• 12.3.19

    Bose Collins For National Geographic

    Bose Collins’ latest project for National Geographic, a CGI-render underground of the ancient city of Jerusalem brings the old world into new life. Revealing the story of our common journey toward modernization, preservation, and inevitable clash.

  • 12.2.19

    Anna Pogossova | Sephora x Doingbird Magazine

    Photographer: Anna Pogossova
    Stylist: Philippa Moroney 
    Hair: Lok Lau 
    Makeup: Molly Warkentin 
  • 12.2.19

    Jesse Lizotte shoots Fernanda Ly for the cover of Vogue Australia’s Special China Edition

    The perfect girl for the story, the initial inspiration behind the shoot started from the 80's underground club scene and as collaborative effort between Jesse and editor Pip Moroney, the narrative developed with Fernanda’s personality and movement on the day in mind.
    Finding common ground through a similar taste and appreciation in music, Jesse was able to capture images of Fernanda that reflected her as both effortlessly cool and strong, with movements that flowed back to the initial inspiration. 
  • 11.20.19


    Photographer Troy House excels at capturing everyday moments in a way that makes you want to jump inside his photographs. Although he grew up helping out in his father's portrait studio, Troy evolved stylistically into a location-based accidentalist.  His passion for travel has also influenced the subject of his work, which often showcases far flung corners of the world. Whether he’s shooting a couple at a Brooklyn coffee shop or a family vacationing somewhere slightly more remote, his images always have that spark of excitement. 

    Past Commissions: Chase, Hilton, United, Bon Appétitand The Sunday Times 

  • 11.15.19


    Ben Rayner's latest work for Adidas, features both the Ozweego, a sneaker that fuses 90's vibes with futuristic styling, and apparel line  R.Y.V. Both campaigns were shot in Brooklyn, capturing the energy and authenticity of the street. In his work Ben plays with movement and crops, while also manipulating image competition and color. The result is dynamic and often subtly humorous. Not to mention as bold and bright as the Adidas product itself.

  • 10.30.19


    Halloween is almost here, but if you just can’t wait you can hear it right now. In honor of the spooky season, imagination studio Polyester collaborated with audio designer Jeff Moberg. Polyester’s animations pair with Moberg’s six second audio clips to create something entirely new: micro doses of frightful film. 

    Get ready to grab the edge of your seat and just make sure you don’t scream too loud.
  • 10.15.19

    Jason Madara Covers CEOs for Wired UK, Fast Company & Southwest

    In his latest editorial collaborations, photographer Jason Madara takes on the covers of WIRED UK, Fast Company and SouthWest the Magazine to showcase portraits of individuals who are creating real change in their respective industries. Captivating the inspiring industry leaders, Jason highlights their ambition, the duality of their humbleness and entrepreneurism, but most importantly their humanity. These covers convey the same sense of authentic connection and personability that he himself strives to create while on set.

    “I’m always photographing real people and sometimes it requires real patience. I’ve realized that honestly, 90% is just being present and just having a real conversation with people. They put their guard down with me and then we have a good time together. The camera is really a small part of what I do. I’m a strong believer that intimacy and connection are created by being present with somebody and becoming part of that moment is what I think comes through in my portraits,” explained Jason. 

    For the cover of FastCompany, Jason shot Katrina Lake, CEO of StitchFix.I did literally put her on a pedestal. That was my furniture from my studio and one of my boxes. I wanted this to feel heroic and badass, but also endearing as well. I think that low angle is my thing for sure, shooting up. One of my inspirations has always been Helmut Newton, my whole life. I always loved the way he made portraits.”

    Running from shoots in New York to London and back to San Francisco in his studio, Jason’s portraits manage to capture both the personalities and the power seen in the faces of his subjects. “The creative team at WIRED UK is I think one of the most creative in the business. When they called me to come out there, I went from NY right to London. I loved the idea that they wanted me to come to London to shoot this, cause I always really loved the magazine and the people that worked there. But I was curious, why me vs so many portrait photographers that are closer? Andrew the creative director said, ‘You have an amazing way of connecting with people that really don’t want to be photographed. Like real people that are not normally, genuinely comfortable in front of the camera.’”

    Utilizing elements of lighting, low angles and a presence of ying-yang in these leaders, Jason captures and communicates their essence to the world in these series of portraits.

  • 10.8.19

    Patrik Giardino Celebrates China with Adidas

    Adidas and 72andSunny Amsterdam brought photographer Patrik Giardino to China to capture the key art for the brand’s latest Chinese campaign.

    Patrik was working on a shoot in Silicon Valley when he connected with a producer about the campaign. A few days later, he was on a plane to Shanghai. “The shoot is for China’s 70 year anniversary this year. China has officially been an independent country for 7 decades, starting in 1949 after WWII. Adidas created this ad campaign to celebrate the country and it's history.  It’s actually a huge campaign, it’s one of the biggest media campaigns in China. It was all over the country,” explained the photographer.

    The photoshoot consisted of a series of portraits of different Chinese figures. The shoot took about three days to complete, working with the busy schedules of the Chinese celebrities and athletes involved in the shoot.

    “These shoots were way bigger than I had expected. The idea was to have portraits among illustrations to be mixed together. The illustrations were added to guide the identification of the women’s and men’s sports teams and categories,” explained Patrik. “All of the subjects from this campaign are very famous Chinese athletes. China is very different than America when it comes to sports, the focus is different. In America, you could shoot a massive athlete like LeBron James because everyone loves him. In China, there’s less focus on the individual, so they don’t get paid the same way. They have a different way of looking at sports, it’s much more focused on a team and the community.”

    Although Patrik only had a half-hour with each athlete, after about 15 minutes he was sure he got the shot. “It was a lot of work jumping on the project last minute, but it was very rewarding. It was really nice to work with the Adidas team in China. There were fun moments. Proud moments. It was great to shoot in Shanghai.”

  • 10.3.19

    The Illustrators of B&A Find TIME for Climate Change

    For the special edition of their Climate Issue, TIME Magazine tapped illustrator David Doran to reimagine the world as we know it, in a series of sketchbook drawings that depict the future in a sustainable light. Drawing inspiration from the classic sketchbook images shared on his Instagram, David created a future we can thrive in. In the same issue, illustrator Jing Zhang created infographics to showcase how and why our Earth is as far along as it’s proven to be.

    “It was really nice to see how my sketchbook pages had been seen and adapted to this concept. The concept was actually built around my sketchbook pages where I’m often onsight, on-location drawing what's in front of me. But instead of drawing reality, we were using the sketches almost as a portal into a really idealistic future reality. Looking at how we can make these changes in society for the future we want to have for everyone,” explained the illustrator. “In general, there's a grim sense to someone’s process when you do show sketchbook pages and how it develops to the final stage. But in this project, it was really nice to take that format and treat that as the final product in itself. The combination of having the photographs in the background ties it all together in a personable, human way.”

    Although David’s signature aesthetic includes vivid colors and defined shapes, the work that goes into his sketchbook remains raw, colored in only black and white. For this project, the sketches were the final result. David illustrated a future our world could be headed for, shown in the article for TIME against a backdrop of how it looks current day, in today’s society. 

     “I pitched ideas before making the sketches, so we kind of ironed out the ideas. In terms of the details, I think that was a level of confidence in my sketchbook pages. I think emphasizing on that juxtaposition, having the pollution in the background and the fumes of smoke kind of contrasted the fresh lake and people on the boats, using energy in a very natural way,” explained David. “The whole project was really collaborated; it was a really nice chance to work on a project like this. When we went back and forth with the photograph options, we really just wanted to communicate the concept as strongly as possible so you have that real contrast of the background and the industry and pollution and meat and all these kind of things in a very extreme way that quite drastically contrasted with the sketchbook drawings.”

    For her latest endeavor with TIME magazine, illustrator Jing Zhang was asked to reimagine the maps of the 7 continents of planet Earth, highlighting their unique climate issues. Jing's informational depictions show that the climate fight remains the consuming battle of our age, but its most intense phase may be in our rearview mirror. Jing's precise infographics give viewers the opportunity to look back to see how we might have managed to dramatically change our society and economy.

    Both projects contribute to Time Magazine’s mission to make this Issue of Climate Change a midpoint in their coverage of the biggest crisis facing our planet.

  • 9.30.19

    Vault49 Creates New Cow City with Burger & Lobster

    For their latest mural project, design agency Vault49 created a series of murals in collaboration with New York restaurant, Burger & Lobster.

    In the Flatiron District of Manhattan, there are many options for dinner. In an effort to stand out, Burger & Lobster asked the team of local artists at Vault49 to help connect with the restaurant with its downtown New York location and its core offering: prime-cut burgers and wild, fresh Atlantic lobsters.

    “Vault49’s team of talented artists and creatives have a passion for visual storytelling and we knew they would bring their authentic style to the narrative we wanted to tell around our history and story in a way that ignites our brand essence,” explained Vladimir Borodin, co-owner of the restaurant chain. “Their passion for craft signaled to us they understood the importance of quality and creativity in the simplest of forms, making them the perfect creative agency partner.”

    Throughout the restaurant, the artists at Vault49 decorated the walls with floor to ceiling murals that feature different branded narratives, including the journey of the lobsters from Maine all the way to the big apple. Their works of art contribute to the brand messaging and help communicate the restaurant’s personality and set the brand apart from other eateries. Working with an open brief, the team was able to get creative and pull inspiration from the restaurant’s location and history, and imagine a new world, New Cow City, where the wall mural featured depictions of cabs and subways, with a cow-inspired twist.

    “We were delighted when Burger & Lobster asked us to create murals for this site and we loved visually weaving the neighborhood into the restaurant’s brand story. The Flatiron District is a creative neighborhood with some of the best creative agencies in New York choosing to base their studios here, so it is a wonderful opportunity for Vault49 to contribute as our studio is close by,” explained John Glasgow, Creative Director of Vault49. “One factor we had to consider was the team would need to paint during the restaurant’s opening hours which created a new set of challenges in terms of lighting and limited space, but we turned it into an exciting experience for diners to watch the murals take shape as they dined, creating elements of surprise and delight.”

  • 9.26.19

    Photographer Joe Pugliese Captures Strength with JLo & ESPN's Body Issue

    In his latest editorial endeavors, photographer Joe Pugliese reunited with Variety’s cover star Jennifer Lopez for their third photography collaboration and returned to set with ESPN for the 2019 edition of The Body Issue.

    In an Instagram caption describing the experience, Joe mentions that when working with the actress, singer, and performer, Jennifer Lopez, it’s merely his job to just keep up. “She won’t wait for my direction to change what she’s doing. Some people will be in a pose or a position and they will stay there until I say move on, but she is not waiting for me. It’s for sure me witnessing what she’s giving me and recording it as much as I can,” explains the photographer. “She’s truly a director. People of this magnitude, no matter if they are technically directors or not, are directors in their lives. They curate their persona and their look and their businesses and when they get to a photoshoot, that doesn't turn off for them. I had things I wanted to do - some things worked and some things didn't, but she was pretty on board for them all. It was truly collaborative, she and I figuring out what we’re doing.”

    The photoshoot took place in Chicago at the superstar’s hotel during one of her few nights off from performing while on tour. Joe first photographed JLo during a music tour for Billboard and again focusing on her physique for the Body Issue of US Magazine. For this shoot with Variety, Joe wanted to capture her fierceness and strength. “I don’t think I veer one way or another in terms of soft and feminine photography, or strong and masculine photography. I like playing both sides for the right subject, and sometimes also disarm the viewer against what would be expected. I like taking soft quiet moments of men who would normally be photographed in a strong way and the opposite to show the many sides and the range of emotion that people have. JLo was dressed very elegantly, the first look where she’s in the pantsuit with the tucked top, that was very theatrical. It made sense for that to be graphic but the look in the hallway was more playful, and she still brought a fierceness to it. It was a nice way to reveal that no matter what she’s doing, she’s serious about it.”

    “Jennifer Dorn at Variety and Karen Frank at ESPN are real champions of photography and thoughtful about the way they assign their photography. I know when I get a call from either one of them that there was a lot of consideration why I was the choice, and I always want to do right by that and respect the fact that there are so many photographers to choose from for every shoot. When it does land on me, I need to think about why they hired me and when we discuss it,  that’s where I get a lot of the direction and the approach,” explained Joe. “Karen has looked after the Body Issue for most of the 10 years that it’s been around, and it’s the kind of assignment that every single editorial photographer absolutely wishes for. When you get the call, it’s like you won the lottery." For ESPN’s 11th edition of The Body Issue, and his fourth collaboration with the annual periodical, Joe got the call to capture MLB’s MVP, Christian Yelich.

    “It’s important to understand the crux of The Body Issue. If you talk to the athletes about why they even want to do it, they feel like their livelihood is around their physical abilities and that people don’t understand how much work goes into what they do for a living. Christian is at the peak of his career, he wants to look back at these pictures and say 'That's what I really looked like when I was Major League Baseball's MVP. He wants a record of truth, of what his body is doing for him,” explained the photographer. “Baseball is not like boxing where you can see their physique. It’s hidden by pretty baggy clothes, a lot of baseball players don’t get the idea that they’d be that fit, and a lot of them are not that fit. This is his way of revealing that it’s not by chance that he's extremely successful at baseball, I think he wants to show that a lot of work goes into it.

    As a portrait photographer, Joe developed a concept to showcase the young and exciting athlete that stayed true to his aesthetic responsibility of human truth. “I have to follow what feels right for the tone of my work. I think the ideas that I came up with had a notion of fun involved, but it was important to me to not make it a funny shoot. I want to show high reverence for people and their demeanor. He's known for stealing bases and sliding, so I thought, a slip and slide is such a great way to make him slide while being nude. We had to build it indoors because of privacy and the light I wanted to control. I had Chicago based set designer, Dan Griffin, come all the way to Milwaukee to build a pool from scratch. It was an amazing achievement to build this 16 by 20-foot 6-inch water slide in a raw warehouse space that we found.”

    “Catching the ball in front of what looks like an outfield wall: my concept of that was really that I wanted all of these shots to feel like you’re in a dream, and the way that dreams are sort of surreal with an inkling of reality, but all the soundings unreal. You might have a dream in a nondescript place that you can’t describe once you're awake but doing something you totally know, like playing baseball, but you don't know why you would have been where you were. The sliding in water: doing something he totally knows that's rooted in reality but for some reason, he was naked and was going through water. The idea of being able to describe it but it doesn’t make any sense that it would be there -- I was trying to keep the dream narrative going. There's some fog and a little bit of the haziness in the photos to represent the in-between place between reality and a dream.”

    Although Christian was recently selected as Major League Baseball’s Most Valuable Player of the year, Joe described him as demure. Usually, funny stories from set come from people trying to mask their discomfort about photographed, because they want to laugh through it. For this shoot with Christian, there weren’t many funny moments. “The thing that did surprise me, I didn't actually really think about it this way, but there was a shift, and the shift came when I realized how unbelievably comfortable he was with the process of being naked in front of a crew full of people and photographers. We usually take such care for someone's comfort level on these shoots. This was the fourth shoot I did for the body issue and normally everyone has a way through it. Some subjects just want some tequila shots and mellow out. Some subjects just want as much privacy as possible to go back to their room whenever we’re not shooting and Christian it’s almost like he forgot he was naked the second the robe came off. It was almost more uncomfortable for us than him. He would walk up to the monitor and we would be like, you can wear a robe if you want.”

  • 9.17.19

    Kate Darvil Styles Elle Mcpherson for Vogue Australia

    In her latest collaboration with Vogue Australia, stylist Kate Darvil worked with Australia native and fashion industry legend, Elle Macpherson, in her first family photoshoot. Kate styles Elle in a simple blue and belted shirtdress for the cover, positioned between her two sons in matching two dark blue suits.

    The shoot came at a time of many milestones for the Macpherson family, each celebrating a major birthday, with Elle leading the charge as the matriarch at 55. It was the family’s first time back in Sydney as a family in years, and the camera captured all the effortless beauty, styled by Kate, as the memories and good times of the past came flowing back to the present. Kate styled the family in cool tones with varying textures, as they focus on what’s important to them now, simplicity and getting back to basics.


  • 9.12.19

    The Selby and Taylor Swift Ask Anna

    In the latest chapter of his ongoing Ask Anna endeavor with Conde Nast, artist The Selby worked with the cover star of the September issue of Vogue, Taylor Swift, to produce the latest segment.

    For this collaboration, the team captured Taylor’s asks for Anna while on set shooting the cover of the September issue of Vogue. Taylor came prepared. “During the cover shoot, we were able to film Taylor asking questions, whatever she wanted to ask and find out. It was definitely exciting if you’re a person who’s into fashion like Taylor is. Getting the opportunity to kind of just go for it and ask Anna anything you want is the dream for some people. Taylor was really into it, asking Anna about her favorite cat from the show. Her energy with Anna was great, they have a respect for each other and they made it really fun for everyone to watch.”

    After they filmed the questions and answers, The Selby worked to add his signature illustrations to the piece. For this special feature of Ask Anna, Selby added more details with borders around the subjects. “I like the moments when Anna gets the most animated,  so I can use the illustrations to play off of it.”

    If you were wondering which the project was filmed, you would have a hard time deciding based on Anna’s outfit. “She loves a floral print or any kind of colorful print. All-year-round. It’s kinda rare when you see her in a solid which I appreciate because I’m the kind of guy who loves color myself. I’m a more is more kind of person. Some people have a misconception about Anna, something about wearing all black, which is actually totally incorrect, she loves print and color. Except for leggings. She does not like a colorful legging. Although Anna did wear pink leggings in like 1993. Honestly, I did call her out on her pink leggings, but you know it was 1993, I don’t even know what I was wearing in 1993.”


  • 9.10.19

    Serial Cut Celebrates 20 Years with SC99

    In celebration of their 20th anniversary, creative studio Serial Cut embarked on a visual journey they’ve dubbed SC99: Purely Iconic. The year-long campaign that debuted in January of this year reached its final culmination point this Monday, September 9th, 2019 or, 9.9.19. The date pays tribute to the year in which the brand was incepted and this year, 2019. The endeavor included a film, book release, and event, complete with monthly Easter eggs to entice viewers to keep checking back.

    Serial Cut worked with over 50 professionals to produce a film that set the stage for the campaign. In a 7-day production period, their giant team of creatives worked together to create a story that tied together all of the specially curated elements to celebrate their two decades of creativity. The result is literally the biggest production that the studio has worked on.

    The film takes viewers on a journey throughout the studio’s philosophy, depicted throughout nine different rooms. Each room focuses on a different value and showcases different acclaimed revisitation of past projects. Before yesterday’s launch, the brand released trailers and teasers that include behind the scenes looks at their process.

    “Since the beginning, I wanted to split a giant SC99 logotype in 9 rooms, where each was about some characteristic that defined the studio, so all together is the studio itself,” explained Serial Cut. “In “Renderoom” we talk about the CGI we do, in “Typeblocks” the typography have an important role, in “Digitactile” we show how digital props convert into tactile ones, and so on with the rest of the rooms. In all of them are some well-known projects (that some fans will recognize) but revised, they don’t appear as they were originally. That´s a nice part to look at, there are many details we take into account to make it special and tell the story of the studio in a very free creative and original way. I was the one that wrote the bio of each character, so I include personal details of me or the thing I like or I don’t like. It´s really awesome how the characters come to life when you put them a name and invent their lives.”

    Showcasing two decades of work was no easy feat. Serial Cut created a massive compilation piece of the most iconic projects the brand has worked on in the past two decades. The book celebrates their 20 years of work in 544 pages and features the pure creativity the brand has harnessed throughout the years that combines pop culture and surrealism into one. Throughout the year-long campaign, new cover art for the book was unveiled each month that featured one of the nine characters introduced in the SC99 film. The book is available for purchase here.

    “The storytelling, as also the concept in an image is the base of everything. Without this, the image can be beautiful, but you probably will forget it sooner than if it also comes with a strong concept. I think many images show a concept behind, we love to blend concepts generating some surrealism or 2 techniques, for instance, tactile and CGI.”

    To celebrate the final conclusion of this year-long endeavor, Serial Cut produced an event where their fans, clients, and collaborators could come together to celebrate their years of creativity. The full film was featured on a big screen, followed by a talk about the in-depth process and some behind the scenes moments of the SC99 Book and Film. The event and entire campaign were a huge success, and we can’t wait to see what’s in store for the next 20 years.


  • 9.9.19

    Shepard Fairey Murals the Great Bowery Water Tower

    Artist Shepard Fairey has created street art over the past three decades that resist cultural norms and expectations. Perhaps his most notable works are the We The People and Obama Hope campaign posters, which were shared across the country millions of times in a variety of ways, making Shepard Fairey a household name throughout the US. It’s his belief that art is a social act that connects people not only with each other but also with ourselves. Shepard believes that art is activism, that serves as a catalyst for action. Shepard was and is still today inspired by the 1980s and 1990s street culture of the Lower East Side, what he refers to as the “unholy trinity of cultures:” graffiti, hip-hop and punk rock, and skateboarding.

    In a collaboration with several iconic NYC organizations, artist Shepard Fairey created a mural on the water tower that sits on top of the famous Germania Bank Building, currently the home of Great Bowery’s New York Headquarters. This famous graffiti-covered building has seen decades the Lower East Side’s history and culture, making it the perfect canvas for Shepard Fairey’s work. The mural features local activist and actress Rosario Dawson, a Lower East Side native. The painting illuminates Dawson in an empowering light, showcasing her as the inspiring NYC advocate she is. The mural serves as a symbol of power and equality that highlights both NYC’s creative culture as well as Great Bowery’s work with The Lower East Side Girls Club and their Alphabet City Art School. 

    A key factor in the success of this project was the incredible fundraising and spotlight put on the LES Girls Club by depicting LES New Yorker and board member Rosario Dawson. This altruism and support of the local community is one detail that convinced the Landmark Preservation Commission to approve the project after they initially rejected the idea. Rosario Dawson was raised on the Lower East Side with her family. She lived in a family of squatters and was sitting on a stoop one day when she was approached by a local talent agent to cast her in the movie, “Kids,” kickstarting her acting career. She’s currently a board member of the Lower East Side Girls Club, serving as an important social justice figure and activist, fighting to improve the lives of the young girls of this club.

    On July 17, once the mural was unveiled, Great Bowery hosted “A Conversation with Shepard Fairey,” with the artist and David Hershkovits, founder of Paper Magazine. The two engaged in a discussion about art, activism, NYC’s creative culture, and how it all came together in Shepard Fairey’s illustration of Dawson on Great Bowery’s water tower. 

    “Art connects people with the better side of nature and makes them hopefully see something in themselves that then they can also see in other people. So it's at least subconsciously a bit of a bridge to all of humanity and I think people are better people when they're capable of making art, being creative, taking chances, expressing themselves, sharing with others. Because why would we do it if we didn't have some impulse to create meaning with other people? Otherwise, people would just do stuff in isolation. I think it's a social act,” explained Shepard. “Rosario Dawson is a recognizable person that it would make a viewer curious. A lot of the work I've been doing focuses on an appealing archetype that maybe is just representing an idea or a subject that is actually literally in there life embodying an idea. It's really important to draw people into a conversation about the subject matter. Using Rosario for that piece was great because we’ve both been outside this building, in this neighborhood, for years. I put illegal street art on the outside of this building. We’re part of the history.”

    After thirty years of creating street art, Shepard Fairey remains extremely passionate about his craft. He seeks to look at what’s going on in our society to create what isn’t being said and what needs to be done, with the hope of inspiring action and change.

  • 9.3.19

    Bose Collins Grows with Evolver

    For their annual personal project, creative design team Bose Collins created the mesmerizing short film, Evolver, taking viewers on a journey that explores the idea of transformation through a captivating visual medium. Produced entirely in-house, the project weaves together endeavors in live-action, graphics, and sound design.

    “We’ve always done personal work in between client work,” explained Nathan of Bose Collins. “We’ve used the time to try new images, new technology, avenues we haven’t explored before. Evolver is the latest in the long, passionate work that we’ve been leaving behind like bread crumbs over the year. We wanted to try prosthetics. At the same time, we met someone who is really good at organics and wanted to give her a tryout, and so we started doing these tests and that’s where Evolver was born. The opening shot of the girl in the natural form, we made the prosthetic for the opening eye and made the CG models based on the prosthetic.”

    The entire endeavor took about a year to complete. Most of the Bose Collin’s personal projects have an aspect that dances on the line between spirituality and nature, in the way the work emerges and reveals itself. In this project, the sequential element of the earth and metal transformation to energy was undeniable. One of the most difficult tasks for the team was choosing the right name for the project. “We couldn’t think of a name for ages. However, once we got to watch the final cuts, we realized we had something quite special that we were really proud of it. We knew the name had to be epic, so Evolver was just the perfect fit.”

    “It was a real collaborative team effort. There are certain programs for certain things, hard objects or soft objects. This project is a mixture of them all. Some of the details were even shot in-camera. The eyes and face close-ups, particularly, were much more analog and organic. We’ve been enjoying hybrid work of blurring the line between CG and live-action. We’ve tried to maintain ‘if it can be shot with a camera, it should be shot’.” 

    “The first stage was the most fun for us, the deconstruction moments of the first stage where the spheres are coming out. Just designing that first stage to match the prosthetic was fun for us. For that first stage, we focused on the organic, primeval form that reveals itself and then transforms into pure energy at the end. The fun part is when we can play with things, to see what sticks. Things you thought might be a good idea, are tried and they’re actually not so great. Or happy accidents. You make the thing you like, you show it, and then people come to you for it.”

    If you build it, they will come.

  • 9.1.19

    Anna Pogossova Creates Natural Beauty For Sheridan

    In a stunning campaign for The Sheridan Recycling Program, photographer Anna Pogossova created natural beauty in camera as she worked with the team to capture the key imagery for the project.

    The ‘Make Tomorrow Beautiful’ campaign highlights Sheridan’s recycling program, which enforces the brand’s commitment to reducing environmental impact and focuses on taking accountability in production processes. Anna worked closely with production designer Silvanna Azzi Heras to recreate and capture natural landscapes and moments in nature created entirely of Sheridan product. The result is a moving series of images made entirely in-camera that transport viewers to a birds-eye view overlooking the 'natural beauty'.

    Anna worked with The Glue Society to produce an evocative motion spot to accompany the stills that take viewers on a journey that casts a striking resemblance to the natural beauty of the landscapes that inspired the piece.

  • 8.28.19

    Brook Pifer Gears Up for Class with Levi's

    In her latest campaign with Levi's, photographer Brook Pifer captures the excitement of Fall in a series of images that show off the best fits of the season. No matter the equipment required, Brook doesn't show up to set without her film camera. Brook created GIFs using the striking portraits and inspiring group shots she directed.

    “What makes a really special GIF is when you get that added third dimension. It’s very much about thinking less like a photographer and more like a cinematographer,” explained Brook. “Anytime where there’s an action moment that didn't line up against a wall, I know I can create something special. I like to look for when I can see that depth between the camera, the subject, and the background. There is a bit of a technicality to make it look the way it does, it can’t look flat and also have that dimension. It has to have the room for movement.”

    “On set, it’s work but it’s a fun environment. I like to play music on and off set. Once they’re in front of me while I’m rocking and rolling, we can crank the music up and I can be vocal with direction but if I see something serendipitously happening, I let it happen. I give the subjects the time to be creative and have that moment to breathe because that's when you get those special in-between moments. On set it is work, but you’ll see people waiting to be brought to frame who were having fun off set and now they’re jumping onto set and keeping the fun flowing.”

    For this project with Levi’s, Brook captured the fresh-faced cast in a suburban neighborhood in California. The team worked with locals to include the classic white Jeep parked outside into their set, which became one of the iconic backdrops in the shoot. The shoot focused on a pattern of neutral backdrops to draw into the energy of the choreography of the photography, whether it was a group shot or portrait, to make the subject pop.

    “We were drawn to backdrops with light or even some texture to tie in that story so it looked consistent and very high end. We wanted it to feel back to school. That’s what you would do with your friends. You would grab an ice cream after school hanging out. We’re listening to music and now we’re dancing and hugging and creating a human pile up! That’s how I see the stories we create. I think it creates a more honest narrative,” explained Brook. “Something that was really great about the casting for this project was the focus on an approachable, aspirational, relatable aesthetic. It was incredible, the team was so great to work with. They loved what I’ve worked on in the past and trusted my vision, knowing that we can adjust if we needed to. They're kind of a dream client, to be honest. It’s a huge blessing to get that as an artist.”

  • 8.21.19

    New Muralist Chris Wyrick Hits Home with Lenny Kravitz

    In a mural collaboration with Lenny Kravitz that was featured in Architectural Digest, the latest addition to the B&A roster, muralist Chris Wyrick, headed to Lenny Kravitz's home to create a space that truly honors the artist.

    From a young age, Chris Wyrick was immersed in a world of creativity. Having his father working as a museum director, Chris was brought up in a world that was filled with paintings, sculptures, and art. “I’m really interested in transforming space. I spend a lot of time outdoors, my love of surfing and things that take place in the outside world come into my work, and I’m really excited about using natural forms, exploring them in scale to change the perspective of them and people’s experience with them. Ultimately I’m like a little kid in a lot of my beliefs, I believe in heroes. I’m really obsessed with mystery and magic so I’m trying to bring more of that into the world.”

    For their first collaboration, Chris arrived at Lenny’s home in Brazil and didn’t leave for the next 30 days. “It all started when the head of his design firm, Kirsten Mattila, was doing some work in LA, saw my murals, and asked me to come down to Lenny’s ranch in Brazil to paint the guest house. I worked with her to develop a palm themed pattern that had a camouflage feel to it. We went back and forth for quite a long time working on the palette and scale of the mural. When we got to a good place, they flew me down to Brazil and I got there just enough ahead of Lenny to do some tests on the wall to show him the scale of what we were thinking. It’s funny, I was supposed to go down there for ten days and even though the guest house was to be finished in that time, it was gonna be a stretch because it’s a really large interior. But when I landed they said, “you know Lenny saw some other things that you’ve done and he’s interested in you looking at his master bedroom suite and the media room in the house, and the project just grew from there.”

    “I really first got started on the project one night. Lenny is a total night owl and he’s obsessive about spaces and interiors. He just gets into this sort of amazing manic place. It was about 11:00 at night and I was working in the guest house and he came over to borrow a paintbrush. He had this vision in the main house which at the time was all just white walls and he envisioned these big triangles there. He wanted to reach a clean, simple, African-inspired aesthetic. We painted until 3 AM and had created a series of different triangles snaking their way through the main hallway all through the house. It was an amazing experience.”

    “There were so many influences and inspirations that he wanted to reference. In the bedroom, he wanted to stick with the natural theme but at the same time wanted a sequence and some of that grit, Andy Warhol-esque. He was very clear, he wanted a very masculine but delicate piece and it was my job to balance all these different things he was throwing at me. He had this incredibly beautiful vintage bed with a ray of warm pink to yellow to orange to brown colors that felt very 70s. The first iteration we tried the palms using the palette of his bed. I painted for about two days and he came in and he kept looking at it on and off and finally, he posed the question ‘Is this working?’,” explained Chris. “The next morning, there were some local painters that he had working on the house and they came in so quickly and painted over everything. It kind of took me back a little bit how fast it was removed. As soon as he realized it wasn’t working, it was just gone. And we immediately started again the following day. Collaborating is at the core of my work, but it’s usually on the front-end, talking about design, so to have this moment where we really connected in that place, over that space, was incredible.”

    Alongside these unexpected magic moments, creating with Lenny Kravitz meant one thing for sure: they were listening to music throughout the process. “We listened to a lot of things, but mostly jazz. Lenny had a connection to Miles Davis when he was young, he got to meet Miles and see him perform. It was a really powerful influence on him. I think jazz is a way, way bigger influence on his music than a lot of people would realize. We both share a huge love of early fusion jazz from the 60s and 70s, the stuff that Miles was doing. If we weren’t listening to jazz, we were listening to Led Zeppelin, the Stones, a lot of heavy early rock.”

    Where other projects have also had Chris on site for a month or longer, not all experiences have been as artistically immersive with other creatives, as this one. As if Chris’s experience at the Kravitz home wasn’t already a whirlwind experience, Lenny opened his home to his entire band to prepare for their soon-departing world tour. “I think one of the reasons that this project worked the way it did was because Lenny is such a real person, he’s completely authentic, it’s not a big show. He loves being around people and working with people. He creates a family situation, so in Brazil, we all ate lunch and dinner together, every day, around a big table. He had one of the heads of Kravitz Design there with me, and there was a rotating group of creatives. He invited friends of his like Rodney Burns of Church Boutique, LA and an artist named Noah Becker, there was a painter that lives in Berlin and he and his girlfriend came and painted on-site as well, and his biographer David Ritz came from LA. He had a couple of friends come to help with the Architectural Digest shoot, so it was a very interesting group of people. It really was this bonding moment where we all got to know each other in the creative process, and actually create.”

    This was one of four collaborations for Chris with Lenny Kravitz, and he hopes it won’t be the last.

  • 8.18.19

    Joe Pugliese's First Collaboration With HBO

    In his first collaboration with HBO, photographer Joe Pugliese captured the key art for the hit television drama, Succession. 

    “HBO wanted the tension that would exist in a family. It’s something that we can all relate to: family tension, awkwardness, being at a table you don’t want to be at. Everything was made to feel intense. We had multiple concepts to shoot, and only one that made the cut. We had another entire dining room concept. A lot of what we do on shoots like this is to shoot a lot of concepts on set that day and then choose the final. We had one whole day to prelight, and then a whole day to shoot.”

    The family portrait captured by Joe shows the cast of the television show at the dinner table, during an intense moment of pause. Not only were all 7 actors on set for the shoot, but they also came in character, ready to act.

    “We built the set from scratch and shot it on the Highline stages. I worked with a set designer, an LA-based partner of mine. HBO was supportive of me having my team there. We had stand-ins, so we were able to experiment with compositions and positioning of all the other characters so that we had a real plan of attack with the actors. It was very set specific, so I didn’t want to skimp on that department, and I didn’t want it to feel like it was lit for a photograph,” explained the photographer. 

    As a television show progresses, season after season, the concepts surrounding the promotional campaigns can become more subtle. Regular viewers have an idea of what’s going on in the plot, and potential viewers are more savvy and curious about what the show is about. For this Season 2 shoot, the audience had already been acquainted with the cast in the first season. “We wanted to get into the character’s minds, and since HBO felt that the characters were now introduced to the audience, we didn’t have to reintroduce them the way they did for season 1. So it made me want to light it extremely cinematically, in the way that in film and cinematography you never really know what the lighting source is. You are hopefully believing that that’s the way the dining room looks. Using a globe like or a chandelier, using a big soft light that surrounds them which is what the walls would do. Having the light coming off the marble table. These little lighting cues that made it pretty sharp and believable as a lighting idea.”

    In a shoot with multiple concepts, it’s unlikely that the result is a perfect match to the “All the key art was the most in-camera campaign I’ve ever done. The RAW file looks almost exactly like the poster which is very, very rare. What we were shooting on the day was exactly how you see it, all the way down to everything on the dining table and the lights on the wall, the fireplace, where everyone is sitting. It was pretty technically challenging but we really had time to finesse it and I think it shows in the final that it’s photographic. There were no surprises,” said Joe. “I was really happy with how it all turned out. For me, it’s always fun when you see the cast interact in ways that are out of what you’re familiar with. In this show, they absolutely hate each other but on set, they’re palling around and joking and being the best of friends. They’re their own separate family.”


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