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Posts tagged ‘Nikon’

Welcome to the Family

As I mentioned a few weeks ago, the guys and gals I stand next to at Nikon are family. They are people that I respect greatly and I consider being associated with them to be a great honor.

It is for this reason that I am truly honored to welcome two new members to our family, Lynsey Addario and Brian Skerry. Two photographers that represent the greatness of photography. (should be noted that I am giddy with excitement just typing this, they are that awesome). Lynsey and Brian represent everything that is good about photography. They are people that use their art and talent to make the world better.

Lynsey Addario

One of my favorite images by Lynsey Addario

 

Lynsey is someone who has risked her life to bring attention to the often extremely dangerous parts of the world. This lead to her capture by the Libyan Army in 2011. She was held hostage for many days before her eventual release. She did not let this stop her fight to bring awareness to the cause and returned to work when she healed, because the people of the war torn areas needed her voice. I would spend more time on the story, but you will all know it soon as Steven Spielberg is directing a movie about her where she will be played by Jennifer Lawrence.

Brian Skerry

A Southern Right Whale photographed by Brian Skerry

 

Brian is an underwater photographer that has graced the pages of National Geographic for years. With my obsession to sharks, I have known about his work for quite some time. Not only does he shoot to make captivating imagery, he also shoots to bring attention to conserving our oceans. I can’t tell you how much I hope to help him in his fight to protect animals like the Great White.

They are both photographers that use Nikon not just as a tool for creating, but as a tool for changing the larger picture. I hope you will all join me in welcoming Brian and Lynsey to the family.

Meet the Family: Nikon’s Ambassadors

To be honest, I am still going through this career with a somewhat surreal feeling inside that I am walking in another person’s shoes. It’s fun, it’s stressful, but at the end of the day there is nothing I’d rather be doing… other than being a Ghostbuster.

Last week I was in New York to meet with Nikon. It was not just a meeting, but the first “Ambassador Summit,” where those of us honored to call ourselves Ambassadors would gather and meet the rest of the family. I had no idea what to expect, and decided that I should do what I do best…. so I checked into the hotel and immediately went down to the lobby bar.

Nikon Ambassadors

Fight it as much as we can, we photographers are a lot more alike than we think. Proof of this… within 1 hour, every other ambassador with with me at the bar and the stories starting flying over pints of Stella. On many occasions I found myself mentally removing myself from the conversation at hand to step back and admire the talent that I was fortunate to be sitting with. Even more incredible was to be able to stand next to them as brothers and sisters… my Nikon family.

What I wouldn’t give for a video to show you all the shenanigans that went on, or the laughs that were had. However, we put the cameras down and got to know each other beyond our work and accomplishments. This being perhaps the greatest honor of all. Getting to talk to other photographers that I know and respect about our families, hobbies and occasionally photography.

While I’m bummed the entire photo world couldn’t sit next to us and share a beer, I decided to write down notes about each of the ambassadors and share them as a kind of insight to what each of us is like away from the camera. I will go in the order we spoke:

Nikon Ambassadors

Joe McNally – This was actually my first time meeting Joe, and I was a bit hesitant to bug him, as he is often the guy that everyone wants to talk to. Then to my surprise, while heading into dinner, he approached me and introduced himself. It was immediately apparent that this man possess a kindness and humility that we all should aspire to. The night after our speeches (and again at the hotel bar) he was the guy I talked to the most, about life, traveling, and our flights in fighter jets. A good man to the core.

Jerry Ghionis – First thing to know about Jerry is that you should never seat he and I next to each other at dinner. He reminds me very much of two of my best friends, and with the two of us at fine dining establishment, nothing but mischief could be expected. Much of the table was in tears with laughter, while the rest of the table was trying their best to claim no association with the two of us. Not once did we talk photo, and that one of the reasons I think we get along so well.

Corey Rich – The first to join me at the inaugural beer, we share a love of Stella. I don’t think I saw Corey once where he wasn’t smiling. I think I may have disappointed him when I mentioned that the trip to New York was one of the first where I saw snow, or that I have never gone camping. He strikes me as being far more outdoorsy than I am, but is a great guy nonetheless.

Lucas Gilman – Let me start out by saying that I blame Lucas for the cold which I currently have, but I will forgive him for this. Lucas is a very quiet guy that is hilarious when he says something. I could tell that he was taking it all in as well. Personality wise, I think he and I are a lot alike. The last drink I in New York I shared with he and a couple other ambassadors and I found myself wishing I had chatted more with him during the summit.

Ami Vitale – Ami has photographed in some of the most dangerous, life threatening situations on Earth. She has worked amidst gun fire and bombs and the chaos of war. So it is only ironic that we met at Starbucks, while both of us were freaking out about the five minute speeches that we had to give. She is extremely sweet, soft spoken and the only person I’ve ever met that dressed as a panda to do a photoshoot.

Cliff Mautner – Sadly, I didn’t get to talk to Cliff all that much during the summit. However, on a slight funny note, he drove us back to the hotel after a dinner and there wasn’t enough room for all the guys in his Porsche Cayenne, so Corey and I rode in the trunk.

Bill Frakes – A fellow Sun Devil, Bill and I have tried unsuccessfully on many occasions to grab a coffee. He is a man that has many great stories from shoots. The irony is how much we have photographed the same athletes, but couldn’t be more different in our approach to photographing them. He shoots the games, whereas I shoot in the studio. We joked on many occasions about gear. The main one being that I have shot with the same body and lens for nearly seven years, where he shoots some events with fifty (yes, 50) cameras at once.

Dave Black – Dave is another guy I wish I could have talked with more. I enjoy looking at his work, and would have loved to hear the stories behind much of it. I believe he is one of the quite, super intellectual types. One thing to note, we both love Hans Zimmer’s music before shoots.

Robin Layton – OMG is Robin an awesome person. We met a couple years back while we were speaking in Atlanta, both for our first time. She and I are each others cheerleaders and she is a person that I can talk to about anything. She sees things in such a beautiful and artistic way that she even designed a house that was nothing less than stunning.

Sandro – A soft spoken man that is photography in its purest form. What is so cool about him is he absolute love of creating art. He played a video during his speech and I remember thinking to myself, “now that’s what I’m talking about.” I think that he and I are quite similar in our approach towards creating in that we research a ton before ever setting foot in studio.

Moose Peterson – I didn’t get to speak to Moose at all other than a quick handshake. I could tell that he was a man that is passionate about conservation and protecting animals near extinctions. One funny thing that I got from his speech is that he has sat still in a sand hole in the California sun for 12 hours to take a single image of a near extinct marsupial…. now that is dedication.

Dixie Dixon – The fashion heart of our group (proof in that she is wearing heart-shaped sunglasses in the group photo). Dixie is a hard working girl that has gotten comfortable with the speaking aspect of this job that many of us fear. While full of enthusiasm, she can mellow out with the best of em over beer. She played along with Jerry and my humor like a champ. A damn cool girl.

Andrew Hancock – This guy has dedication. We took a taxi together from Long Island to Brooklyn and I was taken back by how much of his life he dedicates to photography. He wants to learn and has a passion for making his craft better. He was one of the few that I got to talk watches with and I can see a cool pairing if we were to shoot a project together.

Tamara Lackey – Tamara possesses vegan powers (a reference to Scott Pilgrim). In all reality though, she could teach you how to make any dish vegan, and from how much she knows, I can imagine it would taste good. She has a huge heart and an extreme love for her family. Just talking to her makes you care about the world around us more.

Bambi Cantrell – I got to sit next to her for the first day of the conference, and wow. She could do nothing and still go down amongst the best wedding photos ever, yet she is still asking questions and trying to learn. During a meeting where we (the ambassadors) were answering a ton of questions, she was taking notes the whole time. She truly cares about helping the Nikon family grow stronger. As I promised… Bambi, thank you for buying me a banana :-)

Ron Magill – OH. MY. GOD. This man is crazy. Do you remember the guy that did the Micro Machine’s commercials that could talk super fast? He is like Ron’s long lost brother. Ron managed to take a crowd that was mostly asleep after my speech and get them pumped up as if they were knocking back Red Bulls the whole time. In all seriousness though, this man will save animals by showing the world how important they are. While there were fun little jokes made about his enthusiasm about animals, we all look at what he is doing to protect many species with huge respect.

This is my Nikon family, incredible people every last one of them. All talented, yet humble and passionate about what they shoot, and what they shoot it with.

I want to say a genuine and heartfelt Thank You to Mike, Mark and the entire Nikon family. You guys give us so much more than we could ever ask for and we will never be able to say thank you enough.

Thank you.

Bb shoots… Fashion???

Like many, if not all, other photographers, I enjoy the the vast amount of avenues in our medium. Be it photojournalism, table top, macro, etc., I really appreciate what so many other photographers do, and celebrate their successes as much as my own. Unfortunately, I don’t get called to shoot these types of photography, because I haven’t shot them. Let’s be honest, it’s best to stick with someone who has a background in creating an image for the needed situation. But what happens when a client gives you carte blanche on a campaign…. and then asks you to star in it?

This was the case for the LowePro Echelon photoshoot.

LowePro Echelon

So what does a photographer, who is actually quite shy, do when faced with a campaign about himself? … I hired a model that was much better looking than me. No need for me to create beautiful images only to screw them up with my nerdy face in all the shots. From there I started to really think about what appealed to me for the campaign, at least from a stylistic standpoint. While I could shoot it with all the lights in the world (what I am more commonly known for), I felt this was an opportunity to pay homage to a style of photography I love… fashion. More specifically the hard lit Italian type usually seen in black & white.

LowePro Echelon

I love the simplicity of fashion along with the freedom derived from its philosophy. It is the essence of expression’s hand being lent completely to art. It is beauty.

Enough waxing poetic… let’s talk approach.

I decided that I would approach this campaign in two directions. One would see me in front of the camera in a lifestyle feeling image. I felt that this would satisfy the needs of LowePro to have their spokesman’s face on a few images to promote with. The second part would be the fashion shots.

LowePro Echelon

For the fashion images, I decided a tribute to the late 80’s black & white fashion would be cool, but wanted to add my own approach in making them a split color and kicking a couple more lights in than was normal. I wanted the emotion to be confident, but not cocky, and the styling to feel accomplished, but subdued to match the bag line.

I gave my good friends at Maurice Lacroix a phone call, and a day later we had their entire line on hand to grace the model’s wrists. Not to mention, it gave me a chance to wear the Gravity, a watch that I tried to buy and was not even able to get my hands on before it sold out!!!

LowePro Echelon

Next up I talked to Nikon to get some extra camera gear for the shoot, not only to shoot with, but to use in the images. We felt that when it came to true style, the Df fit the roll perfectly. Along with that, they sent me the D4s and the 58 f/1.4 (both of which I ended up buying after using on this shoot).

 

This campaign really means a lot to me, not only for the images, but for the experience. It was a celebration of what I am fortunate enough to do for a living, and along side me stood the friends that I stand next to in the biggest of shoots. I hope that you enjoy the images as much as I enjoyed creating them for you.

Thank you.

Shooting the Super Bowl Commercial

When I began photography as a career, I often wondered what it would be like to do certain kinds of campaigns. Of these, I did wonder what it would be like to shoot a Super Bowl commercial. I imagined crazy sets where people barked orders down the line of command and the photographer or director in the center of it all, only being bugged when it is of dire importance.

The idea of this was something that existed in my mind and may indeed exist in real life. However, the reality that hit me when I was awarded this campaign was that I could determine what a set for a Super Bowl commercial looked like. On my set, we would have fun, and my assistants would be just as important as I was. We (my client, my crew and I) would relax and trust that true art would result.

There will always be photographers that feel entitled to scream at everyone on their set, but it is up to us (the photogs reading this) to not be one of them. Instead, treat your crew and clients as friends, and you will find that at the end of the day you will be able to share a beer with your friends and forget about work.

So with that said, here is the behind the scenes video from a Super Bowl spot made by a bunch of friends….

I would like to thank Andrew Belcher for taking the time to create this. Great job man!

The Super Bowl Commercial

Never in my wildest dreams did I think I would begin 2015 shooting a Super Bowl commercial. Even further removed from the unlikeliness of shooting said commercial is … well… shooting said commercial in seven images. Not seven scenarios or seven videos, seven photos.

The idea, straight from the mind of Pete over at LaneTerralever, was to parallax a commercial. “What is parallax” you say? Think of when you were in grade school and you had to do one of those cheesy plays where every parent in the audience thinks that his or her child should be in search of a talent agency because they memorized 23 words and did not faint on stage. Sorry, got distracted there. Anyway, there is always a part in that play where some kid is on a boat made of a tricycle and cardboard, and they are in the rough ocean. In order to create this imaginary ocean in the elementary school cafeteria, they use whats called parallax. This is where they have on set of blue waves on a stick in front of the kid and one behind. The movement of these waves back and forth creates in your mind the idea of the ocean.

When broken down to its most basic form, we decided that we would create a Super Bowl spot using the cardboard waves on a stick principal. From there it gets exponentially more complicated.

Super Bowl parallax farmer

In order to captivate the viewer, the images had to be real, and they had to be very very very planned out. In order to have movement in an image where it never existed, we would need to plan space for the movement to enter and direction to make it natural. Also, we would have to shoot the shot, and then immediately document the reality that existed as we would need to create it and maintain its continuity to keep the viewer’s attention.

Super Bowl parallax scrap yard

The first thing that grabs the eye of the viewer in these shots would be depth, more specifically how three dimensional they feel. To help with this there was one lens that came to mind, the Nikkor 58 f/1.4. While many try to see it as a low light geared lens, it also has a little trick in it that makes it very desirable. It makes images feel 3-D.

Super Bowl parallax basketball

The next item of importance was the camera, the Nikon D4s. Now many of you probably know that my heart resides with the D3x, but for this project resolution was not the determining factor. After all 4k video is still only 8.8 megapixels. What mattered more to us was noise and high ISO performance as we would not be in a studio and environment would matter greatly.

Super Bowl parallax wine

Last, but not least, we would need lights that could be remote and enable us to shoot shallow, even in the day. Enter the Profoto B1’s. With the most recent firmware, they are able to shoot at any shutter speed. Proof of this rests in the above image of the man drinking wine. It was shot at 1/4000th of a second.

Super Bowl parallax instructor

With the gear of this shoot chosen specifically to produce the images, we started going to the businesses where the subjects worked and tried to quickly see what a day in their life felt like and create an image on the spot that would capture that, as well as captivate the audience. Some were easier than others. For example, ballet, which is an art form in itself, is very simple to create beauty from. However, shots like the farmer we worried would be more complicated. It was when we started meeting the individuals that would be featured in the images that we found the beauty of this commercial.

Super Bowl parallax ballet

What the technical side (the depth and movement into a frozen world) showed us was the beauty that existed in the moment. As one viewer told me, “it was as if the moment existed inside of my television for a split second.” As we shot more for the campaign, we learned and dialed in more in our approach. By the final image we were able to see the images that existed and how they would look and feel before we ever pressed the shutter.

As always, but more than ever, I want to thank the people that made this commercial possible and helped me as I tried to learn and dial in this approach.

Joe, Paul, Pete, Carolyn, Gary, Tena, Nick, Trevor, Andrew and Rob. I love you guys and am grateful to have stood beside you as we created this one.

Thank you.

Pinterest… whatever that is

So it is a new year and a fresh start… on another social media outlet that I know nothing about.

We have spent the last 3 weeks shooting a Super Bowl commercial, only interrupted by a quick stay in the hospital when my temperature decided it wan’t to see what the 104’s were like. A side note on that… they suck. All the cool stories we heard as kids about severe hallucinations were bunk. I was hoping that being in such a dire state would have at least landed me the ability to see people that weren’t there in my hallucinations, but no, all I saw were a bunch of different colored spots flying around the room.

But back to the topic at hand, Pinterest. While on set, I have been in conversations on multiple occasions that were usually preceded with, “so on Pinterest I saw…” Which got me thinking, okay, maybe should I try this out. After all, my New Years resolution was to look at social media less.

Then came the fun moment of truth where I went to select my url for my Pinterest page, only to find out that “BlairBunting” had been taken. I will admit, I was a bit bummed, and figured it was someone with the same name that got there first….. nope. It was another photographer (not named Blair Bunting) in India that was trying to use my name…. AND IMAGES to get himself some work. As you can imagine, this didn’t settle well with me… I had two glasses of wine instead of the usual one. In all honesty, I had a really good laugh at the fact that someone felt I was cool enough to impersonate… Bucket list… check

After a quick call with the very nice people at Pinterest, they resolved things and got me my name for my url. (a hit tip to them) So now here I am, writing a blog about a Pinterest page that I have done nothing with, but will soon… while the new website is being finished ;-)  (and that, my friends, is what they call a cliffhanger)

The Nikon D750

I never thought I would be writing this blog… We all know I love me some Nikon, but that which is loved is usually of the pro body form. Be it the D3x or D4s, I am a big fan of Nikons with a built in vertical grip. From time to time I do shoot with the D810 and other such bodies, but my preference tend to lean towards camera bodies that look like a square box head on.

Fast forward to a few weeks ago when I got a call from my good friends at Nikon that said, “hey, you should try the D750 out, we really think you’ll like it.” I agreed to give it a shot, but in complete honesty thought it was going to be small for my tastes and wondered what the catch would be.

Three weeks later and I am obsessed with this camera, she’s (yes, my D750 is a female camera, just haven’t named her yet) even gone to her very first photoshoot. While I used some other bodies on the actual production, I found that I am rediscovering my love of photography in this lil camera.

For starters, I don’t shoot it in a conventional way whatsoever. I used my right thumb to fire the shutter and turn off the autofocus on all my lenses that I mount to it. Often letting the camera force me to look at it very reminiscent to how I viewed old Hasselblads. This D750 has changed my view of photography in a way similar to the D3 the first time I saw its dynamic range.

Of all the functions that I dig about it, none are more freeing than the wifi. Yes, I know that there have been other cameras that have built in wifi, but this is my first experience with one. It is for that reason that I have turned the D750 into my dedicated Instagram camera. I couldn’t even tell you if it has a memory card in it right now as I only grab the files with my phone and then post them straight to Instagram. So with that said, enjoy some square pics from this not so square camera and while you’re at it go check one out.

Thunderbirds D750

D750 grass

Riley

D750 me

Thunderbirds loop

Nikon D750

 

 

Bb: LowePro Ambassador

I will admit right now, every time I write a title like this or the Nikon, or Maurice Lacroix ambassador one, I sit back and think…. “you know, people are going to stop asking me to grab a beer with them if I keep this stuff up.”

Please know that, like the other endorsements, it means the world to me to have a company that I know and trust show such support. I can’t say much, but will say this… there are some VERY exciting things that will come out of this relationship. When LowePro approached me about becoming a LoweProfessional, one aspect that was discussed at length was, “how can we use this partnership to help people out?” From raising money for charities to helping educate photographers on how I go about my work, I wanted to make sure it was a contract that helped me give back to the community above all. Blair_Bunting_Bio_main

It’s an odd reality to be a part of and I find myself honored to experience it, but also missing what things were like before. To be honest, some of my favorite shoots I have ever done were the small editorial gigs where I didn’t make all that much and came home tired. Unfortunately, the calls for those go away when photo editors fear that they are wasting my time calling, and so such sponsorships have an averse affect.

It’s a part of this career that I never saw coming. I used to sit on the internet looking at who was with what company and think, “damn it would be awesome to be in his or her place.” However, it was impossible to see that said achievement would make people hesitate to reach out and ask for advice like, how I lit a specific photo or what gear I used.

To have fun and try to pay it back to you (my readers/friends) I have started calling random Twitter and Facebook followers every week to say “hi” and ask if they had any questions… (on a side note, the calls have been freaking awesome and I plan to keep on doing them when I have breaks in my schedule).

You guys are the reason great companies like LowePro have reached out to me, and I want to say not only thank you, but please don’t ever feel that I am in a different league and therefore am inaccessible… I am one of you and always will be. So whether it be Facebook, Twitter or Smoke Signal (the OG social media), please feel free to ask advice on cameras, watches, bags… heck, ask what I had for dinner, I really don’t mind.

How to Light a Football Player

Firstly, I want to thank those that sent over emails or messaged me on FB and Twitter about the new ASU campaign. It was a ton of fun to produce, and when my readers enjoy the shots, it is icing on the cake.

As happens a lot, many of the emails had the age old question, “how did you light it?” buried in there somewhere (often thinly veiled as an “oh, BTW”). So today I thought I would take a bit of time to talk about that, some lighting theory and show some RAW files from that and other shoots because I think this sort of thing needs to happen more often.

To be honest, this idea has been in the making for some time now. I have had the good fortune of meeting with quite a few agencies lately and have begun to see two very distinct approaches to photography emerging. The first approach contains a lot of lighting and a technical appreciation of what a purist would consider painting with light. The second one concerns me, it is an approach that more or less says flat light everything and …. (my most despised line) “fix it in post.”

I enjoy the approach of fixing things in post as much as I love listening to heavily auto-tuned music. Then again, for me auto-tune might make my singing voice a bit more angelic, but I digress…

Today I want to talk about a return to lighting because our clients deserve it, our medium deserves it, and we deserve it. Now there will always be things that can’t be done in camera, perhaps due to a location that makes it impossible to travel the subject to, or an action that endangers the subject or crew, and for this there will always be comping, and for those reasons there is nothing wrong with that approach.

So let’s talk about lighting, specifically for mood.

The first place that I went to develop my approach towards lighting theory was not a photo book, but rather my psychology courses in college. It was a common theme that as humans we feel comfortable when we know what is around or in front of us. A quick Shark Week analogy… I went for a swim last Saturday during the day. It was at my neighbor’s house, the pool was clear, I knew what existed because I could see it. Now put me in that same pool at night and we have a different situation. Even though all logic tells me, “Blair, you are in a pool,” I still am 99% sure that Megalodon has come back from extinction and will be remaking the beginning of Jaws with me any second.

Sharks aside, lighting is much the same way. The eye finds discomfort and intimidation in the unknown, and the unknown is where the light is not. The approach to making a subject intimidating should not be a mass of lights cranked to 11, but a single focus of direction where one light dominates and the remaining support the fear. An example of this that I shot a while back is this portrait of a football player.

bigpic

As I promised in the beginning, here is the RAW image from the shot to show where we take it on set before it goes into good ole Photoshop.

HerringRAW

And the lighting scheme: (notice that the powers of the support lights never go above the singular direction of the key, if we broke that rule, the eye would become comfortable)

topview

On the most recent shoot we approached things with the same idea, but incorporated action, so the singular direction source had to be broadened, but still contained. There are many people that approach lighting or even teach the one light approach, which I enjoy for it’s simplicity. However, if I may add an addendum; I think that it should be more of a single direction source approach (doesn’t roll off the tongue as smoothly). Remember, as photographers, we are telling a story, not just telling our viewer that our subject exists.

The final with smoke and plate:

ASU TRY2

The RAW test before smoke. This shot is actually a prep shot for the main image that involved smoke from a machine (camera left), but shows lining of subject and a disregard for any details that I don’t want my viewers to see:

pre smoke RAW

Believe it or not, one of the most important parts of lighting is the camera, and your knowledge of it. To best light a subject where you want to play dangersouly with shadows, you have to know and trust the sensor that lies at the heart of your camera. I was shooting on a Nikon D3x which lets me shoot more contrast out of camera with the safety that my shadows will exist when I open the file. I only know how far I can stretch the contrast ratio with my camera from practice. There will always be those that measure the heck out of a camera and it’s sensor, but to push one on set with a job on the line is an act of trust in the equipment you are using.

As with the need for consistent sensor performance is the need for consistent lights. For campaigns, I trust Profoto 8’s with my livelihood. The power is always sufficient to close down and delivery is quick enough to avoid blur. From there the rest comes down to build, reliability and standards that make it easy for me to tell an assistant what is needed, even when they speak a different language.

With an approach to technical lighting, and equipment that can deliver you will actually become more financially efficient. In what might take you five minutes on set to put up a light, you will save yourself hours if not days in post trying to create a texture that doesn’t exist because the photo wasn’t lit correctly. As photographers, we should crave perfection and do everything in our ability to create it. These are details that your clients deserve, and that will make you proud of your work.

ASU Football : 2014 Photoshoot

Photoshoots are not made by a photographer alone, they are a result of everyone that set foot in the studio that day and sat on the endless preproduction phone calls the weeks prior. When the campaign is released, it will carry the name of the photographer, but I would give anything for it to carry the names of everyone that stood behind and alongside us as we create.

Today’s blog will be a bit different that others as I want to talk about what others did to make a shoot possible, rather than ramble on about how I did this or that to make an image…

ASU TRY2

For the ASU campaign, the images start at the beginning of our working relationship when I was just a teenager. An ASU new hire named Becky trusted me to create imagery of athletes when I definitely had not earned such trust. Over the years she rose to the position of director of marketing and I am grateful to continue producing campaigns together, often with the simple direction of, “make something awesome.”

ASU TRY1

The next person on the set is the Creative Director, Chris. He usually stands on my right side and tosses out ideas for images and it is between us that the imagery forms. Periodically we will take a couple moments to step into a side room and discuss if we want to steer the emotion of the athletes in a different direction or continue on the given path. I trust his opinion and he trusts mine, it is a relationship that must exist between the AD/CD and photographer that makes a campaign successful.

ASU Runner

My assistants Rob, Brian and Ramsey worked to make the vision exist in camera. Not that they don’t always work hard, but on this shoot they did their job, and so much more. The first day on set was actually the day that I was announced as an Ambassador to Nikon and I was trying my hardest to respond to emails, texts and phone requests, all while prepping lighting and shooting. I can’t tell you how impressed I am watching how hard they work, and am grateful to have them on the team.

ASU TRY 3

Last but not least the athletes. Awesome, just awesome. One thing to note is that they are not models, and for many this was their first photoshoot ever. It is easy to take being on set for granted, but for some of them (the rookies especially) it can be insanely intimidating. While it is my responsibility to give them direction in a way that gets the shot that my client and I want, it is still on their shoulders to deliver the level of intensity that I need, and they did.

I am very proud of this year’s campaign, and want to thank those that made it, and hope that you all enjoy the 2014 ASU Football campaign.

GO DEVILS!!!