Really stoked to announce that the campaign we shot for Costa via McGarragh Jessee won 2 Addys (American Advertising Awards)! 1 x Gold in the Magazine Campaign category, and 1 x Gold in Elements of Advertising (Photography Craft) category.
It was also included in Campaign Brief’s The Work 2020 which curates the best advertising work of the previous year in Asia, Australia and New Zealand.
We got to spend some time with world class anglers Camille Egdorf and Will Flack on the saltwater flats in Belize. We were blessed with dreamy blue skies and tropical balminess that was second to none – a few big days for Costa Sunglasses via McGarrah Jesse. These are a few of our favourite lifestyle images from the shoot.
We’re stoked to be able to share a very small part of a big project we recently shot for eyewear brand Costa via McGarrah Jessee. We travelled to Belize to shoot a portrait series and lifestyle imagery of some of the world’s top professional anglers and spear fishing experts.
Taking these portraits as close to the action that best represented each subject was key, and it was a very fun yet challenging battle with the elements in an amazing setting. This image of waterman Mark Healey is already live on billboards in the USA, and we can’t wait to share more of this project as it rolls out.
We worked with the team at Lion Nathan to create both still and moving imagery for the launch of the new beer Iron Jack. We told a story of Australian Outdoorsmen living in the Outback among the freedom and challenges of this hot, rugged country.
Shot in a remote location in the Northern Territory, we embraced the challenge of getting our 20 cast and crew onto our locations. Big thanks to our Darwin Unit who provided superb local knowledge, casting assistance and crocodile safety (no joke!)
Below is a Directors Cut of the footage we shot, as well as some images from the project:
Shot a nice little project to promote motorcycle safety that’s now in the market. We were asked to create visuals that illustrated the idea that a rider’s relationship with a motorbike is like a marriage, and sometimes needs tender loving care to keep it on track. The purpose is to promote driver re-training courses for middle-aged riders returning to a motorbike after a long period off the bike.
We were blessed with some really nice bikes and styling on the shoot, and our human talent did a fantastic job with his 2 wheeled co-stars.
I was honoured when James Burchill at Rumble showed financial services brand Sun Super The Ol’ Boys and suggested they commission the works for their new print campaign. It’s a wonderful feeling to have work come directly out of personal projects. We recreated 5 new The Ol’ Boys portraits especially for them.
This campaign is out now and it’s nice to see them printed very large in some very prominent places.
We were delighted to be approached to create new library images for Tourism Events Queensland and Brisbane Marketing. Spanning over 2 months our shoot took us to some absolutely stunning South East Queensland locations from Moreton Island, Lamington National Park and the Scenic Rim, to downtown Brisbane.
Our production crew worked hard coordinating the 49 talent, 36 location permits and 21 reschedules due to weather delays. With a 100 shot brief this project demanded our commitment to a smooth production process, particularly when coordinating locations with stakeholders in the tourism industry. Here are 14 of our favourites:
When we were asked to shoot explosion shapes for Old El Paso, I initially thought, “oh yeah, this is doable”. But as we worked our way through the approach, a few challenges came up. I had an idea of how to shoot the stills, in fact high speed photography is like shooting landscapes, most photographers have played around with it in some shape or another. However, when I thought about shooting motion, I started to realise the difference. With a still, we just needed elements, we could piece them together in post, if need be, to make a perfect explosion. But with motion, we had nowhere to hide anything. It all had to happen in camera.
After some testing, I worked out an unconventional way to make the powder create the shape naturally, and most importantly how to reproduce the shape consistently enough to capture what we needed, in camera, and with agency and client watching!
Shoot day at Rokeby Studios was a mixture of tiptoeing around expensive equipment while blasting coloured powder towards it. We shot a number blasts in super slow mo on a RED camera, then shot an equal number of stills afterwards for print. We all huddled around the monitors as we went and ooohed and aaahed at what fed through. It was an amazingly fun shoot. Here’s a behind the scenes pic of yours truly mid shoot.
I’ve posted one of the test blasts here (above). The final ad used a different coloured powder, but this test had a random stem in the middle like a flower. Here’s the final ad below: