Style Maker – Lars Bolander
“The distinguished Lars Bolander is shown in his West Palm Beach antiques shop amid an eclectic mix of pieces.” LUXE Magazine Spring 2011.
Style Maker – Raheleh Filsoofi
“Iranian-American ceramicist Raheleh Filsoofi is shown here in her Miami studio amid pieces she created.” LUXE Magazine Spring 2011.
The biggest and brightest Moon in the last 18 years rises and goes over Miami. Images and Timelapse done on 2011/03/18.
Music: Long Road Ahead
By Kevin MacLeod
The video above was shot as a “no-budget” audition for a TV show (NDA) showcasing Nikki while she creates fantasy hair styles in a runway event at Nikki Beach, Miami Beach, FL. Check out the final results of her creations, the runway show and spectators as they gather around to appreciate the works of art while sunbathing in the winter Miami sun.
Shot with Canon EOS 5D MKII and Canon EOS 60D.
Lenses: Canon EF 24mm f/1.4L and Canon EF 24-105mm f/4L IS.
Edited in Adobe Premiere Pro CS5.
Check out below the behind the scenes video of Jean Yves 2010/11 Ad Campaign photoshoot.
Below you have some of the final images used by Jean Yves in several media outlets. Click on the play slideshow button bellow for a preview.
Email campaign and Promo Card promotions are done for the Holidays. Early this afternoon the last emails will be going out to specially selected people. Below you can see the front and back of the 8.5X6″ promo card, which was sent out inside a transparent envelope. Took about “3 movies” time to envelope, label and post all cards. Lots of labor yes, but extremely customized piece of packaging. Definitely worth the time.
Promo Card FRONT
Promo Card BACK
Here you have the email promo image “gift wrapped for the holidays” as it was sent out.
Freezing time in a still frame or better explained, in a photograph, has been a common practice among professional and amateur photographers for over a century now. Nowadays, practically every single person carries a camera on their mobile phone, so, initially there is nothing new about “freezing time” anymore. Well, not until recently, more precisely since 1999 when Hollywood decided to take dozes of photographs at the same time with dozens of different cameras at slightly different sequential angles and splice them together in a clip sequence. In this case showing Keanu Reeves fight scenes on the first installment of The Matrix Trilogy. The result of this technique is simply mind boggling. Depending on how the cameras were set up the result can show a “single” still image in 180 degrees by sequencing the images captured at different angles in the same instant. Adding post-production tricks and mixing other media, such as film and audio you have a full salad bar of an experience. Bring this to the web, to your iPad or smart-phone and we are talking about a mix of interactive media. The possibilities are endless and every day grow more exciting. Of course to produce such content requires more than the camera that you have on your mobile phone. Nonetheless since 1999 more and more filmmakers are taking advantage of this Time-Slice effect and now we are starting to see it in TV commercials and interactive online ads. With the amount of media devices growing exponentially every month, I believe it’s likely that we’ll see more and more companies and artists exploring the venues of Time-Slice Effect. Check out below the making of, of Rip Curl’s Mirage Board Short ad using the Time-Slice Effect, produced by Time Slice Films.
Check out this short video, filmed, edited, and uploaded on-site with the iPhone 4. While waiting for the print runs to be set up, and while the client and I proofed color tones, I couldn’t help myself, but document the process with iPhone HD video clips and photos. On this video you have an idea of the color proofiing that we did just before the large print runs, and you can see the massive Heidelberg Speedmaster that was used to print the catalog in its glorious action.
Olympus takes Stop Motion to new heights, literally. In order to advertise the new Olympus PEN camera, Peter Goltenboth (Director) and Taijin Taktuchi (Stop Motion Director), together with a crew of 50 people, shot 3000 frames to compose the Stop Motion Ad. By using 355 billboards to build the main plot, plus 70 oversized posters for the final scene, they created a large scale timeless yet emotional story in the streets of Bucharest. The storytelling and oversized stop motion technique transcends the standard Ad creativity, taking the viewer into a “this is cool” mode, and linking all together by reveling that the entire Ad was shot with their very own Olympus PEN. Again, cleverness, creativity and content show how much can be achieved with a simple great idea.
I am thrilled to share my brand-new, freshly arrived, portfolio book. After weeks of image selection, portfolio reviews, editing, research for the right printer, the right book binding, and several proofs later it’s finally here. It feels like an odyssey, and indeed it was, but definitely worth it. Vision Art did an incredible job printing and binding the book. Their prints are truly fine art museum quality and the lay flat binding makes the spreads look like a large fine art print. Michael and Becky Turner from Vision Art were instrumental in getting all those details right. Below you can have a glimpse of what’s inside the book. Enjoy!
The short film above, “Without Her“, is our submission to the 4th chapter of The Story BEYOND THE STILL film contest by Canon and Vimeo. I had the opportunity to participate as the Director of Photography and Film Editor. It was an incredible journey that lasted 5 weeks with countless hours of filming and editing. This film was a collaborative effort of Miami based still photographers. It was our first project involving filmmaking, the use of HDDSLR cameras and film editing software. The whole idea behind the project was for the group involved to learn this new technology as well as new ways of creating visuals. It’s hard to even begin to describe how steep the filmmaking learning curve is. Coming from the still photography world we have the lighting, composition and story telling concepts engraved in our brains, which of course help a lot, but when things start to move the challenge of creating good imagery and more important, a great story goes up exponentially. I became so involved in this project and worked so intensely researching techniques, learning new equipment, finessing film shots, trimming the film edit, and actually executing the project, that I feel like I have been involved in this for a full year. The most rewarding part comes now after the final product is done. I can’t wait to start shooting the next film. Thanks to the entire crew that worked on this project and specially to Beto Pacheco for putting this group together, and Splashlight Miami’s support.