I’m honored to be included in the recent photo annual published by Archive bi-anually. My Phonak Hearing Aid Campaign with Wunderman Zurich made it in. My one page aside, it’s a pretty special book to look at. Lots of amazing work by big name photographers.
It’s crazy insurance for this era of electronic information–Beazley insures businesses against data theft, loss, hacking, etc. The ad campaign portrays the dangers of businesses who don’t have this type of coverage. Thanks to creative director Michael Demos for selling advertising you wouldn’t expect to see for this category. Here’s a shot:
Take some “psyched” and sprinkle it with a dash of “surprised.” That’s how I felt to learn an image from my Phonak Hearing Aid campaign would be the cover shot for the upcoming Archive Magazine.
Thanks to art director Michael Gallman at Futurecom in Zurich Switzerland for selling such a category-shattering campaign. And to Ami Goodheart of SOTU productions and her entire team for creating the jaw-dropping “sculptumes,” as she aptly named them.
This is certainly one of the most downright fun campaigns I’ve worked on. Ami Goodheart and SOTU Productions blew my mind with their “Sculptume” designs and builds. And the entire team from Y&R Zurich gave us all such freedom to make it a work of art (big thanks!). Glad to see the Swiss Art Directors are showing it some love.
Last week I had the opportunity to direct an international, consumer video for Phonak hearing aids and work with the Phantom camera. For those of you who haven’t heard of the Phantom (I was in that boat until a couple months back), let me give you the nerdy, tech lo-down. It’s a HD video camera that can shoot 1000 frames/second at 1920 x 1080. 1000 frames gives you ridiculous slow motion. RIDICULOUS. Like “stop a bullet” slow-mo. At this frame rate, you can only shoot in 4.5 second bursts. That seemed like it might be a bit too short until I learned playback of those clips at normal speed goes for over 3 minutes.
I worked with DP Greg Wilson shooting “wildly-dressed” dancers (that’s as much as I can say for now. I’ll post the video when it has been officially released). The results were pretty cool. During aggressive, almost-frantic moves, we stopped the dancers in their tracks.
The Red One camera has already been a great tool for photographers as they dive even deeper into the world of video. The Phantom opens up a couple extra doors. Though you do need a mother-load of lights (we were up over 120k in the wattage department) that can start to melt whatever it is you’re shooting. People included
Here’s a pic of the camera setup:
Just got back from LA where I shot some more print work for Verizon. As always, a fun group. I love to see what different people do when the shutter’s flying. The guy with the cap is mat, the art director. he took a stab at acting out the scenario. I think maybe the client should consider using him for the actual ad.
When creative director Marta Ibarrondo told me about the idea she’d been working on for EGG Baby Clothing, the water I was drinking came out my nose. She had somehow convinced the boutique, NY designer to depart from the usual “happy kids in pretty clothes” ad campaign and go for something, dare I say, funny. Show adults who want to be babies again so they may wear the uber-cool and stylish designs. The idea hinged on research that showed parents who bought EGG clothes wished they came in their sizes, too.
I had never seen any baby clothing advertising like this, so I jumped at the opportunity to shoot it. As you can imagine, the budget wasn’t huge, but we managed to find amazing talent (through the help of casting director Laine Rosenberg at House Productions) and secure great locations (by offering parents a boat-load of free EGG clothes). We shot over a 2-day period in March. The actors were great sports and really got into character. Below are some behind the scenes pics.