• 4.17.14   Liam Dunn's Latest Beauty Look: One-Part Jet Set, One-Part Tropical Splendor

    Liam Dunn designed the perfect beauty look – one-part jet set, one-part tropical splendor – for Fantastics magazine's story, "Do You Know the Way to St Tropez?" Photographer Gail Hadani remarked: "The fashion for the shoot required hair and makeup that could complement the latest trends in shape and color. Liam's hair and makeup greatly enhanced each [ensemble] to make beautiful images."Dunn infused the idea of decadence in the south of France with beauty codes from the disco era. "I wanted the hair to be playful and not too stiff, nor with any hard lines to it," he said. "The bob length was already fresh, but I needed to add volume." He first scrunched the hair with Oribe Curl Shaping Mousse, then went through it with three curling irons. "For the bottom section of the hair, I used a very small curling iron – as small as a pencil – which gave the hair a ton of volume." Brushing out the curls with a Mason Pearson brush left locks fuller. "I played with the hair throughout the shoot using Oribe Dry Texturizing Spray, so it wouldn't read as stiff," Dunn noted. "For this story, I thought the hair needed to be soft and touchable." For the makeup, Dunn concentrated on the model's eyes and creating a rounder (instead of almond) shape, so they would appear open and innocent. "I applied fake eyelashes and used the longest lashes on the middle of the eyelid, forming an ellipse," he explained. "I put eye shadow [Dior 5-Couleur Eyeshadow in Petal Shine 809] on the top of the eye, with minimal definition underneath." He also used a bit of glitter to reflect light in a softer way. Finally, Dunn applied Diorskin Nude BB Creme, Diorskin Rosy Glow in Petal to cheeks, the brand's Flamenco Red to lips, and Aventure to nails. "The lip and nail were quite glamorous," Dunn shared. Credits:Photographer: Gail Hadani at Maxine Tall ManagementStylist: Ashley Falcon at Creative ArtistsModel: Lucy at Muse
  • 4.22.14   AdoptUSKids Ads Showcase Bigshot Toyworks' CG Trophies

    Bigshot Toyworks created a set of lively, computer-generated statues for AdoptUSKids' "You Don't Have to Be Perfect to Be a Perfect Parent" campaign. "Partnering with Klim [Kozinevich, the creative lead at Bigshot] was an awesome experience," said kbs+ copywriter Ben Cascella and art director Nigel Gross. "He created these incredibly realistic trophies and gave them a level of humor and character that completely blew us away – and he was extremely easy to work with." Klim and the Bigshot team received a straightforward brief that included a list of poses for the imperfect-perfect parents, like a father recoiling from a blazing barbecue and a couple holding a huge map (and looking in different directions). "Our first steps were to mock up the basic human forms for each in ZBrush," he explained. "We showed a few previews to the clients, they made some notes, and then we did a second pass. Once the poses were approved, we finalized the details, developed the bases, and rendered them in VRay to become gold trophies." He continued: "It was a challenge to maintain the figures' expressions while using a single, reflective color. We used a lot of VRay and Photoshop tricks."Bigshot Toyworks also took into account the ads' lighting. "We all worked together on figuring out where the light source would come from, so we were able to submit the trophies with the correct shadow information, and they could be dropped into the photos with minimal retouching," Klim noted. "To see it entirely composited was amazing; when you work on isolated assets, you only see a fraction of the picture ... the whole thing really came together and it was surprisingly nice."
  • 4.21.14   Stephen Wilkes Photographs the New Manhattan Skyline for Vanity Fair

    Stephen Wilkes documented the dramatically changing Midtown skyline for Vanity Fair's May article "Too Rich, Too Thin, Too Tall?""When I work for a magazine, I first read the story and gain insight from the writer in order to understand what lies at the core of the article," the photographer said of his process. "I study the text and ask myself on shoot days, 'Is this going to be an opening picture or is this going to be a closer?' and then I determine how the remaining shots fit in. I think when a writer tackles a topic and a photographer visualizes the words, it's a very, very powerful combination."For Paul Goldberger's piece, which "looks at the construction, architecture, and marketing of ... super-luxury aeries, gauging their effect on the city's future," Wilkes rented a helicopter to capture the epic vantage points of these new skyscrapers. "I intentionally went up while there was snow on the ground for the aerial view of One57, because I wanted the contrast of the silvery buildings set against the white in Central Park," he explained. To portray the impact at the street level, Wilkes shot the construction site of the forthcoming Extell tower, on 57th Street between Broadway and Seventh Avenue, which will be cantilevered over the Art Students League next door. "I rented a scissor lift so I could look into the site, and the resulting picture was striking because it provides a context for how these buildings emerge, how it all begins," he remarked. Without a doubt, he achieved his goal of making a picture (or several) that shows the shifting cityscape and how it, in turn, shifts New Yorkers' perceptions of the city.
  • 4.16.14   Target's Social Media and Justin Hollar Welcome Spring

    Target's social media is spring-ready thanks to Justin Hollar, who recently photographed the store's newest fashions at ROOT Studios in Brooklyn. Hollar brought his "award-winning rap and R&B playlists" to the music-inspired shoot and "kept the lighting and direction in the same vein," he said. "For instance, one of the frames was inspired by Lana Del Rey, so I used softer and prettier lighting than I did for the frame inspired by Pharrell, which was sharper." Staging a variety of setups wasn't without its challenges, however: "There were a lot of hair, makeup, and scenery changes that had to be accounted for, time-wise." The photographer's images will be posted to Target's Facebook page, Instagram, Twitter, and Pinterest throughout the coming weeks.
  • 4.17.14   New Season of Nat Geo Channel's 'Life Below Zero' Premieres With Joey L. Promos

    Joey L. captured the key art for season two of "Life Below Zero," a National Geographic Channel series that explores what it takes to live off-grid in subzero conditions. "To make a long story short, I had photographed some portraits in an indoor blizzard setting and shared them online," he explained on his blog. "The images were then shared around quite heavily … and got a lot of traction. L.A.-based design company Cold Open was in the process of pitching ideas to National Geographic Channel, and were chosen to lead the design and creative for the new campaign." Coincidentally, the group brought along Joey L.'s blizzard images as reference imagery, but wasn't aware that the photographer had worked with the channel before. Nat Geo Channel creative director Andy Baker and design director Carla Daeninckx mentioned it to Cold Open, which would ultimately pick the photographer, and everything fell into place in Joey L.'s favor. He flew to Anchorage to shoot Sue Aikens, one of the program's subjects and the warden of Kavik River Camp, miles north of the Arctic Circle (and 500 miles from the nearest city and 80 miles from the closest road). "Although I think Sue is actually quite beautiful and charming in real life, the image of her chosen for the main key art isn't exactly flattering, but it is honest in representing exactly what the show is," Joey L. noted. "Sue didn't mind this either, and would rather be depicted authentically as someone facing a harsh climate rather than 'a girly-girl with a pink rifle,' as she put it." He added that aside from technical knowledge and artistry, portrait photographers have to develop social observational skills: "Sue is a lovable person and easygoing, but this is still the first time she's done a photo shoot like this. She hadn't met us previously ... we listened to what she had to say and made her part of the creative process. We did our research by watching episodes and reading material about her life, we took recommendations on what she'd actually wear and even the way she'd hold certain props or objects." Joey L. also paid particular attention to creating the faux precipitation. "When it's extremely cold, snow is not puffy and large," he remarked. "Beyond making the light more dramatic and less feathered and soft, something as simple as reducing the size and speed of the snowflakes themselves could even change the feeling of the photograph." The second season of "Life Below Zero" premieres Thursday, April 17 at 9 p.m. on the Nat Geo Channel.
  • 4.15.14   Watch 45 Bumpers for French TV Channel TF1 by Roof Studio

    Roof Studio's latest project was a "pretty massive undertaking," to borrow executive producer and co-founder Crystal Campbell's words: 45 eight-second-long films for French television channel TF1. "The brief was fairly open with a good amount of creative flexibility and that presented an exciting opportunity to us," Campbell explained.Campbell's team and Paris-based motion design company Naked partnered to create the idents. "We took the designs, modeled, rigged, animated, rendered, and composited the bumpers," she said, describing a pipeline Roof developed through Podio.com and Amazon, which enabled the studio to work with talent across the globe in real time. "It was important for us to be extremely organized and create a solid system, both internally and externally," Campbell noted. "This kept everyone connected – for instance, if a rigger working offsite needed revisions, he or she could chat directly with the model artist via Podio." Because each bumper was made from scratch, each became its own "little world with its [own] production process."To put out such a large amount of excellent content, render quality was paramount. "The team worked hard to add all of the texture details and we challenged ourselves to bring this level of render quality to all 45 films," Campbell remarked. "Typically, because of budget and time constraints, broadcast corporations rarely ask for this type of detailed CG for idents." All told, the project took five months and Roof is thrilled with the outcome.
  • 4.18.14   'BYRONESQUE OFFLINE,' Featuring Craig Ward Mural, Nominated for CLIO Image Award

    "BYRONESQUE OFFLINE," a shoppable retrospective that feted the one-year anniversary of vintage e-commerce and editorial site Byronesque.com – and featured a 700-square-foot mural by B&A's Craig Ward – is nominated for a CLIO Image Award (Engagement/Experiential).Ward received a copy of Jens Peter Jacobsen's poem "Company of Melancholiacs" from Byronesque.com CEO and editor-in-chief Gill Linton and creative director Justin Westover. The text is about "a secret confraternity ... who by natural constitution have been given a different nature and disposition than the others ... that wish and demand more ... than that of the common herd." And it "sums up why we started Byronesque – because pandering to 'the common herd' has [gotten] out of control," Linton explained. "We wanted to create something more provocative, more polarizing." The artist responded to the brief with an enormous mural using layered wheat-pasted posters installed in Manhattan's former James A. Farley Post Office for three days last December. "It dealt with the idea of emotional layers and the masks we wear from day to day – the image we project ... versus what lies beneath," Ward said. "Icons of masks and fragility were juxtaposed with images of strength and sat alongside bold and raw typographic pieces. Through layering and tearing these posters, we revealed other messages, with each line trying to cover up, or being revealed by, the next."Westover wanted to partner with Ward for some time and "this seemed the the right project to approach him with ... Craig totally grasped the melancholy spirit of the poem, and the décollage technique that he used really accentuated the fragility in the text and made it feel like an integral part of the derelict space," the creative director remarked. "It ended up being much larger than we originally discussed – we're very grateful he didn't get put off by the vastness of the space ... there's no doubt that the finished mural perfectly complemented the rest of the installation in the vault and was definitely one of the most talked about parts of the whole project."Regarding the CLIO Image Award, "We're definitely the underdogs in the game, and what we did was very underground by comparison, so we were surprised when we got the call," Linton noted, "but it is testimony to everyone who helped make it happen. We were blown away by how people threw themselves into making it better than we could ever have imagined, including Craig and his team." Ward added: "Shiny things are always good! Honestly, I'm not huge on awards, but it's great when your work is acknowledged by your peers." The winners will be announced May 7.
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