• 11.25.14   James Joyce and Absolut Make Your Holidays Pop

    Holiday iconography comes from generations past. Gilded wooden carvings, illuminated manuscripts, and poems from the 19th century. Heavy garlands span the space between thick stockings and gold baubles. It is ornate and ornamental, and a lot of effort and expense. It’s easy to wonder: Why do we bother? Why don’t we clean it up a little? Enter: James Joyce for Absolut Vodka. Pulling inspiration from Andy Warhol and the Pop Art movement he helped to spearhead, Absolut has created a campaign “Holidays Pop” as a part of their “Transform Today” initiative. To celebrate Absolut's new collaboration with Warhol, they tapped James Joyce to take advantage of his clean, vector aesthetic to help make their new vision of the holidays sing. Since the launch on November 2, James’ work has been featured on Absolut’s social media, most notably their Instagram. The multimedia options that Instagram offers makes for the perfect environment to show off a handful of James’ abilities. From still compositions that directly reference the clean layouts of the Pop movement, to .gifs with drink recipes, they’re creating a full world of Pop Holidays. But it’s more than vodka drinks for this pairing; it’s really a fully integrated and immersive holiday experience. Between cocktail recipes and artful bottles, they’ve put together step by step instructions on how to tie a bow tie, and even an inspirational quote from Warhol himself encouraging your best holiday wear. Don’t forget that for how much we eat and drink over these last few weeks of the year, they’re a celebration of those we love and reflection on the ending year. The goal is to have fun and find some pieces of joy before moving on to a new beginning. To catch a piece of the action, check out Absolut on Twitter and Instagram.
  • 11.26.14   Brian Doben Puts Everything in Context

    We all know Brian Doben from his environmental portraits. He has pursued his series "At Work" for years, with forays into celebrity features, and the expansion of his passion project into large editorials. Environmental work provides the context that Brian uses for his work, and adds a baseline for the stories that Brian tells in his photography. Portraits come with a built in story, the subject comes fully packaged with a history and a point of view. But when Brian shoots fashion he uses the tools earned from this work. Those stories are how one captures a captivating photo. As a photographer he has to do that every time he picks up his camera. He doesn’t have the option of failing to take an exquisite photo. “I have to make a beautiful image every time,” Brian explains. “No matter what, I have to make it stunning. And there’s no excuses. And that’s fine. That’s the position I’ve taken. My job is to never to find excuses. There are no problems.” So Brian finds solutions. And he does that by finding stories. When it comes to models in furs, like his series comissioned by W Magazine, it’s hard to imagine how one injects a story into it. Especially to the layman. But Brian explains it’s a little more subtle than “Once upon a time…” Instead, Brian is fitting his work into a larger context by understanding the shared history of aesthetic, and placing his shoot among visual references and familiar looks. “I have visual images that come to mind that are off of my own internal Rolodex,” he says. “But I’m referencing imagery that is outside furs and fashion.” For this shoot he looked to photographers like Paul Strand who is known for his shadows and implied motion, as well as Edward Weston who portrays the vulnerable and powerful. Brian takes the lessons learned from these titans of photography and shares them with us, applicable in any situation. The trick to fashion work is to treat it the same as any other shoot. Even though these images are appearing in W, Harper's Bazaar, Vogue, Vanity Fair, Elle, and Town& Country, and bring attention to designers like Michael Kors, Oscar de la Renta, Bisang, Brandon Son, and Maximilian, the audience is still owed the same level of intrigue. “You have to really reference and have an emotional connection to the work,” Brian says. “So what I do it is find the environment in the image. Not in the literal sense, but in what they’re about… I use the structure of the clothing and the way the hair is to create a graphic image. That could be in body positioning, lighting, or coloring.” Brian’s known for his environmental work, but the trick is that every project is environmental work. “Environment” is merely another word for “context,” and Brian never shoots without providing the context his audience needs.
  • 11.25.14   Titilayo Bankole and Amy Taylor Shake It Up

    As the days turn colder sometimes the greatest way to have a quick escape is in a shaker with some ice. A beautiful cocktail can be a mini vacation. Bright colors and tropical inspirations are transporting, and Amy Taylor and Titilayo Bankole joined Refinery29 to bring that inspiration home. Using substantial accessories, Refinery29’s story “Cocktails” shows off the bold wearability of these dramatic rings. The pieces are paired only by the bold cocktails created by Amy Taylor to help bring the story to life. Bright and soft backgrounds play off the colors in the glass, creating the perfect environment for a visual baseline. The color play continues onto the manicures by Titilayo Bankole, whose lacquers use textures and tone to punch it up to another layer. Together Amy and Titilayo have created an immersive atmosphere, offering a visual vacation, and a new look at pieces we might otherwise miss.
  • 11.20.14   Tom Corbett's Opening Night

    Gowns are glamour. They are grace and beauty in tangible form, draped on the wearer, magnifying the splendor to magnificence. They are a heightened kind of formalwear that carry gravity wherever they go, no matter the context. When Tom Corbett was shooting a huge array of formal gowns for Mall at Millenia Magazine, they decided to put the gowns in their natural, dramatic environment. They chose Alvin Ailey Studio in New York City as the setting for the project, utilizing the theatricality of the performance spaces and rehearsal rooms. “It’s an amazing space, they were very kind to give it to us,” Tom explains. “We shot in the auditorium, in the theatre, all over the building actually.” The use of that space afforded them details that would be impossible anywhere else. Most notably: the lighting. Alvin Ailey is already set up to light dance, which is a form unique to that kind of theatre. Where plays are lit from above, dance is lit also from the sides, allowing for dimension to play off the lines of the human body; perfect for a high fashion shoot. As much as Tom is known for high bright, high energy shoots, the other side of him has a passion for dramatic lighting. “Lighting was a big part of this,” Tom says. “I love lighting these kind of big stories, these big buildings.” They shot the whole story in only two days, and with all those moving pieces it meant a lot of hands on deck to ensure everything happened flawlessly. “It takes time to light these shots, and we’re using smoke, lighting whole rooms with big theatricals lights,” Tom explains. “It’s not something that’s done quickly. It’s a lot of work for the guys and they did an amazing job.” Everyone chipped in. “There’s a real team effort with everybody. The whole thing. Everybody pulled together and everyone loved what we were doing. That kind of energy really helps on the day.” Tom’s cast of crew all pulled together for the shoot, including fellow B&A artist Titilayo Bankole who did the manicures, but there was one final piece: the natural energy of their setting. Being in a dance theatre the whole day meant that the whole shoot was suffused with creative energy from the start. Everywhere else in the building, there were dancers studying their craft, exploring, expressing, and delving into the creative space of artistry. For Tom, it was impossible to resist. “It was lovely to take some of the energy from such a creative environment,” he says. "It’s always inspiring to be around creative people, there’s an energy there.” After a long two days, sometimes it’s not easy to look back and see the whole project in the context that it was, but for Tom this shoot was a complete joy. He shoots for Millenia every year and loves it more and more. “Every time I shoot for them I get something beautiful and it gets better and better, and this is the best one yet. So I was very excited,” Tom says. “It was a big two days, but it was a real labor of love.” Creative director Laurie BrookinsFashion Stylist: Mindy SaadMakeup: Keiko from Bryan BantryHair: Bradley Irion from ABTPManicurist: Titilayo Bankole from Bernstein & Andriulli
  • 11.21.14   Shotopop Gets Creative Quickly for Samsung

    Advertising, as a form, is always evolving. Audiences are captive, but don’t want to be preached to. They want to be engaged. It’s not enough to list features anymore, consumers are looking to connect with products the way they are able to connect with anyone online, or the world around them. Devices should fit seamlessly into their lives and enable them to reach their goals, not represent another pile of metal and electricity they’re liable for. When Shotopop took on Samsung’s latest spot, “Ready, Set,” for The Note, they were tasked with finding the inherent contrast that exists within portable technology. The new Note, a large touch screen phone, has infinite applications, and everyone uses it in a different way. For the sake of this project, they showed the happy contrast between two worlds, and how those worlds happily coexist. The advertisement shows off how The Note can be used in a host of situations to help users be creative, be engaging, and be productive. It uses the age old catalyst, “Ready, Set, Go!” as a stepping stone into richer, more nuanced endeavors,. The animation and design house took on the task of designing the typography for the spot, using two very different aesthetics. First, for the “Ready, Set” designs, they went with something graphic and strong. “Samsung wanted to keep the whole creative thing going, but also it’s business and serious, so that was the more corporate and techy clean and modern,” says Casper Franken, Producer at Shotopop. “For the other words the focus was to be as creative as possible and just do something wild.” It’s exactly what it sounds like. Shotopop was given free range to go as big as they could. The animators quickly put together some concepts (the timeline was condensed), and as soon as the basic images were approved, Shotopop got animating. What you see is the fruits on that initial exploration. The focus of this campaign isn’t just to sell the Note, but to show potential buyers that they can use the Note to operate in new, easy ways. With encouragement built into the spot like “Win, Write, Go Big, Create,” the message is clear: be active. This advice was not lost on the folks at Shotopop. In fact, because they were working so hard and quickly on the project, they didn’t have a chance to do anything else. “It was reasonably easy because we were given an almost complete freedom to do anything that relates to the word,” Casper says with a laugh. “We didn’t have time to fail or think about it.” In fact, right before the spots were set to be completed there was a creative change, and Shotopop made some very quick seamless adjustments, but we bet you can't tell.  
  • 11.24.14   Marc Hom Shows the Other Side of Benedict Cumberbatch

    Despite a litany of severely serious roles, the Benedict Cumberbatch that fans have gotten to know is deeply charming and playful. His energy is as high as his craft and he’s as quick to a laugh as he is to a genuine moment. But his latest film, The Imitation Game, is nothing to laugh at. Taking on the role of Alan Turing, a man who changed the course of World War II and was paid for his achievements with being branded a criminal (for unrelated reasons), is a somber responsibility and Benedict’s skills match the seriousness of the task. Elle UK channeled that solemnity for their recent cover featuring the star, and they picked Marc Hom to show off that side of this charmer. Benedict’s fame is relatively new, but he’s someone Marc has been watching. A viewer of BBC’s Sherlock starring Cumberbatch, Marc has been taken by his unique look. “In one way he’s old fashion, Hitchcock-like,” he says. “And in another way he’s just a mysterious person, he has an elegance but he’s intriguing. There’s definitely a different layer than the rest of the pack out there.” As a photographer, Marc interacts with famous people almost every day. If Marc is not shooting a cover, he’s shooting features on upcoming blockbusters or pieces about our favorite stars. His challenge is to connect with these celebrities and pull something honest out of them that we don't normally get to see. With Cumberbatch, it wasn’t a challenge. Marc was immediately struck by Cumberbatch’s intelligence. “What was so refreshing is that I was working with a person who is extremely well read,” Marc says. “Someone who has training going back to what actors used to have in the British theatrical tradition. There’s a maturity about him.” This is someone whose focus has been the work he’s doing, and doing the work well. It’s not about fame, it’s not about money, it’s about the craft and doing good work. So Marc and Cumberbatch did good work together. “It’s nice to work with people who have the openness to be a good listener and play ball with the ideas,” Marc says. “He’s very comfortable in his own skin. He seems like he’s in a very good spot at the moment.” That comfort allows for a totally different quality in the shoot. Marc explains: “There’s a certain kind of effortlessness about it. It’s organic.” As viewers, we end up seeing a version of Cumberbatch that is honest, unfiltered, and candid. With someone like Cumberbatch, who has quickly amassed an enviable career in a lengthy list of smash hits, it’s easy to be pigeonholed into a shallow and singular identity. But the truth is far more appealing.
  • 11.19.14   Amy Taylor and Gregg Hubbard Layer it On

    It’s getting cold and that means we are solidly in layering season. Layering is about being dynamic and flexible, evolving with the weather and the changing temperatures, while keeping a look fresh and comfortable. Refinery29, who always has their pulse on current trends and needs, is acutely aware of how challenging layering can be. Layering means more articles of clothes need to fit squarely into one styled outfit. It must be a more forgiving look, while making room for diversity and shifts throughout the day as layers are added and taken away. And don’t forget the breadth makes room for plenty of self expression. What better way to express the fashion of layers than to set their shoot in an Amy Taylor layered utopia? Using huge sheets of paper, Amy constructed environments reflecting the layers in the clothes on the set, bringing that energy across the entire image. Her designs set the tone, creating a world with total context for the fashion. Gregg Hubbard was also on hand, completing the layered extravaganza. Adding a softness of color to blend beautifully with the surroundings. It’s a full three dimensional, immersive look at this theme. These two artists provided the thematic space to tell Refinery29’s stories. It’s seamless, almost invisible work, to ensure the story is told well.
B&A Instafeed. Images From Our Artists & Community
  • I may not be in the Macy
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  • This is one of my favorite @trustocorp pieces ever... The original is hanging in the #SOUTHPARK offices... #Kaiju #Cartmen
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  • Another @trustocorp throw back - this piece was the first time I incorporated the currency inspired line art I use so often these days... 2011?
    likes 378 // comments 3
  • Who
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  • Today only, we are offering 🔥25% off photo cards!🔥 Use these for your seasonal holiday greeting cards to your friends and family. Photo cards are printed on 100% recycled paper, so you can rest assured; you are being kind to the earth! ️ ❤️Use code: CARDSINK361❤️ at checkout. 
Order yours by clicking on the link in our profile or visit 👉👉www.ink361.com/buy
    likes 402 // comments 3
  • The key to killer Thanksgiving basting #thanksgiving #Carpinteria #cali #duckfat
    likes 74 // comments 7
  • Definitely seeing my new stuff in my old stuff - nice to look back! @trustocorp
    likes 721 // comments 15
  • Badass-thigh-high-boot-gift-to-self
    likes 13 // comments 1
  • Looking back this is a pretty cool transitional piece to the work I
    likes 1086 // comments 24
  • Detail of H. Thrice by #DozeGreen for his solo exhibition #OutOfKnowhere on view through December 20th at #JonathanLevineGallery @dozegreen #mixedmidiaoncanvas
    likes 648 // comments 12
  • Hello baby Jesus
    likes 115 // comments
  • Selection of homemade alcohol from restaurant Tischi Toschi. I don
    likes 33 // comments
  • (1/3) Magnified Plankton Looks Just Like Outer Space // Sitting in Marine Biology 101 during her first year at the University of South Carolina, Julia Bennett was peering through a microscope at a slide of squirming diatom plankton when wonder struck. “They look like something constructed for a science fiction movie,” said Bennett, now a senior. “We were making drawings and recording numbers and doing all this science stuff, and I couldn’t get over how perfect and symmetrical and intricate they are. I thought, ‘Why doesn’t everyone want to look at these?’” (📷 Julia Bennett)
    likes 508 // comments 7
  • (2/3) So began Bennett’s fascination with capturing the least charismatic—but most critical—of ocean creatures under a magnification 40-100 times their normal size. “If you change the angle of the light in the microscope, that does amazing things,” she said. “The live samples naturally have these incredible colors and layers.” (📷 Julia Bennett)
    likes 535 // comments 5
  • (3/3) For her series Into the Umbra, Bennett collected samples while studying abroad in Brisbane, Australia. She captured specimens with a lens specifically designed for microscopes, sometimes illuminating slides with LED lights from above. She was delighted to find that when photographed through a microscope, drops of seawater look like the outer reaches of the cosmos. To Bennett, it felt fitting that the building blocks of life on earth resembles the celestial. “More people have been to the moon than to the bottom of the ocean,” she said. “We’re concerned with these extraterrestrial frontiers, but we have this frontier right here on our planet that we are ignoring and destroying.” More at WIRED Raw File. (📷 Julia Bennett)
    likes 601 // comments 2
  • B&A Journal #6 out now.. #mstudioportraitseries #threelayersoflove #mstudio @bareps @mccalmanco @___m_a_r_s___
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  • Toward the end of our trip, we encountered the best of the best food. Ristorante Tischi Toschi hidden on a small alley in Taormina, winner of  gambero rosso for four consecutive years. Soooo good. We had a tasting menu, and here is the squid ink and tomato pasta. Everyone should come here!
    likes 47 // comments
  • Can you handle a little dragon?
#shanghai #china #k11shanghai #k11 #dragon #wildgirls #wildgirls #garybaseman #baseman #中国 #上海
    likes 298 // comments 3
  • @jakemivill 15 years later. Uppers are indestructible. On the second re sole.
    likes 69 // comments 10
  • Light on feathers from a duck hunt gift to @southernatlas in North Carolina. #mytinyatlas -remember to tell us where you are headed for the holidays in our giveaway image (wall hanging) before Friday! Safe travels to all those flying.
    likes 542 // comments 3
  • You can feel the air in @windypeakvintage
    likes 800 // comments 12
  • likes 94 // comments 4
  • Same but different
    likes 33 // comments 1
  • #berlin #illustration
    likes 27 // comments 3
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