It’s been a while since we posted any of these, but collection of Os for O Magazine has grown. Here are a few new ones we made over the past year. It’s always fun to try and figure out different ways to interpreter the special shape. Thank you Scott Lacey for allowing us to tackle it so many times. The Bonsai O is in the current March 2018 issue out now!
Excited to take on Popular Science’s Jan/Feb 2018 cover. The theme for this issue was POWER. After brainstorming various forms of power, everyone landed on jumper cables clamped to the cover as a metaphor for jump starting the year.
For the feature opener, we were asked to to a play on “Horse Power” with a horse inside a hamster wheel. Thanks to Adam being the Photoshop magician that he is, it came together seamlessly. FYI, horses not so keen on strobe flashes.
As always, huge thanks to Thomas Payne, Pete Sucheski, and Joe Brown for trusting to pull off the seemingly impossible.
Getting through a back log of posts we should have made last month (eeek!) Happy to share the cover that rounded out a year of covers for Popular Science in 2017. The Nov/Dec issue was their annual Gear Guide issue. We were asked to fully construct an arcade style Popular Science crane/claw machine. Fun stuff!
Excited to share our new cover for National Geographic SCIENCE magazine. Huge thank you to TJ Tucker for asking us to contribute.
While we are no strangers to a Photoshop composite, Nat Geo has a strict rule that the images must be captured in camera, no compositing. To achieve this cover we held the perfectly unblemished lollypop, which Nicki Longoria visited every candy store in town to find, a couple inches over a black bass drum head covered with blue sanding sugar. A sound trigger was used to perfectly time the milliseconds after impact to make the strobes fire while the shutter was held open and voila, flying sugar impact awesomeness! After dialing in the timing, we took capture after capture till the sugar flew the way we wanted.
…..Or I guess we should say lack of water cover. For those who want to stick their head in the sand and say climate change is not real they are in luck, there may be a lot more dry sand to utilize in the near future. A world with little to no water is becoming a reality and the country Jordan may be the first to fully realize it.
For Newsweek’s December first cover we imagined a world with no water as the oceans replaced by dry lake beds. Huge thank you to Diane Rice and Michael Goesele for the collaboration!
We also shot sand pouring into a glass for the story opener.
Here’s some behind the scenes shots of the globe coming together. Nicki Longoria had the fantastic thought to use facial mud masks to make the dry cracked earth areas. worked like a charm.
Bravo San Francisco Magazine. Their special report “One City, Under the Syringe” in the October issue is real, and hard to read, and honest, and human.
We were honored to be asked to contribute by photographing a “safer injection kit” distributed by Glide HIV and hep C outreach.
We were approached by The Atlantic to create a conceptual image for their October cover of the disaster that is the current White House situation. After a couple rounds of sketches, three ideas were selected to execute. We chose red for the background for all 3 as it is such a passionate color with so many emotional ties and appropriate nuances for the images we were creating. However, after looking at the sinking white house in layout, the concern arose that maybe it would be interpreted as it was sinking into a pool of blood. So, in honor of the current Cheeto in Chief, we shifted the color of that background to orange. We have now titled the cover image “The White House sinking into a spray tan swamp”.
And here are the full series of three images we made for the magazine.
Sometime (well, actually a lot of times) all the things we want going on in a picture just won’t happen at once. So it was with a smoothie image Rachael Ray Magazine asked us to make for an opener page about blenders. The inspiration was an illustration of a maelstrom with houses bobbing around in the water and being sucked into the vortex. They wanted the smoothie to look like the water, and the fruit to look like the houses being sucked down. Awesome idea, great illustration, but this image could not be taken in one capture. There were a few problems we had to solve:
1. The blenders we wanted to use for the outside of the image were not going to give the intense whirl effect we were looking for in the middle.
2. The blenders were also a little too small to be able to throw enough berries and bananas in and get the visual effect of fruit being sucked into the vortex.
3. The magazine wanted a whirl of yogurt to swirl in to the smoothie and be seen all the way down the vortex, but in reality it mixed together quickly.
4. And Lastly, focus was also going to be an issue. To get the whirl sharp from the top of the liquid down to the blades, Adam would need to stack multiple captures. Not so easy when the subject won’t stay still.
To solve for all these we broke down the problems and addressed them in separate images that Adam brought together beautifully. First, we shot the blender we wanted for the outside as a separate plate. Then, Nick hacked apart our Magic Bullet blender, which had the best whirl action of all the blades we tested, and created an oversize blender pitcher using a small bathroom trash can. The Bullet was then plunged into a rheostat so we could control the speed of motor. Next we set up PVC chutes on two corners of the Franken-trash-can-blender so we could pour a smooth and constant stream of yogurt in as it was running. And finally, Adam being the Photoshop wizard that he is, was able to bracket focus and bring together the different depths of the vortex smoothly and seamlessly.
It took quiet a few steps to get to the final image, but the results were well worth it.
And here are a few of the parts and pieces all brought together to make this picture work.
The September/October issue of Popular Science is out and we’re once again super honored to be able to say “Hey, we took that picture!”
The outside shape of the watch was actually a composite of two different watches, but the inside “space” part, was actually shot in camera. We spray painted an abstract cosmos on seamless, then spread the gears and planets out over a 10 foot span in front of the background to get the feeling of depth and space.
Beside the cover watch, we also made (and destroyed) a concrete alarm clock that was covered in vines to represent the passage of time. And also got to work with some fun trippy poster art and lava lamps for a feature opener about string theory. The cashier at Half Price books was amused when Robin headed to the register with arm loads of string theory quantum physics books. I think he knew they would never be opened.
Sometime a creative brief lands in our inbox and even if we are beyond booked and busy, the art ask is so good we just can’t say no. Thus was the circumstances when we opened up an email from Karen Williams at San Francisco Magazine early last May. From the moment we saw the art memo we knew we wanted to do the job. Thankfully they ask with plenty of time in advance so we were able to make it happen a little later in the month. Both Karen and the Art Director Clark Miller wanted something different from what they had done in the past. They wanted humor and a quirky nature, the color pallet was a fun place to play, and they were super receptive to our silly, funny, slightly slap stick concepts. With Ali Wong being on the cover, we landed on the idea of incorporating classic comedy prop items into 4 different section openers plus an overall art opener for the “Best of Scan Francisco” feature.
Thank you to our killer hand model Myan for playing in our silly world. We are over the moon about how these images turned out. I smiled all day just looking at the chicken pot pie. That is also the most baking I (Robin) have done in years.
And here are all the images in layout. Clark did an amazing job on the design! so happy to be a part of it all.