• 3.15.19 Mind Over Matter with David Carson

    The rapid development of technology has raised many questions about how creativity will evolve alongside it. David Carson’s collaborative exhibition, “Mind Over Matter,” with Thjis Biersteker, showcases that technology can help push the limits of how art is experienced and the influence it has on the viewer. The concept began with the artists mutual desire to create art that has a real impact on the world. The project evolved through an emotionally-driven creative process to draw into question modern paradigms in society such as the practice of mindfulness, the visualization of emotions, group dynamics, and peer surveillance. The partnership began while David was doing an artist residency program at the Zeoku Hotel in Amsterdam. Given David’s well-known background as a professional surfer, Thjis was in charge of showing David the beach. Thjis explained his background in tech-driven art and expressed his eagerness to collaborate on a piece with David. Their process started with the desire to clean up pollution. They began by collecting trash from around Amsterdam that David later used to create collages. Thjis, using his technological-art background, connected digital copies of the pieces David designed to a headset capable of reading brain-waves. Through this technology, the visuals were programmed to reflect the mood of the people using the headsets. Once they had tested and fine-tuned their installation, they invited a small group to experience the piece in action. When David and Thjis saw how people interacted with their piece, they realized that the scope of the project had become much larger than they had anticipated. People in the exhibit begin to be mindful and actively exercise control their thoughts. The experience was so unique that the team could not ignore the power it was having over the viewer.  “[It is] just something [else] to see your mind get calm,” David explained, “you feel it but you don’t often see it. If somebody would enter the room, and one person started doing something different, that affected it. I think we just kind of touched the surface but there’s something really interesting there. An obvious [application] would be meditation and self-calming. What was also interesting [was] that there were some people there that started reading the other people there like: ‘woah, you’re in a dark place.’ Or, ‘wow, that person is really calm.’ Or, ‘what the heck is going on in there?’”. The reality that David and Thjis did not know how their project would be interpreted before they put it in action was not a problem for David. Rather, he views it as an exciting marriage between human experience and technology, as well as a testament to the power of emotional art. The strength of David’s personal belief in the power of an emotionally driven creative process is evident. The most engaging challenge of this project was how to create a collage that conveys the spectrum of emotions people might feel while interacting with the piece. To do this, he experimented. He asked himself if the visuals he created evoked the emotions the headset was programmed to associate with them. These questions are particularly compelling to David because evoking emotion has always been the goal of his creative process. Unlike professionally trained designers who learn to abide by a certain set of rules for good design, David emphasizes that he is self-trained. Therefore, he instead constantly asks himself: “‘what’s the emotion I’m trying to get from this piece?’. I want people to feel the work and react emotionally.” He explained that is why working on this piece came naturally, “it was very much the way I like to work [with] emotional reaction to visual things.” A return to an emotional process in design is more relevant now than ever. In David’s eyes, the design world has arguably become more homogeneous as technology has developed. However, this is not to say that technology cannot be used to create emotional design. “That’s where the best work comes from–your unique vision and way of seeing things and nobody can copy that. Everybody can buy the same software and do reasonable websites but as we get more technically driven, it’s more important than ever that you get personally involved in the work. That’s when you do your best work and have the most fun doing it,” David believed. “That’s the only way you can do something unique because nobody is you; no one has your background, your upbringing, your family life. You can’t put all of that, but you can put degrees of it and then you have the chance to actually get some unique fresh work. If you’re not doing that then you’re probably bored with the work and you’re probably doing very safe, fine, forgettable work–professional but ultimately forgettable.” This strong belief in the importance of keeping emotion as the driving force of creativity in an increasingly digital world is why the highlight of the “Mind Over Matter” show for David was watching the emotional reactions of people as depicted by his collages. The importance of prioritizing authenticity remains particularly significant to David who holds this value central to his craft. David is not alone in this desire, and when he really works through a process driven by emotional authenticity that is when he gets the best response. “Where you can tell there’s a human behind it people are really reacting again, gravitating towards that, and it’s really noticeable… people are hungry for something that’s authentic and to feel there’s a person behind it…  I’ve been aware that there’s movement [in support of authenticity] again and that’s a good thing… things are shifting.” Although the next phase of their collaboration is on hold because David and Thjis are in pursuit of different projects, the possibilities of where they may take the theme of the connection between emotion, image, and technology are broad. Although the team is not yet sure what the next phase will be, they would love to continue. Themes of self-awareness, couples’ therapy, peer surveillance, and emotional authenticity in a technologically-driven world are some ideas they have of ways this technology could be used to help make a real difference in the world – the main goal of their collaboration.
  • 3.8.19 Pari Dukovic Shoots Virgil Abloh at Louis Vuitton Debut

    Virgil Abloh’s legacy precedes him. The founder of fashion brand Off-White, is known for blending the lines between streetwear and luxury. The creative started his career supporting some of Kanye’s endeavors before venturing off on his own, experimenting with brands like Pyrex and finally finding firm footing that has reshaped how the world separates different aspects of the industry. In his latest project with GQ Style, photographer Pari Dukovic shadowed fashion’s brightest star, designer and creative director Virgil Abloh, through his most recent runway debut for Louis Vuitton. With this unique portfolio for GQ, Pari had the opportunity to join Virgil on his tour of Men’s Fashion Week. He traveled to Paris to shoot the designer as he opened his first show as the men’s artistic director for Louis Vuitton in June of 2018. Pari photographed that intimate moment between Virgil and the man with whom he launched his career, Kanye West. The image of the creative director embracing his mentor isn’t the only moment the photographer was able to capture. Pari documented the runway show in its vibrant entirety, from the designer bags sitting idly backstage to the models walking the looks down the runway. Pari was also invited to the after party, where Virgil quickly switched hats and jumped onto the turntables to DJ. The designer’s signature style has influenced more than just fashion. His academic background is in both architecture and engineering, which he regularly references in his work. Virgil is credited with fundamentally changing the way the world views creative directors, expanding his craft to include his roles as DJ, architect, author, and entrepreneur. GQ opened their article, which detailed different accounts and perspectives of Virgil’s success, with a welcome for readers to the “Abloh Era." Pari captures those moments that document his most exciting journey – so far.
  • 3.7.19 Michael Muller Shoots Marvel's First Leading Female Superhero

    For the past decade, superhero movies have broken records and topped the box office charts. Marvel’s Universe is home to the big screen’s most beloved superheroes, including Iron Man, Guardians of the Galaxy, and most recently, their first leading female superhero: Captain Marvel. The Universe paved the way for this progressive addition to its franchise earlier in 2018 with the debut of their first African American superhero, Black Panther. In his latest collaboration with Marvel, photographer to the superheroes, Michael Muller, shot the movie posters featuring the super woman for her own movie debut. Michael is no stranger to shooting superheroes on set, and he sees each of his Marvel shoots as their own unique experience. His shoot with the cast of Captain Marvel was extra special. “The process is always a little different…” explains Michael on shooting characters from Marvel’s Universe. “When you do the Marvel superhero movie posters, you have these big casts of 12 Avengers, and sometimes up to 20 or 30 actors. Capturing each unique suit also makes it interesting. But I think the main, unique and cool aspect with this particular shoot was the fact that Brie Larson, the lead, is a female. And without going into too much of the story, a female that is going to save the world." With each Marvel movie franchise comes a different set of superheroes, each with their unique set of skills and powers. During the two days of shooting with Michael, Captain Marvel’s powers stood out. “All the superheroes always have different powers, but Brie’s character sort of has all of their powers - one of which is flying,” Michael reveals, delving into some of the behind the scenes work that isn't shown in the final images. “It was cool to use Brie in harnesses. We use harnesses, and the stunt team comes in and we actually fly the talent. So she flew, without ropes… because she’s a superhero." With ten years on the job, Michael knows how to capture and inspire the strength that boldly shines in each superhero shoot. “I’ll direct the way they stand, how they position their body, where they’re looking, and especially the angles I shoot them from. The angles and the lighting make it the whole combination – the superhero recipe, with the actors adding their character to it. This is her first superhero film, but it’s interesting to watch the actors, as the sequels develop, watch the characters perform their craft. After 10 years doing this, I try to direct the new superheroes as much as possible.” When asked about whether one of the shoots stands out as his favorite, Michael admits that it’s too hard to choose. “There are no favorites because they all have sentimental value, you know what I mean? I enjoy all my shoots…but I would say, the one that’s got a lot of sentimental value would be Iron Man 1 because it was the first one I shot. I remember Robert Downey Jr. showed me the sketches, and how excited he was. And then the studio called. I did two weeks on that shoot, I did hyper unit where we go and shoot the actors on set as well. My assistants have portable strobe lights, and that’s when I have access to all the sets. When I do hyper unit it’s amazing. I love to get those shots on camera because we have the backdrops right there. The actors are in costume, in uniform, all that good stuff. That one has a lot of sentimental value, but you know my favorite I would say is “Captain America 2”. I think it had the coolest costumes and uniforms. Those costumes, that style; they were just amazing." Through all of his superhero experience, Michael keeps one simple goal in mind. “With a movie poster you know, there’s 1.4 seconds to stop someone in a magazine or stop them on Amsterdam. You got one shot to make people say to themselves in their car like, “that looks cool,” or “that looks dumb”. The way you look at a movie billboard can really affect the box office. And that’s my job, to make them look cool. I know the comic book fans are going to come to the movie. My goal is to get my wife into the movie theatre. To get the people that are not the superhero or comic book people into the theater, into the seats."
  • 3.13.19 Tara Donne Travels to Adult Dream Camp

    Tara Donne is no stranger to travel. The seasoned photographer and motion director is known for photographing the finer things that make up a lifestyle: food, travel, family, and fun. In her latest project with Travel & Leisure, Tara takes her talents to the Adirondack Mountains to capture all it has to offer, from the rustic cabin scene to the luxurious lakeside resorts. The Adirondacks has a special place in Tara’s heart. Having spent her early years near the mountain range at school in Syracuse, Tara was already keen on all the natural beauty the area has to offer. “I feel like people don’t know about the Adirondacks. There’s a bunch of different things I love about it. It’s just totally my vibe up there, big trees, big mountains. I’ve been there at a bunch of different times of year – in the winter with friends, renting houses and just enjoying the nature and snow around Lake Placid. I always really love it. There’s great hiking and a lot of outdoorsy activities. But I’d always look and look and I could never find really cool places to stay. In a way, it was sort of lovely and refreshing because there was nothing trendy -  there’s not a million pre-curated instagrammable things. It’s just really beautiful,  natural and raw. As an aesthetic person that feeling was always both underwhelming but in the same way a little bit refreshing.” It feels fated that Tara, who at a time craved more intentional beauty from the unchartered Adirondacks, was selected as the photographer for a multi-night adventure in different luxury accommodations, dubbed Adult Dream Camp. Tara and the editorial team of Travel + Leisure stayed in a plethora of hotels throughout the Adirondacks for the Adult Dream Camp journey that each had their own unique feel. From affordable cabins deep in the mountains to properties along Lake George, to finally one of Rockefeller’s properties turned luxury resort, the photographer had no shortage of picture-perfect moments throughout her stay on the four-day shoot. Tara’s favorite stay, “hands down”, was The Point, which she refers to as the highlight of her trip. “It’s a really nice and beautiful property, but everything feels like authentically from when it was built - in the early 1930s. It has that Adirondack cabin feel but with a luxe twist. But it’s not like they did this cheesy over the top renovation that feels inauthentic to what the Rockefeller property originally was. It feels like you kind of get to go back in time,” explains Tara. “Before I arrived, they asked if I had dietary restrictions. I said yes, I can’t eat gluten, so when I arrived there was a plate of fresh baked gluten-free cookies. They make you feel taken care of. It’s also not so posh because you’re still in nature. You can take the boats out and go swimming and hiking. You can totally unplug. There were even top-shelf bars that you could just help yourself, set up in five different places.” Tara took those cues and made herself at home, going as far as to make a fire in the fireplace that was pre-stationed in her room to photograph and capture the full luxury of the moment. Although The Point made Tara feel more than comfortable, the other areas of the Adirondacks evoked more familiar feelings of nostalgia, fulfillment, and family that Tara showcased in her images. “I think the range of accommodations that were part of this story was perfect for what I thought were the most exciting, interesting, beautiful, authentic to the place kind of summery moments and things that happened at each spot. The Sagamore is a beautiful island that’s in Lake George and it has all this coastline that’s so beautiful to enjoy and it has all these tubes and kids in the lake. It feels like a family place,” Tara notes, referencing the outtakes of images of children and families wading in the lake and walking along the lake with their tubes. “I think a lot of the inspiration was wanting to tell a story. When you’re shooting a travel story, it has so much to offer and there’s so much about it that makes it a wonderful experience. I just felt like I wanted to spend more time there, not just because I wanted too, but because I wanted more time to photograph everything that happened there. It was such a good place to just shoot an inclusive story from food to things there growing the garden to the people who work there. I wanted to capture that.”
  • 3.4.19 We Are The Rhoads Photographs Oscar Contenders

    Last Sunday the world tuned into Hollywood’s Biggest Night: the Academy Awards. People Magazine asked We Are The Rhoads to shoot their selection of female nominees whose talent and performances truly shined - with one who walked away with the award. The Rhoads were provided the benefit of a unique photo shoot with each of their subjects, but because of busy schedules, some of the shots had to be done in just a few minutes. This was no challenge for The Rhoads. Their time with Rachel Weisz of The Favourite is a great example. “We shot those images literally within seconds of each other, the horizontal one was shot by Chris and I was on a side angle on a tighter lens. I shot the portrait of her looking back over the shoulder,” Sarah explained, who makes up half of We Are The Rhoads with her husband Chris. Their team was planning on shooting Rachel after the SAG awards, but after connecting, they decided they wanted to capture the excitement and energy of the awards and shoot during a short break in the show. “We had Rachel for seven minutes. Literally seven minutes,” added Chris. “We shoot almost all of our scenes in tandem, I will have a camera and Sarah will have a camera as well. That’s when you have that moment when I’m shooting straight on and Sarah is on the side and you get those two different moments beats apart that have different feels.” The dual capability of having both cameras on set is part of the magic that The Rhoads bring to their shoots, and this specific circumstance made for a dynamic contrast of images in under just ten minutes. The gleeful image of long-time actress and new Oscar winner Regina King shows the star looking up towards the ceiling, with a warm smile on her face as if laughing. “She's been in such dramatic roles recently, and what Chris and I love to do in our work is to capture that honesty about a person and show how that resonated with us,” Sarah says about capturing a cheerful moment with the If Beale Street Could Talk star. “That was one of the last shots we got of her. She was just so warm and gregarious, Chris and I wanted to capture that spirit about her. She had a nice warmth that immediately when she walked in the room you could feel.” Capturing that one special and specific moment is deeply rooted in the spirit of We Are The Rhoad’s philosophy. While the other shoots were hosted in California, We Are The Rhoads took their talents to New York to shoot Lupita and Danai. The two shots feature the actresses first looking straight at the camera, with all the intensity that they bring to the big screen in their Oscar-nominated motion picture Black Panther and contrastly, leaning into each other and laughing as if having an intimate moment. Chris credits those captured moments to their practiced philosophy. “I think it goes back to our whole ethos of trying to make them feel comfortable. Lupita and Danai had been friends for a while and have worked in numerous different projects, so they were already pretty comfortable with one another, so really it was just trying to extend that and have them kind of forget that they were on set. Obviously they're dressed up in this incredible wardrobe and we have this incredible fairly large lighting scene, but it’s really trying to start connecting with them on that human level. I think that’s where we’re able to get a little more serious or keep it a little more lighthearted and, you know, they’re pros. They’re so generous with sharing that kind of connection with the camera that it really makes our job easier. They're willing to step in and be vulnerable with you and show a more human side of themselves as opposed to just the character that they’re playing.” Not all of the shoots were done on a set. The photographers immediately felt a spark in Marina De Tavira of Roma, so when the sun broke through for a few moments during their shoot, that flare of light felt like magic. The image of Melissa McCarthy was also taken outside, but the moment didn’t exactly come as easily. “It was raining,” Sarah started explaining about their experience with Melissa. “We had a torrential downpour in LA for a good 10 days during the time that we were supposed to shoot. We really had to execute quickly and get to something really honest that resonated and felt real very quickly and build rapport. So, I hopped on Chris’s shoulders for that shot to get a little height because there was very little room in the quarters we were shooting, especially for both of us to shoot. I went to get that angle from the top down and the second I got on his shoulders she was just cracking up, like ‘I can’t believe that someone is shooting my photo like this!’. That moment is kind of special because I feel like that's really when you got to see her real spirit shine through and that’s the image that they choose which we were really thrilled with. I’m 5’3’’ so to get that downward angle, I had to get a little height and there wasn’t time to pull out apple boxes!” Each image created by We Are The Rhoads is special in its own way, bringing their ethos through every shot to create a collaborative yet cohesive portfolio of the leading ladies of 2018.
  • 3.1.19 Behind The Scenes With Brian Doben

    Award season is known to be one of the most glamorous times of the year. Hollywood’s biggest stars walk the red carpet and come together to celebrate the success of the people who make each nomination possible. During his latest project in collaboration with Walmart and The Academy, Photographer Brian Doben had the unique opportunity to shoot the powerhouses behind the scenes who help make the stars look good. From set designers to wardrobe stylists, Brian was able to capture the crucial moments where the set crews and glam teams shine. The campaign included a number of commercials that premiered during the live airing of the Oscars and print ads that mirrored those six TV spots. Brian’s expertise working in conjunction with TV and film allowed him to successfully navigate the physical constraints and other challenges of capturing still photography on a production set where the schedule and environment are out of his control. “It’s always that kind of interesting dance of how do we find our time to create an image that is dynamic and stands on its own yet carries through and works simultaneously with the TV spots,” explains Brian on the process. The final images for the ads intentionally match the commercial campaign, so it’s easy to assume that both of the shoots were happening simultaneously. In reality, most of those shots were done on Brian’s time, and there were only a few minutes that he was able to shoot in between the different sets for a true action shot. “I really try to respect people's time and space,” Brian notes, “so I saw that there was a moment when there was a lens change on one of the cameras and I was able to just take control of it for that shot - I think that image was taken in under a minute. It was pouring rain and it was fast.” The result was a set of six images that transport the viewer straight to the set with all the energy of the production. Brian credits this to his practiced process of shooting. “My first camera was an 8x10 camera so I couldn’t afford to shoot too much, the film was very expensive to shoot. It would average about 10 dollars for a sheet of film between buying and processing it, so I would have to really think about my framing and the composition. It was extremely crucial for me because I couldn't do many images and that really was a great way for me to start. Although now everything is digital and you can shoot 10,000 frames, it's still stuck in me, to think about and to look at all the corners of the image and see, how do they relate to each other? What is it here that’s interesting, even if its just a garbage can, is that garbage can there right or is it wrong?  When I really do think of my process now, I look at my 8x10 days and I use that because it's the same thing - what is my intention here?” Brian considers this process “creatively stretching”, where he comes on set ready to “absorb like a sponge” and connect with the subjects to get the best shot. Although this isn’t Walmart’s first campaign as the official sponsor of the Oscars, the idea behind the campaign is a departure from the tv spots they produced in the last two years of their partnership. Making the decision to focus on the magic behind the scenes sits near to Brian’s heart. “From the beginning, I loved the concept because it goes really to the heart of my passion project, my at work project, celebrating people who love what they do so to honor the people behind the scene,” Brian commented on why this project was a great fit for him. “In my eyes, it shows that there’s a change in direction that's occurring which is to really appreciate the people that carry the weight of whatever it might be. It would have been much easier to show the stars of the production. They could have hired five or six movie stars and they could have done a very similar storyline and instead, they went with a much more daring and exciting point of view. They honored the person who’s getting the meals out for the crew or a stylist’s assistant - these are the people that make things happen actually and the viewer needs the reminder that without that core group, nothing gets accomplished. The stars wouldn't look good if their stylist didn’t style them to look good and the stylist couldn’t do it without their assistant. For me as well, I rely on my team who I’ve had for well over a decade and I really really love having them with me because they carry me through it.”
  • 2.15.19 Jeff Soto's Game of Thrones

    Great television shows spark cultural conversations and relevance that create lasting impacts in our society from The Sopranos to the now cultural phenomenon, Game of Thrones. To celebrate the show’s final season, artist Jeff Soto was among the eighteen talented artists chosen by HBO and given the task of interpreting one of the official show props. Given his experience painting on different canvases, Jeff was excited to elevate his work with the personal passion he felt for the project. “I've painted on shoes, cars, bottles, and all sorts of things, but this one was very special because I am a big Game of Thrones fan!” explained Jeff,  “I’ve watched the series twice, and, in fact, my whole family watches it. My brother has read all the books!” Each piece holds its own significant relevance to the show’s history and plot, so it was important for the artists to understand and maintain that integrity in their re-creations. “I am a painter, so I didn’t want to physically transform the prop so much as breathe new light into the existing shapes using color. I used acrylic spray paint and brush paints. I focused on rich, saturated colors that were the opposite of dusty old bones.” After Jeff spent time considering the brief and working out the concept for the dragon skull, the entire process took about a week to complete. The artist started by spray painting the entire skull to give the piece an underpainting base before working on the detail.  He completed the painting in stages to allow time to let the piece dry while carefully following the shapes and forms of the skull. In Jeff’s version, his signature use of color shines a striking contrast to the original. Each of the eighteen pieces were unveiled this week, in celebration of the building anticipation for the upcoming final season. Viewers of the show and fans of the art are encouraged to create their own depictions of the props using the hashtag #ForTheThrone for a chance to be featured in the campaign. The project comes highly recommended. “Painting on a dimensional object can be a bit of a challenge” explains Jeff, “but overall, it was a really fun experience working on this piece.”
B&A Instafeed
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  • Back To Today for Lee Jeans SS19 campaign with makeup artist @greggmakeupnyc ⁣#SS19 #GreggHubbard #beauty #streetstyle #classic
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  • @plenty.tv created wooden textures in motion spots for @americanexpressbusiness #motiongraphics  #motionographer #3ddesign #cgidesign
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  • Photographer @andrewzuckerman captures vivid detail #arthropod #photography #bug
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  • @wearetherhoads photographed Oscar winning actress @iamreginaking for @people 
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#Oscars #photography #BlackPanther #actresses
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  • The beautiful and Oscar nominated Rachel Weisz shot by @wearetherhoads for @people

#Oscars #Oscarnominated #womeninfilm #RachelWeisz #photography #TheFavourite
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  • Looking at the moon with @inkymole 🌚 #illustrator #moon #illustration #art
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