Avalon McKenzie, a designer at Free People in Philadelphia, just a few months ago was the designer of Tribeza magazine here in Austin. Avalon came up with the idea of violating iconic accessories for Fashion Week’s promo images. Although she didn’t get the chance to oversee their execution, it was a pleasure to bring her idea to fruition.
For the execution of these images, I’d have loved to have spray-painted a Chanel bag, or sliced up a pair of Louboutin shoes. But Neiman Marcus wasn’t so into the idea. Instead we cut type into matching red leather and sprayed the stencil onto black paper. Then we put the pieces together and voila. Two images I like a lot.
GSD&M was working on a poster for John Deere’s 175th Anniversary and they wanted a collection of logos from across the years with different degrees of age and wear. When they first called the idea was to try and get some merchandise from ebay and hopefully get enough to do the poster. Little did they know Adam’s father in law and his family have been farming central Texas land for over 100 years, and most of the time with John Deere gear. They asked if we could deliver at least 20 logos. In the end we came away with over 60 unique John Deer emblems spanning decades of farming.
It was a beautiful day to be out of the studio, roaming the fields with camera and lights in hand, searching for that little jumping deer.
I have a very soft spot in my heart for Austin based brands, so when the Ampersand Agency asked me to work on the Spirit of Texas rum account I wanted to make something really special. And when I tried their Pecan Street rum I was inspired.
To me these images reflect the gritty old urban Austin that my studio resides in (that 100 year old brick wall is in my studio), and our high brow dining scene served out of trailers under pecan trees strung with lights (I eat my own cooking under said trees in my back yard).
This is the Austin I love, and the place I want to stay. So belly up to the bar.
Creative director Mike Ferrer at GSD&M comped up this whole campaign. He wanted to make the Caesars logo out of various objects. Each object represented an aspect of their brand; Celebrity chefs, shopping, spas, etc, and their iconic laurel.
After Mike finished having his brilliant idea, he was struck with a dilemma; how on earth would he pull this off? He wanted it to look real. That’s something objects just layered in Photoshop aren’t going to achieve. And something only a select few, very expensive, very busy CGI artists can pull off…. So?
Art buyer Shannon McMillan to save the day! When this landed on her desk she knew; Adam and Robin. Are they brilliant CGI artists? No. Can they line up some knives to form a logo AND light the heck out of those knives? Damn right they can!
So we got the job. Mike’s baby was in our hands. The bulk of the photography took place over a mere two days (for eight of these things! [not all have been released so I can’t post them all yet]). We used a projector to make guides for each laurel on rolls of paper. We captured as much as we could in camera. And after lots of work, glue, paint, and a few stiff drinks we had a print campaign.
Creative Director: Mike Ferrer; Copy Writer: Mark Bielik; Art Buyer: Shannon McMillan; Photographer: Adam Voorhes.
Big thanks to Mathew Zucker for sending a picture of the campaign posted in the New York subway system.
In the fall we shot a campaign for Caesar’s casinos. This is one of many like images that will be appearing over the next few months. It first appeared in Bon Appetit, who I have NEVER SHOT FOR! What’s up Bon Appetit? Why not let me make some cool photos for you? All of the other cool magazines hire me. Gourmet hired me! Come on… call me? Pretty please?
Ad shop Ptarmak hired me to do a series of images for Full Throttle. They were a great group to work with. After a few meetings I decided the best route was to turn my studio into a mechanic’s garage. We brought in truckloads of props and built concrete walls and faux floors. Seems like overkill looking at this shot, but it was fun to have an auto shop in the studio for a few days.
Creative director Ralph Yznaga at GSD&M had a crazy idea and somehow managed to sell it to the client. Art buyer Shannon McMillan put him in touch with my studio and we got to work. We started with Ralph’s rough composites that the client signed off on. But creating these objects out of industrial air conditioners and furnaces required some serious planning. I created detailed perspective drawings of these scenarios using their product line and then planned how light would effect each object. When the massive AC units and furnaces got to the studio we had to take the door off of the hinges to fit everything inside. The parts were lit individually and the appropriate shadows were cast on them so when I put all of the parts together in Photoshop everything looked natural. Easy peasy!
This ad ran in Sports Illustrated for Ace Hardware. It’s for an Auto Hammer. I want one. We pounded all of these nails into this plywood by hand. I have a nail gun, but nail guns don’t use pretty nails. So if anyone wants to send me an auto hammer you can find my studio address on my contact page.