Rob shot polished, incidental stills and directed the motion for Balvenie’s new campaign. Shot in various bars across the City of London.
Oli has returned from New York with this personal series. He spent time pounding the streets in the sweltering heat and managed to capture these subtle un-staged moments.
Whilst shooting to showcase the premium outdoor gear from Arcteryx & Rab, Nigel uses the drone to capture these moody images.
Guy has been having plenty of fun on the Southbank creating light paintings for Ricoh Technology.
These were produced through the dragging of light on a long exposure… which made for some interesting 360° behind the scenes.
Launching of Pandora’s new glassware range, shot at the Rosewood Hotel, Holborn.
Released, Boxing day 2015.
The print campaign, commissioned by M&C Saatchi, was part of a bigger multimedia campaign – but one where Print was unusually leading TV.
Erik’s unflappable producer Stuart Hart was briefed to lead the team to Mozambique… “I’ve never produced in a country which features guns on its national flag… but hey I’ll give it a go” was his mediated response.
The ever changing weather and remoteness of many of the beaches gave way to some challenges but ultimately it was a great success. (Everyone is still talking!)
Beate was briefed to shoot two different versions of a Freixinet setting – one for day and one for night.
In the press, the ads ran one after another which emphasised the identical positioning of the bottle.
A little visual trickery never does any harm…
With the recent changes in political and social attitudes of the United States towards Cuba, many a photographer are keen to document its culture before it becomes globalised.
Nigel’s aim was to capture some of that romanticism.
Patrice was recently commissioned to shoot the annual jewellery Christmas advertorial for Harrods magazine. A follow up to the watches advertorial over the years, as well as previous jewellery shoots.
The brief was to create a look that evoked the café society of the bohemian twenties & thirties, whilst focusing attention on the brand collections. A multitude of post production techniques were used to push back the model and emphasise the pieces worn, to bring back stronger colour here & there.
Old Polaroid borders from Patrice’s archive were used as ‘frames’ for the model images and the backgrounds for the still life are a combination of original paintings produced in Patrice’s studio & fabric overlay in post.