play off each other, and to create an image that felt more like a painting. I never understood why so many in the industry advise photographers to only focus on one thing. Just don’t change who you are because the subject or environment changes – try to keep the same vision for whatever it is you photograph. Growing up as a silent observer on sets and in studios, the world in front of him was in a constant state of storytelling: high in raw emotion and drama.
Madara credits the depth of emotion in his work to his wife and daughter, who constantly inspire him to unveil the complex sweetness, fragility, and power of the human state and natural environment.
It’s a little known fact that elves are equally good with a poop scoop as they are with their tools.
I hear Rudolph takes the games very seriously, almost as seriously as leader of the sleigh. It wasn’t his ?first choice, but the Easter Bunny and Tooth Fairy were both unavailable. Harry keeps feeding the elves potato pancakes and those delicious deep fried donuts filled with jelly and tossed in icing sugar.
Starting his career in his native country, England, Philip soon moved to Canada where he founded the Toronto- based production studio Instil Productions. With countless awards from Cannes Lions, D&AD Global, Communication Arts, New York Art Director Club, Marketing, London International’s and Clio. A look or style can get you a lot of work or awards, but the industry is always hungry for something new. Most people will tell you it’s a matter of personal chemistry or a social connection. There are a lot of great photographers out there, and if you are difficult to work with, the client may find it’s just easier for them to find someone new.
It’s easy to say, if I did X, I could have gotten this job or been considered for that gig.
Having previously worked as an Account Executive, Producer and Art Buyer in the advertising industry, she held the vision of an agency that represented young photographic talent beyond regional borders – a truly innovative approach to the German market.

While the unspoken message of most hotel advertising may be “stay with us,” the creatives at Team One turned tradition on its head with their theme, “Let us stay with you.” It’s a strategy poised for a wealth of success. The concepts were drawn up quite specifically so the pairings had to sit together perfectly. I’m often asked to shoot commissions in the style of my own personal projects, which is great. When she called in our book we contemplated not sending it overnight like she asked, because we couldn’t afford the $50 to overnight it and we were too naive to know you could ask for a FedEx number. The #1 question on conference calls is always how it works with us shooting together and the answer is we both love shooting and we are both trying to one up each other in a fun, loving way. That’s why every poster has a creative individual who is suddenly aware that someone is stalking them to take their idea. I reached out to Danny after watching the show to see if he would be interested in being a part of this series. Originally, there was supposed to be 8 different photographers on the show, one for each episode of the first season.
I think everyone was waiting to see how the show developed and that the quality of my work, both the pictures and the videos was consistent. Additionally we cut together a fashion film clip that was shown to Scott from One Models the day after the filming, and Scott based his decision to sign the girls, both on the video and the stills. I had to talk to the crew and we found a solution where only the people who had to be on set was there.
Additionally, we had around 14 hours turn around time for final images plus edited and produced videos. Research has shown that in the past there has been an effect on reducing meth usage where the campaign has been shown. The trick in doing so is reaching that point when you have the client and the creative team working with you hand in hand. In this quest the best work will then always be found outside of our comfort zone… So yes I would agree with that. This embrace ensures that every client continues to receive bespoke images that are a true representation of a photographic vision – a vision always steeped in down-to-earth sensibilities influences by his childhood in Norway, fed by a love of world travel and practices in his day-to-day. Streetwear has been appropriated by high fashion, and I wanted to bring something raw back to it, but that also was still staged and not based in reality. Heck is a continuing guest lecturer in both the graduate and undergraduate programs at The School of Visual Arts in New York, and is the creative director of the semi-annual art journalNomenus Quarterly ??Heck’s advertising and editorial clients include Levis, BMW, Neiman Marcus, Eres, Vanity Fair, W Magazine, The New York Times Magazine, TIME, Le Monde, The New Yorker, amongst many others.
Specializing in people and location photography, Martin has worked for clients including Tommy Hilfiger, Coors Brewing Company, Zurich, America’s Next Top Model, Discovery Channel, Karla Colletto, IBM, Verizon, Marriott International, Grey Goose, National Geographic Society, Starbucks and other companies and creative agencies. I think that is why I was so attached to this advertising campaign for ABC Carpet & Home. There wasn’t just one image in my book that spoke to her – she trusted me to create something beautiful and memorable out of essentially empty rooms. My mother comes from a broadcast production background and she taught me about the business side of commercial art.
We talked about the quality of light and looked at some of my work for the direction, mood and feel of how we would do it. After the shoot, I flew back to San Francisco and started the post-production with my retoucher, Rebecca Bausher of Pixel Chick.
What advice can you give to photographers who want to work multiple categories but people say don’t do it. There seems to be the perception in the domestic market that clients need the security of knowing their photographer is a specialized “portrait guy” or landscape shooter.
As a photographer, Madara continues to capture moments as performances – alive and visceral in their stillness.
Claus to participate in the campaign through, shall we say, unorthodox methods involving a black envelope – the contents of which will remain undisclosed, but, would put Santa on the naughty list. We just had to pay for the fuel… 75lbs of oats, 50lbs of apples, and 25lbs of carrots. I’m thankful of the creative ideas that are brought in to us from prestigious clients and visionary art directors and I’m as excited as a kid on Christmas morning to be able to actualize these ideas. Through his renowned creativity and backed by a dedicated team of imagers, assistants and producers, Philip and his company have developed a strong reputation across North America and Europe.
Philip’s work has been showcased in Lurzer’s Archive 200 Best photographers Worldwide for the past three years. Doesn’t matter if I am shooting with my iPhone or shooting my niece’s Promenade, I approach the work as an opportunity to practice and learn something.
Clients have a hundred different problems to worry about, you don’t want to be one of them.
Every pitfall and shortcoming that I’ve experienced has shaped my work and my career into what it is today. For all the artists involved in creating images like these, the most important thing is good communication and creative synchronization about what the image has to express, and which kind of illustration style will support that. In this case it was a mixture – he shot the backgrounds in Germany, then the cups in New York, and did the post-production back in Germany. We had to source suitable sports imagery from the Sky TV archive, then photograph the main plate in such a way that the elements would merge seamlessly without appearing forced or contrived.
He printed and traced the images, added the banners and type and I was left with pulling off the trickiest bit – applying the tattoos to the models digitally, while maintaining a realistic look.
Honestly, we both saw ourselves working at a small town newspaper by this time since we both studied photojournalism and documentary photography. That job is how we met our current rep Giant Artists who we’ve been with since day one of the agency. She had been in the business for 20+ years and has done a million jobs, so what were all of her other experiences like? We have a couple producers we mostly work with but I will not tell you their names because we need them (sorry Nancy, Sarah and Wes). A few hours after the meeting they contacted my agent and requested a 2nd meeting the next day, where I was to meet the entire team of producers, including the guys from 51 Minds who produced the show and the Executive Producers from E! He continued his creative journey in Paris where he assisted various fashion and portrait photographers It was also in Paris where Danny started started his career as a working photographer shooting, editorials, small commercial jobs, and film. That single comment to Ron and I is the most beautiful music we could hear. Authentic is why I want people to hire Ron. I must convey to the client that Ron embraces each project with passion and genuine understanding of each clients needs and their audience. What advice can you give for photographers who want to shoot products but need to be better than their competition? He has given lectures in several different universitys and has been the chairman for the BFF, the association of german photographers. The colors, the details and the lighting are amazing and then it draws you in and see the carpets on the floor. Because of this I started out having a good understanding of how to manage a production from A-Z.
Angela Gruszka from ABC had a solid idea of which colors she wanted in each room and the rest was about the balance of natural light vs. We retouched the images individually over the next six months as they launched the ads, making sure that each image was exactly like the one before in quality, color, balance, and mood.
I didn’t want to pull out the black envelope again in fear of being placed permanently on the naughty list; instead, I bribed him with rum and eggnog and double chocolate chunk cookies. Claus, was quick to deny the rumors saying the reindeer still like to laugh and call him names. I also overheard that Harry is distracting the elves by making them learn the lyrics to Ma’oz Tzur.
Some of his clients include: Coca-Cola, General Motors, Mercedes-Benz, Molson Breweries, Olympus, Rogers, Sony, Tim Horton’s and World Wildlife Fund. By thinking these are the most important aspects of getting hired, you create an excuse for yourself when you don’t get hired. I think the biggest advantage of “personal work,” is to utilize the time explore and perfect new techniques.
All my best images comes from the same passion so if client work is great, then I share it in the same place. With a project like this, the identities of the models weren’t as important as the idea and message behind it all.
It was difficult, but I gave them the appearance of age to better set them into the skin and was happy with the results. My job, as I see it is to eradicate any doubts and bring insight to how Ron approaches each job.
This led them to look beyond still life photographers to someone that could bring a landscape atmosphere and esthetic to the sets. In 2011 he received both the Forbes Magazine 30 under 30 Award, as well as the PDN 30 Award. I think this is an elegant campaign and I reached out to Carol Alda at Bernstein & Andriulli about the project and to reach out to Jason Madara the photographer on the campaign. I think most photographers want to and do shoot many types of subject matter – they just aren’t marketing it all.
The end result might be a body of images that you can use to show a side of your work that clients may not have known you for, thus opening up more opportunities. Just like anyone can go out buy a football, throw the football and be considered a quarterback. At ease with his subjects, a rapport is established, defenses diminish and time constraints have little impact. In the editorial area he works for clients like Big, Dazed & Confused, Geo and Wallpaper. But it also had to be someone who could coordinate all the precise details.” “And trust me,” she laughs, “there were a lot of details. David was vital in pulling the project off and I was really pleased that he was into working on it with me. Heck was also nominated for the prestigious ICP Infinity award in the applied fashion category. He taught me about contemporary photography, and opened up a world I never knew or learned in school.
There are constantly new techniques and equipment being developed that open doors in the medium.
The bottom line is – produce good work, build good relationships, and don’t be a dick. It’s the person who dedicates the time and effort into throwing that football accurately, constantly, and uniformly that becomes the professional rather then the weekend warrior who plays pickup games at the park. John reveals his subject, and his photography showcases the essence, emotional intensity and dignity of simply being human. Because of these three people I learned how to be conceptual, how to be inspired and how to put it all together.
I think the key to making the multiple categories work is creating a consistent visual identity.
Making pictures for myself usually starts with seeing something in the physical world I want to investigate and repurpose. There should be a continuity in the quality of light, color, and mood, no matter what you’re shooting. Like an out of place situation, the way light strikes a surface, or meeting somebody extraordinary.
If you can find a path in a certain technique to accent your own style that is still unique to you, then your work is evolving. Testing can also be a launching pad to experiment and try new approaches at pushing my comfort zone. Ruehl, we photographed him in his house too, some additional propping of the dinosaurs required there.

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