Mastercard PayPass aka GTFO-Quick

I was really jacked up to get a brief in from McCann Sydney for their client Mastercard.
I had not yet managed to get an appointment to show my book at the agency, so it was particularly good to hear I was being considered for the job.

AD Celine Faledam called to discuss the job and any thoughts I had, and I mentioned that a child's perspective (POV) would bring a little extra tension to the composition. Celine had been on the same page, although the initial scamps (which the client had bought into) were from the adults perspective.

It took a little convincing but the client came round to our thinking.

The concept played on the scenario known to all parents who take their toddlers or young children shopping, and relays the convenience of a swift and easy check out using the PayPass facility before the Little Treasure does some damage in the store.

I recommended a set build to be able to have control of the environment and got in Stylist Cherith Crozier to prop style the job and build the sets.

Meanwhile producer Penni nailed the casting and found a little Lola, a 5  year old with a big personality who took direction well, and whose hands had the right age "look" for what was required.

Everything came together in a relaxed shoot at Hatch studio, with the help of Jeremy Graham who assisted me on the day.

Ode to the Producers

The amazing, super organised, diligent and microdetail oriented people at +Contacts Photography who make shoots happen and run without a hiccup.

The endless quoting, back and forth emails, catering whims, photogs rants etc etc that the Producer deals with on a daly basis, they deserve a frikkin' medal.

Thanks to them, I can concentrate on the shoot, and know the details are taken care of.

Thanks guys. I'm grateful.

Sara Lee Packaging Overhaul

I while ago I mentioned I was in the running for an epic project for an Aussie favourite brand.

Well, I got the gig, and it was epic! Over a month of shooting.

After Ben Masters and I took the brief, we were still in competition with another Photog/stylist team (photog also with Contacts-awkward), and we had to submit a test shoot. We then presented the print and our chosen approach.

I was stoked when I heard we got the job! Ben and I worked with designer AD Samantha Young at Barker Gray to interpret the brief.

The client and agency had an editorial look in mind, but weren't sure how that would translate into to the regimented stye of packaging photography. I suggested a sort of hybrid, in that although highly styled food was required, it need to look loose and informal.

There were two more interesting challenges

a. the client wanted very little retouching, having being previously burdened with massive retouching costs

b. They would not be attending the shoot, at all, for a month of shooting.

I'm going to keep it short and polite and summarise that it all worked out beautifully and they got both wishes.

I just needed a glass of Cab Sav at the end of each day.

Breakfast of Champions

I really enjoy building sets and creating atmospheres to bring beauty and romance to meaty treats..

What more can I say.

Contacts Christmas Card 2012

Had this idea for my Christmas mailer, which ended up being for Contacts' same purpose.

A North Avalon family kindly offered their home, but the amazing thing is the whole street does the full-on lights thing. Gotta love the far Northern beaches. They are super laid back and and there are almost none of the dramas that Home and Away might suggest.

Rocky, who owns Bike Bug North Sydney, kindly agreed to be our talent, and Rebecca Riegger did an absolutely amazing job of the props and styling. Also ups to Todd Sotheren who did the clipping paths to make the retouch a breeze.

The dog, Reg, makes the shot.

Merry Christmas

Allianz Library Images

One of my repeat clients, Allianz Insurance, commissioned this project, and it allowed me another opportunity to hone the art of directing real people, not models or actors, to their best performance for the shot.

The brief appealed to my documentary roots at first, but I shifted my style in a enviro-portrait direction to accommodate  the wide range of applications that the images would be used for. 

The client quite rightly felt that there was very little in existing stock that suited their needs, and wanted to use real people, in real situations-their own jobs, with a definite sense that we are looking at real Australians.

There were some pretty stressful challenges in getting the right talent and locations logistics sorted within the budget constraints, not to mention the curve ball thrown by the weather, but I'm proud to say the images portray, for the most part, people in their actual jobs, in their actual workplaces. In fact, the situations where hired talent had to be used, I found less convincing

I wanted to hero the subjects subtly with lighting and casual pose, but keep it feeling natural. We scheduled around the weather for the outdoor shots, as hard sunlight is a strong differentiating factor when trying to make images look more Australian.

Our ÜberProducer Penni pulled absolute miracles with regards to talent, locations and even weather prediction, and needed a relaxing massage by the end of the shoot.

Cherith Crozier did a cracker of a job in the styling, and together with myself and AD Sarah Straker, we had a solid team with a clear direction throughout the shoot.

Praise Whole Egg mayonaise

The AD at +Jack Watts Currie, Pamela Parelli, had put together a concise brief which resonated with me straight away. It called for an expression performance from the talent, and the food to look good too. It also needed to work visually with the hands holding plates reaching in.

We were fortunate to find the perfect location, and the weather smiled upon us, being the first clear day in a while.

Had a dream team of crew, with food styling by Kristine Duran Thiesen, wardrobe by Natasha Harrison, and Contacts' Leeby Sotheren doing makeup, and Todd Sotheren as retoucher.

The model Angela Shallis was serene and professional, and while the exclamatory performance was out of her comfort zone, she kept on trying till we got what we wanted.

Everything was shot on location, including the packshot and additional food tabletop shot to keep costs under control.

The AD, agency and client were very happy with the outcome, and so am I. One of my favourites for the year!