Tag Archives: Commissioned

Nigel took aim at flying chunks of mud and surfing bicycles for Cycle Surgery winter 2017/18.

The team travelled to Scotland’s Glen Coe in the bitter cold of winter to capture the experience.

The creative behind this shoot was all about, heritage, nature and maintaining a connection with your origins.

With this in mind, Rob photographed bottles and serves in situ. Campfires, picnics, and rock pools are but a few of the places the team ventured to capture Jura’s familiarity.

Bayswater commissioned Guy Farrow to create a series of stirring imagery around their newly designed period-inspired bathroom collection.

The set was garnished with vintage products, materials, and textures to create active story-lines. Everything was built in Guy’s own photo studio with the help of Bayswater, albeit temporarily.

Erik re-imagines the Kessler Collection with his latest commission.

A visionary hospitality brand that owns, develops and manages specialty hotels, restaurants, and retail to treat guests to the Bohemian lifestyle and unique experiences.

 

Peter shows a whole new side in the latest commission for ‘Pink Paprika’. Sat upon pixilated surroundings, this shoe photography is stark in contrast to his series influenced by the old masters.

 

 

Rob photographed a library of images for The Glenlivet at the start of 2017. Through the year the contents have slowly made their way up on social media but our favourite has just launched.

It took Rob two days, two locations and a many more props to create 20 images celebrating the years’ festivities.

Hugh had this to say about his latest shoot for Pennzoil Motor Oil.

Engine Wrestling: “One of the largest sets I’ve ever had created, this ‘sumo wrestling arena’ took up most of the studio we were working in. The paint had to be the exact yellow hue of the Pennzoil logo, and we used a lot of it! Two days of prep work went into the building and painting the set, with a solid day rigging the raised wrestling ring to support and balance the 8 cylinder truck engine. We found out the hard way that all construction sand comes wet, and there was no easy way to dry it in the time allotted. We tried industrial heaters and blowers, with poor results. Kitty litter was the solution and there was more of it than the paint!”

Dying Engine: “This was shot in three parts, and composited in post-production.

Part 1: El Mirage dry lake bed in California was photographed on 8×10 film and formed the desert setting which we matched lighting, lens length, and camera height for the other elements shot in the studio.

Part 2: The engine was rigged to stand alone without visible supports, and special effects smoke was pumped through the exhaust pipe during exposure.

Part 3: The African vulture was MASSIVE and we had his session around his natural eating schedule, and the wrangler used a taxidermy rabbit to coax his preying stance. Shot on 4×5 using Fuji RDP film. The images were later scanned, composited together, and colourized to match the Pennzoil yellow.”

Guy captured two stills images for the launch of a new product.

The creative idea reflects and dramatises the young, anti-mainstream urban audience buy drawing parallels between itself and the rebels. To encapsulate this the creative was underpinned with bold fashion and wolves.

The crew arrived on location mid-afternoon to prepare Ashridge Woods, North West London for pyrotechnic mayhem!

(no animals were harmed…)

Guy Farrow shot the Remington advert, for their campaign ’80 years Young’. The project was to celebrate the companies 80 year’s of ‘firsts to market’ with their ever evolving range of products.

 

Pernod Ricard’s wine portfolio was the focus of Rob’s latest lifestyle drinks shoot. Food matching was key to complimenting the wine in this beautiful kitchen setting.