• 7.31.14   Elisa Flowers Champions Inner Beauty for Elle Mexico

    For Elisa Flowers beauty is about the essence of the woman she's working with. “The skin and the inner beauty of the girl needs to shine through,” she explains, positioning herself as a champion of the natural look. She’s taken it as a mantle, a one-woman charge, to have her looks be as natural and effortless as possible. Even in the constructed, and complex looks of Louis Vuitton for Elle Mexico, everything is light. “I like women to look really modern and fresh, so that was my approach with the make up,” Elisa explains. She’s not marring the face, or trying to contour and change the shape of who she’s working with, “When I look at a model, I really look at the girl.” For Elisa, the model isn’t just there to be a hanger for the clothes, she wants to pull out what makes them unique, what makes them beautiful. It makes the whole shoot more accessible, which is why she’s such a champion for it. For this Elle Mexico shoot, they were constrained by the clothing. Louis Vuitton designs their looks very specifically, so Elle had precise directions on how they were to be styled. Everything from the ensembles to the accessories was predetermined. That’s why it was so important for Elisa to lend her hand, to bring a unique take on an already established line. “A softer more modern approach is classic, and it’s beautiful,” says Elisa, who brought that softness to meet the elegance of the apparel. At the end of the day for Elisa, “I like seeing who the woman really is,” which is why Yulia Terenti is so noticeable from page to page to page. The clothes are important, the clothes are what she's wearing, but it's the style of Yulia that shows through. And that style was enhanced by Elisa's touch. CHANEL cosmetics  Used on eyes: ILLUSION D'OMBRE (INITIATION) and OMBRES MATELASSEES (CHARMING)Used on skin: POUDRE UNIVERSAELLE LIBRE (MOONLIGHT)
  • 7.31.14   Found Makes Magic for Nike's Flyknit in Berlin

    Creating an entirely new two-minute video to be projected on an unnamed obstructed building in the middle of Berlin in less than a month can present a few challenges. Not least of which would be that the client is Nike, one of the most discerning brands in the world. Agency onedotzero went to Found to execute the projection mapping before the site had even been chosen. They didn’t know what the building was going to be for quite a while. The entire schedule for the project was incredibly condensed: only four weeks from the beginning of the project to the hard due date. “The deadline was looming and immoveable because it was a live event,” Joe Binks, Producer at Found, explains. “In a way that probably helped us. Decisions had to be made towards the end.” For the whole first week, Found worked without knowing the site and instead dove into the intricacies of projection mapping: the process of projecting a detailed video onto a structure whose architecture informs and interacts with the images and motion. The tiny schedule meant the learning curve was steep, and they figured how to best execute the projection mapping very quickly. “That was quite tricky,” says Joe. After the first week they had all the information they needed (after they executed their “recce” (pronounced “RE-kky”), which is short for “reconnaissance”), and buckled down with the unveiling party sitting squarely on the calendar in front of them. “We wanted to focus on how we could tell the story in the most visual way,” Joe says, after they discovered the most efficient use of the technology. “Using clear, clean graphical lines, as well as typography, and representations of the shoe.”  One of the tidbits of information that the recce informed them of was that the building they were projecting onto, their screen, was not entirely visible from where the audience was going to be. That meant they had to shape their creative decisions around hot spots that everyone would be able to see, and prioritize visual information. All while telling the story of a relatively new athletic technology, and in under two minutes. “There was a lot of content to get across,” Joe says. Bernstein and Andriulli is thrilled to newly represent Found in the many disciplines that they've mastered and are exploring. Take a look at some of their other projection, including an unbelievable project using fully immersive projection mapping, Great Films Fill Rooms for PlayStation. For the McLaren P12, Found took light painting to a totally different level, using thousands of still images of a moving plasma television to simulate a digital wind tunnel, with breathtaking results. Found also filled China's Olympic Stadium, known as "The Birdcage," with 10,000 square meters of LED screens to construct complete enviroments on a massive scale.
  • 7.25.14   Sophie Haig Makes Less Mean More for Refinery29

    Any artist can add more. Layering paint and styles one on top of another until a shiny, crusted mask emerges, creating more distortion than representation. It takes a real artist to step out of the way and enhance what’s already there. Make up artist Sophie Haig’s latest shoot with Refinery29 was about staying fresh in the oppressive heat of Summer, and that means letting beauty shine through with as little work as possible. Sophie has an expert hand, and it takes that kind of knowledge to create such effortless looks, but we caught up with her for some insight. The shoot was profiling "12 Killer Outfits for Summer's Worst Days.” Those days filled with sticky humidity and are so hot it’s like a punch in the face. But, luckily for Sophie and the crew, they got to escape the city for a little adventure on the shoot. “There were no complaints about getting out of NYC and spending the day among beach goers at the beautiful beach and boardwalk!” she exclaims. Asbury Park, New Jersey acted as the backdrop for the free and easy shoot. Since the clothing was going to be light and airy, the make up had to reflect that feeling. In order to communicate that same feeling Sophie wanted, “to show natural skin, with hints of colors and pastels either on the eyes or lips.” This kind of work is Sophie’s specialty and she’s got a few tips for all of us. The heat in Summer can do a number on the skin, so Sophie started everything off with Avene Skin Recovery Cream for some hydration. She tells us that it “can be used on its own or mixed in with your foundation to create a more sheer coverage.” The foundation was applied as a combination of MAC Face and Body with Cinema Secret Ultimate Foundation palettes. She followed that up by contouring the face with Anastasia Contour Palette and Make Up For Ever Soft White/Gold pigment for highlights. The dewy, sun-kissed look on the cheeks is thanks to cream blushes from RMS beauty, Stila, and Make Up For Ever. Make Up For Ever was also featured prominently on the eyelids after curling the eyelashes so they looked bright and awake. OCC Lip Tars helped to bring color in for looks that worked for both day and night. Over all, the shoot was as fun as it looked, Sophie said. “It was a wonderful day, working with such a lovely team of people in such a new beautiful location.“
  • 7.29.14   Brian Doben's At Work Goes to the Ends of the Earth

    When Brian Doben started shooting portraits for At Work, it wasn’t to do anything else other than tell the stories of the people he met. He wasn’t trying to shoot a book, or make money off of it. It was just an expression of what brought him to photography in the first place: people. “I didn’t become a photographer for money, fame, or travel,” Brian explains. “I became a photographer to get out of my own life and start telling stories of others through portrait.” The At Work series is a direct line into what people do. Brian finds people who work in their passion, whose work is who they are, and gives them permission to reveal themselves and their work. He captures those moments and delivers them untouched. Rebecca Scholand is a weather observer on Mount Washington, who faces the wrath of nature on a daily basis. When Brian shot her he experienced the most severe weather he’s ever met, and he’s met a lot of nature. “I’ve been from Antarctica to the North Pole to Madagascar,” says Brian. But when he was outside on Mt Washington, shooting Rebecca at the height of winter and facing 95mph winds, it was a totally different story. “I’ve been quite a few places in my time… I’ve seen Mother Nature in her power. But that was pretty scary. I was very scared actually. Essentially scared.” Between the pelting snow and freezing temperature, his entire camera was encased in a shell of ice. But the camera kept clicking away, and he got some unreal images. “I have a photograph of her and she’s levitating off the ground. The wind had lifted her.” Larry Mongos, who owns D’Mongos Speakeasy in Detroit, lives on his own edge of the world. With being the proprietor of the popular late night spot means that Larry sees a lot of faces go through his doors, and he gets a lot of attention because of it. He’s done his fair share of interviews and photo shoots. He’s a seasoned pro. But Brian wanted to get through all that, and what he found was really surprising. When Larry and Brian sat down, Brian put down the camera and allowed the two of them to connect as people, instead of as a photographer and his subject. They talked about life, Detroit, and Larry’s childhood. Brian learned that Larry grew up really poor, in a neighborhood that was largely Jewish. At the time Larry was coming up, his life experience was being steeped in a community that had just survived The Holocaust. He was surrounded by survivors. He was so touched by the stories of these people that it helped him get through his own trials. “He had a really tough childhood. He had a really tough upbringing,” Brian says. “But the only thing that ever got him through it was seeing people who had survived something that he could never understand surviving.” Brian captured a moment during this sharing where he and Larry were able to find something to laugh about again.  After all, Brian explains, that’s what the At Work series is about. “It’s about really connecting with people and having a real understanding of each other.”
  • 7.28.14   Get a Taste of Dom Pérignon from Todd Selby's Signature Photography and Watercolors

    A cursory glance at Todd Selby’s book, Edible Selby, is almost overwhelming in its breadth of scope. Todd travelled all over the world taking pictures and putting his impressions down in watercolor. From Mission Chinese Food, to Noma, to Mast Brother’s Chocolate, Todd has taken a bite out of world cuisine. But, in the typical Selby fashion, Edible Selby offers a super accessible take on some of the most difficult reservations in the world. The average reader cannot travel to Denmark and pow-wow with René Redzepi over live shrimp in a brown butter emulsion, or flowers with a sea buckthorn vinaigrette. Todd’s experiential photography brings the viewer in on the pleasure of the moment, only lacking the ability to eat the beautifully composed dishes. It was only natural for Dom Pérignon to tap Todd to document their “Creative Combustion” Project built around Dom Pérignon Rosé Vintage 2003. The event was so private, but so expertly constructed, it needed a wider audience, so Todd was their guy. The Creative Combustion project took nine of the most celebrated international chefs and tasked them with building dishes inspired by Dom Pérignon Rosé Vintage 2003. What resulted were dishes that pushed the boundaries of innovation and creativity and Todd was on hand to bring us all along with him. He photographed the chefs through the entire process of considering their ingredients, preparing the dishes, to serving and enjoying their completed work. It was a comprehensive procedural look, but he also added something a little deeper. Documentary photographs can’t always bring a representation of a full experience. Documentation is limited by access, both physical and personal. But creative representations can give a fuller picture, and Todd Selby offered a whole other level of the experience with his watercolors. Providing clean portraits of each of the participating chefs, Todd represented them in a way that’s more accessible to those of us that didn’t have the pleasure of attending. Todd’s effortless style extended to ingredients and dishes, giving us a look at lobsters, rabbits, and oysters. He breaks the objects down like the chefs do, separating them in to the essential parts so we can consume them in the most pleasurable way. These pleasing consumables were such a triumph that Dom Pérignon even asked him to paint their label in his freehand style, bringing a personal flair to the representation of one of the most widely recognizable brands in the world. As Bernstein & Andriulli now represents Todd Selby for Illustration, we encourage you to check out his portfolio.
  • 7.30.14   Joe Pugliese's Billboard Covers Put Tom Petty, Mick Jagger, and Chadwick Boseman at Ease

    You are forgiven if you think that Joe Pugliese only shoots covers. Fresh off his last deluge of covers, Joe shot Tom Petty, Mick Jagger, and Chadwick Boseman for two consecutive issues of Billboard Magazine. It’s a lot of star power to pack into two weeks, but it’s even more unbelievable than that. When you shoot as many familiar faces as Joe does, you get used to protracted schedules. But for the Jagger/Boseman cover, it “was on newsstands four days later,” Joe tells us. That’s a quick turnaround.  But that doesn’t mean you can rush these guys. Just because Petty and Jagger have been world famous for decades doesn’t mean that they’re just going to sit there while a cover photograph is shot. They’re still people. As we already know, Joe always approaches his subjects as regular people, but when it’s someone like Tom Petty or Mick Jagger, it’s hard to ignore their fame. When they walk in the room, it’s a different story. “As soon as you meet someone they are like any other new person you meet,” Joe says. “You look for cues about their mood and comfort level in the same way, by making eye contact and through small talk. It’s almost as if the slate is wiped clean as soon as it’s a one-on-one situation.” Those more intimate situations mean that Joe meets the people he’s shooting on their terms. Every shoot is different, dictated by the subject, to eke out what makes them unique as a person past the persona. For Jagger and Boseman, that meant planning each shot in advance. Joe had shot Jagger before, so there was a familiarity. In fact, Jagger’s camp had specifically requested Joe to shoot him again for this cover. Since Jagger and Boseman were posing together, Joe worked out their poses on a set that Billboard built in a hotel ballroom. That structure allowed Jagger and Boseman the ability to interact authentically in front of the camera. “[Mick Jagger] seemed much more trusting in me this time, and that makes all the difference in the world on a shoot like this.” When time is of the essence, trust is everything. Tom Petty is a totally different person, and needed a different energy. “I didn’t want to ask him to pose specifically,” Joe says. “I had my assistant follow me with a large portable light so we could be on the move in his studio.” Joe literally took the shoot into Petty’s arena, where he’s most comfortable: his recording studio. Rather than posing Petty, they chatted about all the instruments that he keeps in his studio, and had a genuine conversation. “At the start of the shoot with Petty he was very shy and by the end of it, he thanked me for making it so easy and said he enjoyed it.” Joe has made a career off of shooting larger than life personalities in ways that are intimate and surprising, while still being authentic to who they are. “I have achieved a nice level of comfort with larger-than-life subjects that don’t always love the photo shoot process,” Joe says. And it shows.
  • 7.25.14   Platon's Lens reveals the victims of a Broken Immigration System

    The People’s Portfolio, the philanthropic photography project created by Platon, documents efforts dedicated to upholding human rights and human dignity around the globe. The breaches of these rights and dignities are transnational and international, with no respect to border or nation. These injustices follow the human experience wherever it spreads and spills, and represents one of the most painful connections anyone, and everyone, can share. With the recent humanitarian crisis in the South of the United States, a bright light has been shone on the US Government’s Immigration policy, demanding the question of what Naturalized and Born Americans want to do with the influx of new undocumented immigrants. The edges of that flood of interest has just barely rubbed up against the plight of these undocumented people, and the injustices the system has inflicted upon them. This is where The People’s Portfolio steps in, to show us what we might otherwise not want to see, but what we need to see. The extreme press of focus spurred TIME to pair up with The People’s Portfolio and Human Rights Watch to present a handful of personal stories surrounding the Immigration debate. A series of photographs and videos show a world many in Washington would prefer you not to see. Robin Reineke of the Missing Migrant Project spends her time sorting through the remains of hopeful immigrants who failed to cross the Mexico / American border with their lives. These crossers perish in the desert attempting to enter the US, and when their bodies are found, Robin takes, catalogues, and attempts to identify them.  In the 1990’s the job was terrible but doable, averaging 12 remains a year. Starting in 2001, that number has leapt to 164 average remains a year. “It’s very typical for someone to be unrecognizable even the day after in the heat,” she says while walking through a cooler of filled body bags, almost all of which are tagged “John Doe.” She shows off the thousands of files of all the cases she’s working on, they fill up a bookcase, the top of filing cabinets, and spill onto the floor. “We ran out of space,” she said about all the files. “We need to find more room.”  Sometimes the easiest way for her to identify a body is with the items Robin finds on it. She goes through their pockets and finds what these hopeful immigrants brought with them to keep them safe.  Photos of family members, letters from loved ones, rosaries, talismans, all for naught. It doesn’t have to be this way, Robin cautions. She knows this because it wasn’t like this in the 90’s, this 13 fold increase of deaths is a result of political policy changes. Robin explains the thought process for the new policies of increased border patrol, “If you made it difficult enough for people to cross in safe areas, then they would see how difficult it is to cross in remote desert geographies and they wouldn’t try. They would be deterred. Over ten years later we’ve seen that hasn’t changed.” It has only forced the crossers into more dangerous situations that have claimed their lives. Robin lives every day on the real life front lines of the immigration crisis. She literally handles the victims of the tragedy, witnessing how the vacuum of a missing life can destroy the family that is left behind. “The way that these people are defined as criminals or illegals is an incredibly short-sighted way to look at a human life," she cautions. "How can we come to define someone to illegality? Is that somehow more important than their humanity, than their family, than their hopes and dreams?” Robin's story is a small piece in a large picture of how America's Immigration System begs for reform. TIME also highlighted the stories of Alina Diaz who advocates on behalf of undocumented immigrants who cannot defend themselves for fear of deportation. Marta Garcia who was prayed upon by a lawyer who defrauded her with an illegal visa, and is now being detained in Mexico. And Angie and Peter King, a brother and sister with two different immigration statuses because of an untimely death and a complex system. Each story represents another unsavory complexity that thrives in the limbo of inaction.

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