The inspiration came from a few places, but mostly it came from trying to keep our frozen margaritas from melting too fast while on a sunny Austin patio. While brainstorm sketching on printer paper as the sun beat down on our table, we propped some paper up next to our water glasses in an attempt to give the margaritas some shade. The shadows that hit the back side were beautiful, both sharp and soft, crisp and fuzzy. It reminded us of Ruth Bernhard, like if elements from her 3 pieces “Lifesavers”, “Doorknob”, and “Configuration” were all melded into one image. Although these were all captured in camera, they have the feel if of lith-prints or vintage still life photos.
We took a iPhone shot of the paper and carried it around in our heads for almost 9 months, till finally the idea crept back. So one afternoon we taped up a sheet of printer paper, and spent time making shadows…and margaritas of course.
And here’s the picture from that day on the patio.
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.
We were thrilled to once again be asked by the fine folks at Preacher to create animations and still images for Crate & Barrel’s Black Friday event. This year it was all about twinkling lights to set the mood for the holiday season. Thanks to Kellyn Blout and all who contributed to this vision.
A couple months ago the good folks at Preacher asked us to help out with a social campaign for Tommy John’s “Go Anywhere” underwear. Sounds simple enough, but oh man, who knew walking would be so hard.
The big green screen was easy. Craigslist supplied the perfect treadmill we were able to hack and modify the speed control on (and paint green). Adam and Nick lit the scene to be flexible but also have light direction work with the many different scenarios the model would be dropped into. After that, the biggest obstacle was hitting the timing marks to go with stock footage. Adam directed from camera and thankfully our model was fantastic at hitting the timing changes and varying speeds, while always staying on his feet.