San Diego based photographer Justin L’Heureux ran to Bay Area to catch ultra trail runner Rory Bosio in action around Mt. Tamalpais, California. Â For Lifeproof iPhone 6 campaign and Justin, it was totally a pleasure meeting and being able to work someone with such physical ability. Rory runs 80 to 100 miles a week. Justin is a jock who fully appreciates fine athleticism. Â On set from dawn to duskÂ with CD David Oldfield, producer Varity Hoskins, and cinematographer Aaron Leiber, they made magic at the magic hour! www.justinlheureux.com
When The New Yorker ran their cover for Women’s March on Washington, a version of the classic, titled ‘The March’ we dug into Alter archives. Â Originally, she was an American wartime propaganda poster created by J. Howard Miller produced in 1943 for Westinghouse Electric as an inspiration to boost morale. Â Alter gave this ole gal a fresh face to make the point, “We Can Do It”….and that’s true At Any Age! www.thinkalter.com
When Mediabistro needs 3D version of their coveted Clio award, 2FAKE is studio of choice for CGI render. From wire frame to create shimmering highlights on a golden statuette, that’s where our artist really shines!
Robert Tardio gives an insightful interview with Agency Access about deepening brand involvement, for moreÂ here
Over the years, Iâ€™ve worked on a wide variety of still life projects. Some clients come with a pre-determined look and tight layouts. For these clients, my job becomes the realization of the clientâ€™s vision and my influence will be limited to rendering the best possible realization of that vision. I will, of course, bring as much of my personal style to the project as possible but in the end, I am rendering someone elseâ€™s ideas.
More and more often however, clients are looking for visual direction.Â As photographers, this is our opportunity to become more deeply involved in the creative process. The results can be much more rewarding and more importantly, make you a more essential part of the clientâ€™s branding. While these projects require more thought and attention, the hard work always pays off.Â I actually look at these projects as paid tests.Â These are usually the projects that end up in my portfolio.
When I am approached by a client who doesnâ€™t seem to have a clear vision for their project or campaign, I will usually suggest a day or two of â€œexplorationâ€ photography. l request for the client to send me as much of the product as they can spare, be it tools, makeup, shoes, whatever they are planning to shoot.Â If necessary, we have even gone out and purchased the clientâ€™s products from a store or online but most clients will provide us with product. Â Once the client has signed off on the concept of an exploratory shoot day, we have a meeting or conference call to discuss exactly what the client is trying to communicate to consumers about their brand. Is it comfort, craftsmanship or luxury? Perhaps a specific color or the texture of the materials are essential to show.Â Visual reference in the form of a mood board or swipe art is always appreciated at this point, even if the references have nothing to do with the products we are shooting.
Now my work begins.Â I will brainstorm ideas and approaches that I feel fit the aesthetic of the brand while communicating the clientâ€™s directive.Â I will often do quick sketches and pull examples from the web of possible looks to explore.Â On the exploratory day, I work quickly and cover as many options in composition and lighting as possible, trying not to spend too much time perfecting each shot.Â I ask that the client NOT attend the exploration day.Â It is my time to live with the product and explore its nuances and particularities.Â I observe theÂ way it reacts to light and interacts with color. Inevitably, if the client is present, they will react to the first image they see and I will spend the rest of the day taking direction to perfect that image as opposed to covering numerous looks.Â By the end of the day (or night), I will try to have approximately three to four different aesthetics for the client to evaluate.Â I wait until I am finished shooting concepts to present the images to the client for review. That way, all approaches are judged equally.Â Most times, the client will see something from the exploration they love and we will book the shoot days with a clear vision of where we want to go.Â Other times, the client will cherry pick elements from the different approaches to create a look that they feel best suits their brand.Â Either way, I am able to help the client arrive at a look which best presents their brand and, in turn, allows me to become an integral part of developing their aesthetic.
Here are some images from some of the projects Iâ€™ve worked on:
San Diego based photographer Justin L’Heureux does beautiful work with a winning way. Â This man is an exceptional young talent. Â At our first meeting I could see he listens with with eyes and his ears. Â His pictures have authentic emotional content. Â His lighting is flawless and in-camera. Â There’s no relying on post. Â It’s totally refreshing to work with this man who loves sports, people, family, and keeps the smile alive! Â So happy to have Justin join our roster at www.janicemoses.com
With ALTER there’s unlimited options for character development from our illustrators and cgi artists. Â Working with a vast array of surfaces from ice, to ceramic, with metal in every form, including rust, tin, mix in irresdescent, and more; Â even consider the most difficult of all, the human form, all in CGI. Â Think challenges, think Alter. Â www.thinkalter.com