Hailing from Copenhagen, Denmark international actor and model Andreas Holm-Hansen was born with perfect bone structure, fiery red hair and a freckled and fit physique that effortlessly turns heads.
Over the last few years redheaded models with a healthy dose of freckles have gotten a major boost in the eyes of the public thanks to the work of leading photographers like Michelle Marshall, Maja Topcagic and her 2015 photo series “Freckled,” and Keith Barraclough’s “The Redhead Project,” but the list would not be complete without mentioning the innovative work of Thomas Knights.
In 2014 Knights released the Red Hot 100 book, a photo series that has been called ‘the ultimate bible for hot ginger men,’ and with his good looks and natural red hair it’s not at all surprising that Andreas Holm-Hansen made the cut, which makes him one of ‘the 100 sexiest Red Hot Guys in the World.’
Knights and Holm-Hansen clearly had a successful collaboration as the photographer called him back to shoot his newest exhibition and book “Red Hot II” earlier this year. Not only is Holm-Hansen featured throughout the book, but he also nabbed the cover shot for the “Red Hot II,” which was released in October. You can also check out Holm-Hansen in the highly seductive video that was made to promote the book, which reveals him in all is red headed freckled glory. Anyone who watches the video would find it difficult to say that Holm-Hansen is anything but on fire.
In 2012 Holm-Hansen also landed a featured role in the music video for three-time Grammy Award winning artist P!nk’s “Blow Me (One Last Kiss),” which has been astonishingly well-received by fans earning more than 72 million views on YouTube.
As a model Holm-Hansen’s international appeal has been a driving force in his success. Earlier this year he landed a massive campaign for Väla Centrum in Helsingborg, Sweden; if the local Swedes didn’t know him before, they definitely know him now, considering his face is plastered to the outer walls of the popular shopping center, and he is featured on the cover of the center’s Winter issue of Väla Magazine.
From massive billboards to a lengthy list of high-profile commercials, Holm-Hansen’s captivating aesthetic appeal has made him a go-to talent among advertisers across the world. Audiences across Europe will immediately recognize him for his featured roles in popular commercials for brands and organizations such as Miracle Whip, Telmore Play, Eovendo, Synoptik, Danske Bank, Norwegian Airlines, Komplett, The Zulu Comedy Festival and others.
In addition to being featured in a number of magazines such as Tantalum Magazine, Visionarios Magazine, Elléments Magazine and PAF Magazine, he’s also been the face of a number of massive print campaigns including B&O’s H6 Limited Edition, Phoamy, Arbejdernes Landsbank, DSB and Sundhedsstyrelsen’s Stop for 5.
While his unique look has definitely put him in the spotlight, Andreas Holm-Hansen has a whole lot more than a just good-looking face going for him. Through a series of lead acting roles in productions such as Benjamin Murray’s crime mystery “The Hit” and “Don’t Bring Guns to a Knife Fight,” Jose Rico’s “Blood Legacy,” Jesper Holm Pedersen’s “Shit Happens” and David B. Sørensen’s “Bellum,” Holm-Hansen has proven himself to be a diversely talented actor who can bring virtually any character to life. His knock-out performances to date have revealed him as the rare kind of actor who is capable of captivating his audience regardless of the genre.
One performance that really stands out though was when Holm-Hansen took to the screen in the recurring lead role of ‘Mad’ Mads Steen in the satirical series “Dreaming in Mono.” Presented mockumentary style, “Dreaming in Mono” follows the rivalry of two Nordic ski champions, one of which desperately wants to break a record on a monoski and starts his own team of underdog skiers who actually think it’s possible, they are Team Monoski!
We first encounter Holm-Hansen’s character ‘Mad’ Mads Steen trying to fix his broken down car in the middle of blizzard wearing nothing but his underwear, furry hat and boots, making it easy to see how he earned the nickname ‘Mad.’ Unfortunately for Mad his skiing skills have something to be desired, which makes total sense considering his prior ski experience consisted of using his ski poles to thrust himself across the flat grass-covered lands of Denmark. It’s not a stretch to say that Holm-Hansen is one of the leading comedy highlights in the series, as we continually watch his character lose his balance and flail uncontrollably down the slope every time he clicks into his skis and sets down on actual snow.
Mad could easily be considered Team Monoski’s awkward rebel, but his constant boundary pushing ways eventually put him on thin ice with his teammates. In fact, “Dreaming in Mono” dedicates an entire episode to an intervention with Holm-Hansen’s character where the team tries to get the brash Dane to curb his unsportsmanlike ways, which leads Mad to huff and puff and storm his way all the way back to his hotel room; but thankfully for the team he comes around in the end.
Produced by the Swedish production company Happy Fiction and created by the international creative agency Perfect Fools “Dreaming in Mono” was written and directed by multi-award winner Jens Jonsson, who earned the Grand Jury Prize from the prestigious Sundance Film Festival for the film “Ping-pongkingen” in addition to being nominated for two Guldbagge Awards, which are the Sweden’s equivalent of an Academy Award.
The seven episode series was broadcast by four major TV networks in the Nordic countries, with Andreas Holm-Hansen dazzling audiences the whole way through. The series, which was ironically created to promote McDonald’s in the Nordic countries, but rarely, if ever, mentions the fast food chain verbally, also stars Bernard Cauchard (“Superhjältejul,” “It’s My Turn Now”) and Alexandra Alegren (“Gåsmamman,” “Madness of Many,” “Olivia Twist”).
With a rather astonishing list of leading roles in film and television projects, and even more high-profile modeling campaigns already under his belt, Andreas Holm-Hansen is one of the few actor/models we can confidently say will be doting his wide-spread talents upon both industries for years to come, so make sure to keep your eyes peeled for this talented Dane.
Cristina Tomás Rovira knows she’s done her job when goosebumps are part of the end result. She is a photographer and videographer who specializes in photographing and filming wedding videos for Padilla-Rigau, a celebrated photography company headquartered in Barcelona.
“You are witnessing a very special day and you need to make your clients feel like Julia Roberts and Hugh Grant,” said Rovira, an outstanding photographer who is also recognized for her work in music and fashion. “I always want them to have chills while watching the video. If the couple says they’ve got goosebumps while watching it and they love it, that’s all that matters and I feel proud and happy.”
Rovira oversees all of Padilla-Rigau’s filmmaking and has served in the role since 2010, when the company was formed by Bernat Padilla and Anna Rigau.
“This is the 6th year that we’ve been shooting weddings,” Rigau said. “We’ve evolved and we’ve created the Padilla-Rigau style. Lately, a lot of the couples that hire us tell us that they knew that they would hire us before they were even engaged. That is amazing — they love how our videos and our photos connect. Cristina’s work connects with the people, and given we work with emotions here, she knows how to make people happy.”
Padilla-Rigau’s videos range from three and half to four and a half minutes long and highlight all the intimate happenings at weddings, from the preparation moments just before the ceremony all the way to the bride and groom’s exit following the reception.
It’s a day-long shooting process that captures memories made for life.
Rovira, who has also collaborated with famed music photographer Joseph Llanes (Rolling Stone, Billboard, Spin and many more), said, “By the end of the day, all the guests and the couple are so used to us being there that they give us the best reactions. We are like four more friends who brought a camera and are capturing everything nonstop.”
The videos unfold as short romantic films shot in HD and set to music. They evolve from season to season and are altogether emotion-stirring, beautifully crafted, stylized and artistic.
The required ability of a photographer and videographer in the case of weddings extends beyond technical camera aptitude. There’s a need to develop rapport, to blend into the environment naturally and to shoot with delicate sensitivity. Rovira’s talent resonates deeply in this regard and lends itself to exceptional photography and filmmaking.
“I like people, I like emotions and I like to capture those emotions,” she said. “I treat every wedding as it was my own or one of my friends or family members, and I think to myself what I would want to see as a bride, as a friend and as a family member. After so many years shooting weddings, you kind of film instinctively.”
Rigau notices the same sentiment featured in Rovira’s work and said, “She’s been doing this for a long time now and she is great with emotion and her way to capture those emotions is beautiful. I think she sees weddings through her lenses, thinking she is filming a romance comedy movie. And it’s amazing. The other day, we were talking about how the four of us can sense when is going to be a high five, or a kiss, or a hug before it happens. She knows that she is filming one of the most important days of someone’s lives, and she treats that day the same way the bride and groom do.”
It’s a team-oriented approach that’s propelled Padilla-Rigau to the pinnacle of wedding photography.
“What makes Padilla-Rigau special and step out from the rest is that we are a team of two photographers and two videographers,” said Rovira, adding that Ferran Clotet rounds out the team. “We work together and synchronize. Like playing any kind of sport, sometimes you throw the ball without looking — you know your team is going to catch it because you’ve know each other really well. That’s our thing.”
The strategy and collaboration has certainly been working. While wedding season traditionally ran from mid April to September, Rovira noted how the schedule has expanded to a nearly year-round basis. Padilla-Rigau has booked more than 65 weddings in the last two seasons, Rovira said.
With a bevy wedding photographers shoring up the industry, Padilla-Rigau has risen to such outstanding heights in large part due to its dynamic video productions spearheaded by Rovira. It was a creative decision to trim down and succinctly portray the essence of weddings in a way that would bode well for sharing on social media.
“We were one of the first companies in Barcelona to do these highlight reel videos,” Rovira said. “When we started, Facebook was only like four years old and in Spain it got really popular around 2007. We decided to focus on that. People wanted to share their life and fast. So we wanted to step out of the old fashioned wedding videos that lasted forever and that families were forced to watch.”
An important component inserted in the videos during editing and post-production is the accompanying music selections that help set the tone and ambiance. A few clients may request specific songs, but most entrust Padilla-Rigau for musical selections.
“I think they like to be surprised by it and I love music, so finding the perfect song for the perfect moment is what makes me love my job even more,” said Rovira.
And the most rewarding part?
“It feels awesome to hear back from the couples who tell me that they felt all kinds of feelings watching the video and they felt like they were living again that day. I’ve cried reading most of their emails or feedback,” said Rovira. “When you hear from them and what they say is good, you feel such relief and happiness. As in any other job or in your personal life, you feel over the moon when you make someone else happy.”
Padilla-Rigau also shoots for events and fashion. In these areas, Rovira has photographed for a Friday’s Project branded campaign, for Shana Shops and for the Oysho free yoga Barcelona, Barcelona Night Out, Hard Rock Cafe Barcelona and luxury hotel events, among others.
“In fashion, we’ve noticed that our clients love Cristina’s work because she listens to them,” Rigau said. “She makes their ideas and thoughts real. She puts the same effort as she does at weddings to show emotions, even in fashion. She wants to make the people feel something while watching the video. She is fast, and a lot of times, she makes a great video when at first hand it could seem impossible.”
It’s not often you’ll find a cinematographer with the eye of a skilled artist and the mindset of a trained athlete, but that’s just what cinematographer Ross Radcliffe brings to the table. Well-versed in the technological aspects of filmmaking and seemingly indestructible in any harsh environment, Radcliffe possesses a unique combination of talents invaluable to the industry. He is able to keep up with the greatest extreme athletes in the world, giving viewers the opportunity to experience life’s adventures in corners of the globe we’d otherwise never see.
Radcliffe has been directly responsible for capturing cutting edge footage included in some of the nation’s top-rated shows including Travel Channel’s critically acclaimed series Jackson Wild as well as The Last Alaskans, Animal Planet’s second-most-watched series last year. A professional lacrosse player turned cinematographer, Radcliffe has dedicated thousands of hours to perfecting his craft, and has captured breathtaking images from the Alaskan Yukon to the great African plains while keeping up physically with the world’s most extreme sporting.
No stranger to the frigid Alaskan temperatures, Radcliffe displays his strengths flawlessly for multiple shows based in the Alaskan climate. One show in particular, National Geographic’s Dr. Oakley: Yukon Vet, showcases this cinematographer’s visions magnificently. Without Radcliffe’s sharp eye, technological ingenuity, and physical stamina, Dr. Oakley’s life-saving emergency surgeries performed in season 2 may have never been captured. Radcliffe’s contribution to the production not only brings picturesque scenery and landscapes into homes worldwide, but it also opens up the doors to catch a glimpse of science and biology so uniquely fascinating, yet otherwise unobtainable.
Last week I got the opportunity to interview Radcliffe about his work as a cinematographer. In our interview, he opens up about what led him to pursue a career in the field, his views on the relationship between technology and storytelling, and the importance of physical fitness in his field of work. For more information on Ross Radcliffe, be sure to check out the interview below.
Where are you from? When and how did you become a cinematographer?
RR: I’m from Nanaimo, British Columbia, Canada, on Vancouver Island. I became a cinematographer in college; I was actually a star athlete on both the lacrosse and track & field teams- I was even drafted to play professional lacrosse- but unfortunately, after sustaining a series of bad injuries, I made the tough decision to put an end to my athletic career. I quickly turned my attention to camera work, dedicating all the time I’d previously spent training my body into training my eye behind a camera. Before long, I was producing my own videos, which lead to an internship with Susie Films, a full service, pitch to post production company. That internship turned into a full-time job, and before I knew it, I was shooting content for reality TV, commercials and short films. I now work as a freelance cinematographer for National Geographic, Animal Planet, Discovery Channel, and Travel Channel. As a cinematographer, I specialize in the projects that are both physically and technically demanding.
What does the work of a cinematographer entail? What are your responsibilities?
RR: To be a cinematographer is to be a visual storyteller. I get to craft images that effectively move the audience through a story, with all the twists and turns of emotions along the way. As a cinematographer, I test and select camera and lighting packages that will best tell the story at hand, and I communicate with the director to best craft the image of the story they strive to tell. I think a big responsibility of mine, due to the type of projects I shoot, is to stay on top of my physical conditioning. When I film a subject, I want to make sure their are no barriers between the story and the audience, so I have to be a pro at following along, no matter the conditions or situations might be. In my field, a good cinematographer blends into the situation to let it play out as naturally as possible.
What do you think makes good cinema?
RR: I believe that good cinema comes from the relationship between technology and storytelling. When those two things work well together, people will watch.
What has been your favorite camera to use so far and why?
RR: My favorite camera is the Sony FS7. This new camera, capable of filming footage in 4K resolution, is the perfect camera for adventure-based cinematographers like myself since it is lighter than its predecessors, and has the ability to shoot a wide variety of profiles to suit all types of projects, and can be outfitted with a variety of third-party accessories. To that end, the Sony FS7’s native E-mount lensing system can easily be adapted to use both Sony and Canon lenses, which are both phenomenal lines of lenses.
Can you tell me a little bit about the projects you’ve done?
RR: I was the director of photography on The Travel Channel’s show, Jackson Wild. The show revolved around the Jacksons, a family comprised of the world’s best professional kayakers. During this production, I followed the Jackson family to Germany, Austria, South Africa, England and Zambia, where I faced the crazy challenge of keeping up with them- physically. Being an athlete myself, I was able to capture mountain biking through Europe and waterfall jumping in Africa but, for the record, running around Africa with a 40 lb camera on your shoulder isn’t easy!
I also worked on National Geographic’s Dr. Oakley: Yukon Vet, as the director of photography. I really enjoyed being just one step behind Dr. Oakley, a famous wildlife veterinarian, through Alaska and the Yukon as she gave aide to all different types of animals. While this project was extremely demanding physically and sometimes entailed stepping in stinky animal droppings or running from an angry muskox, I was honored to be part of such a small, handselected team. Each member demonstrated such an amazing ability to wear many different hats, so to speak, and the results were well worth it. Looking back on the experience, I really loved capturing the vast personalities of the beautiful Alaskan backdrop, and using it as almost another character in the show.
Perhaps one of the most fun and challenging project I have contributed to is The Animal Planet/ Discovery Channel’s The Last Alaskans, where I was worked as a specialty camera operator and equipment mechanic for the entire second season. The Last Alaskans has garnered critical praise from top international publications around the world for its genre-busting take on the people and families who reside in the Alaskan Wildlife Refuge, located just above the arctic circle. During production, the crew lives out in the field with the talent; to give you an idea of what this is like, I can tell you that every morning I woke up in a tent in -30 degree weather, and immediately started a fire. Long story short, making this show wasn’t easy, so producers gathered only the best crew in the TV industry to execute the show’s production because of its extreme physical and technical nature. With the great success of this show discussed in the New York Times and the Washington Post, I am proud of my important contributions to the production.
What would you say your strongest qualities are as a cinematographer?
RR:I take great pride in my physical ability to endure extremely harsh and exhausting environments while capturing content. I also keep myself well versed on the latest and greatest camera technology as it hits the market, and I figure out how it can be best utilized in the field.
What projects do you have coming up?
RR: I am the Director of Photography for the next season of Dr. Oakley, Yukon Vet. I have also been offered a job with Discovery Channel’s Alaska: The Last Frontier, but until I have a visa, it will be impossible for me to accept this opportunity.
What are your plans for the future?
RR: I plan on continuing to travel the world, gathering and telling stories of unique people in captivating places. I am also interested in working on feature films.
What do you hope to achieve in your career?
RR: I want to create a body of work that I am proud of; ultimately, I’m determined to tell stories that inspire and move people.
Why are you passionate about working as a cinematographer and why is it your chosen profession?
RR: Being a cinematographer is the only job I have ever had that doesn’t feel like work. Every day that I wake up on location, I truly cannot believe how lucky I am. I’m honored and humbled to be instrumental in telling stories about people and places that would have gone otherwise unnoticed. It gives me a beautiful opportunity to put myself in the shoes of people living a different life experience than me, and I love trying to see the world from their eyes.
We are all born with unique gifts that make us different from the rest of the masses. Some know from an early age exactly what those gifts are, while others, arguably the majority, have to go through the sometimes grueling process of trial and error before their true ‘purpose’ shines through clearly.
Today, Toronto-based photographer Peter Tamlin is sought out by major companies like cosmetic leaders including MAC, CoverGirl, Revlon and Clairol to jewelry designers such as Dean Davidson and award-winning stylists like Caffrey Van Horne to use his creative eye to capture their products and designs for all the world to see. But, if you asked Tamlin back in high school how his life would look in 10 years, chances are he wouldn’t have predicted himself having a career as an internationally celebrated photographer, but that’s exactly what has happened. After discovering his love for photography at the age of 19, he dove in full force and hasn’t looked back since.
Aside from the impressive list of clients Tamlin has shot for to date, he has also had his personal photography work featured in gallery shows including the “Vision-Perceptions of Light” exhibition at the Warren G. Flowers Gallery in Montreal, Canada.
In 2011 he earned the award for Best Fashion & Beauty Photography from the prestigious Applied Arts Photography & Illustration Awards for the intriguing black and white photo he took of Tea that is featured below. The way he endows the shot with a feeling of movement and the whimsy of a fairy tale make it a difficult photo to take our eyes away from.
Tamlin has shot editorials for a diverse collection of some of the most read magazines around the world including Fashion Magazine, Plastik Magazine, Lush Luxury Magazine, Fantastics Magazine and countless others. While he is continually pushing the boundaries of the mainstream with his personal photography style, what has made him such a success in his field is the fact that he is able to strike a balance between what his clients want and what he finds creatively inspiring.
Regardless of whether they are fashion models donning new designs or products for the various companies that hire him to shoot their ad campaigns, Tamlin is a miracle worker when it comes to creating the perfect lighting to capture his subjects. His unique ability to light a model’s skin in a way that glows effortlessly while still looking natural was a huge draw factor for Shoppers Drug Mart, which hired him to shoot their Glowing Skin campaign in 2013.
To find out more about photographer Peter Tamlin, what inspires him and how he got to where he is today, make sure to check out our interview below. You can also check out more of his work through his website: http://www.petertamlin.com/
Where are you from and how did you first begin learning photography?
PT: I was born in Scarborough, but raised in a small town named Stouffville, both in Ontario, Canada. I’m now based in Toronto.
When I was 18, one of the first friends I met in Toronto was a photographer and was an assistant to famed photographer David Lachappelle. My friend would always show me David’s photography books and expose me to the many types of pop-culture photography coming out of New York. When I was 19, I bought my first 35mm film camera and began shooting and experimenting.
Are you self-taught or did you go to school to study photography?
PT: When I was 23, I moved to Montreal and enrolled in the Dawson Institute of Photography. It was a two year program and I graduated at the top of my class.
What is it about photography that first inspired you to pursue it as a profession?
PT: Basically, I love the idea of being creative and creating artwork that is captivating and original. Professionally, I detested the idea of working a 9-5 job and doing the same thing everyday. I wanted a career where I could always be setting new goals and where there is no limit to the success I could have.
I also wanted flexibility with my schedule and to be able to work when and where I want. I love the idea of being able to travel as well.
Can you tell our readers about some of the projects you’ve shot?
PT: In Jan 2015, I was hired as photographer for a campaign and hair competition shoot for Aveda Canada and specifically for Civello, which is an Aveda Salon in Toronto. Over the course of two days we shot 7 different models, each with different hairstyles. The photos were used in a campaign and also entered in the NAHA’s (North American Hair Styling Awards) and also the Constessa’s, which is a Canadian hairstyling competition. The entry was named a finalist in the CONTESSA Awards for Canadian Salon Team.
I was hired for this shoot by Aveda Canada’s Creative Director, Kristjan Hayden. I worked directly with Kristjan to develop the direction for the shoot. The concept was based on movement and motion of the hair, so with the specific lighting I developed with Kristjan, I was able to use a special effect to illustrate the movement.
I believe the reason I was asked to be involved in this project was because of my unique creative vision and my ability to bring original and captivating ideas to this project. Hair photography is not only about showing the detail in the hairstyles, but also about presenting the hairstyles in creative and interesting ways. I think the specific lighting, set, special effects and retouching treatment I produced for this shoot are extremely unique, interesting and effective.
In 2013 I was hired to produce the Glowing Skin advertising campaign for Canada’s largest drugstore chain, Shoppers Drug Mart.For the Glowing Skin Campaign, we shot 4 different models in one day. The purpose of the shoot was to showcase clean, healthy, glowing skin. The photos were used in a national advertising campaign, appearing on billboards, in stores, newspapers, magazines, online and many other advertising outlets.
I was hired again as photographer for Shopper’s Drug Mart in 201 for their 30 Days of Beauty campaign. We shot 30 different models ranging in age from 16-60, over seven days. The purpose of the campaign was to showcase diversity in beauty. Again, the photos were used in a national advertising campaign appearing on billboards, in stores, newspapers, magazines, online and many other advertising outlets, as well. Each model was featured for each day in September 2014.
It was extremely important for these projects that the lighting capture the detail on the skin and the texture and colour of the products used. The lighting I used for both shoots was designed specifically to the needs of each campaign. For the Glowing skin campaign, it was very important that the skin looks healthy and glowing. The lighting that I designed incorporated many different light sources from multiple directions giving the skin enhanced luminosity.
For the 30 Days of Beauty campaign, it was very important that we showcased diversity in beauty, but in many different ethnicities and ages. The lighting that I used was softer and more flattering than standard beauty lighting. This meant that the light helped highlight and enhance each model’s own beauty.
Early in 2015 I was hired by Dean Davidson, a top Toronto based Canadian jewelry designer, to shoot his spring/summer campaign. Being the first time I had a chance to shoot for Dean, I wanted to do something completely original for him, so I suggested that we have the model pose in a pool of water. The model’s name was Hannah Donker from Elite Models in Toronto.
Then in October Dean approached me to shoot his fall/winter campaign. Again, I wanted to do something original, so I suggested shooting in a set of mirrors. The model’s name was Emily Van Raay and she’s represented by Anita Norris Models in London, ON. I worked with a very talented team with Greg Wencel doing the hair and makeup, and George Antonopoulos as the stylist. Both shoots were a great success and very well received.
In June I was hired to shoot an editorial for the September issue of FASHION Magazine, which is Canada’s leading fashion magazine. The editorial was titled “Team Spirit” and the theme for it was androgyny. It was a 10 page editorial and we shot in the ballroom of the historic King Edward Hotel in Toronto. The editorial featured two models, Alice Ma, represented by NEXT Models and David Chiang, represented by Ciotti Models, both in Toronto. Hair and makeup was by Susana Hong and the Fashion Director was George Antonopoulos. The editorial featured many top fashion brands including DSquared, Burberry, Vivienne Westwood, Gucci and Dries Van Noten.
Most of my work is photography, but I am also inspired by music videos and films, so over the past few years I have branched out in that direction. In 2013, I was hired to produce and direct and show package video for one of the top male modeling agencies in Toronto, Elite Model’s.
In one day, we shot nine different male models in the studio in front of a black background. The video was black and white and high contrast. I really enjoyed the editing process of the project and I was able to experiment and create with many different filters and effects. Even though the video is very different from my photography work, it was very popular and gained over ten thousand views online.
What has been your most memorable shoot?
PT: I would have to say that most memorable shoot would be the Elite Models video. It was a project where I had no restrictions or limits to what I could do. I was able to experiment with editing and effects and create something very bold and original. Also, it was great working with all of the models. Shooting photos can sometimes be tedious, but shooting this project was very exciting and enjoyable. It is probably the one project that has gotten me the most exposure.
What is inspiring you as a photographer now?
PT: It’s hard to say what inspires me now. My inspiration changes daily. At the moment I am really inspired to do shoots that are very dark and macabre. When the industry is moving into a more bright and fresh mood for Spring, my gut is telling me to go in the other direction.
Aside from the jobs that you are hired on to shoot, how would you describe your personal photography style?
PT: Captivating, dramatique, intense and unique. My main priority as a photographer and visual artist is to always be creating work that is original and reject the “norm.”
I always try to go against the grain and turn convention on its head. My most successful projects have been ones where I did something unexpected. I also enjoy experimenting with contrasting colours.
How much freedom do you have when it comes to creating the direction of a shoot for brands like Mac and Covergirl?
PT: Unfortunately, with those two clients specifically, I don’t have much freedom. For Covergirl, the direction was very conservative and commercial. Basically, it was a standard beauty shoot. We shot a pretty model with 4 or 5 makeup looks. The lighting was very basic in order to show off the product.
Clients like Dean Davidson, Greta Constantine and Aveda are the ones that give me more creative control. I generally have no limits to how creative I can go with the direction for those shoots.
Do you have a specific area of interest or subjects that you prefer to focus on with your photography?
PT: Commercial. I like to focus on conceptual beauty and hair projects. I find that I can be more creative in that area than the standard fashion shoots.
For my creative work, I like focus on models or subjects that are unusual, bizarre and outside of the norm. I like photographing unique characters that don’t fit in the fashion industry’s molds.
How do you keep productive and retain your creative edge?
PT: I try to keep productive by always exposing myself to different and new experiences and people. I’m constantly researching new concepts and lightings. The best way I’ve been able to retain my creative edge is by always pushing myself to do what no one else is doing, being original and pushing boundaries.
What has been some of the best advice given to you by another photographer?
PT: The best advice I’ve received wasn’t actually from a photographer, but one of my best friends. When discussing what career path I should take, he said I should “do what I love.” It was really the catalyst for me to pursue photography professionally.
What special advice would you like to share with other photographers?
PT: Don’t follow trends.
Do what makes you happy.
Who are some of your favorite photographers?
PT: David LaChappelle, Steven Klein, Mert & Marcus, Txema Yeste and Solve Sundsbo.
What equipment would we find in your camera bag or studio for a typical shoot?
PT: Generally, I shoot with a Canon 5d Mark II, my MacBook Pro, and a Profoto ComPact-R kit and lots of colour gels.
What lighting equipment do you favor and why?
PT: Profoto is the brand I learnt with and probably the most popular and versatile.
Spanish model Bautista Zorio Munoz and Mexican photographer Diego Fierce teamed up to create a heavy-hitting one-two punch for fashion editorial features. The collaboration brought together two extraordinary talents – who are both atop their crafts and industries – and who deliver awe-inspiring photographic brilliance.
“I always take a strong personal interest in the models I work with, and I have been very gratified to see Bautista’s career take off over the past several years,” said Fierce.
Munoz says, “Diego is certainly a go-to photographer in the business and I’ve always come away impressed and elated in working with him. He’s a photographer who knows how to get the best out of his shooting subjects and we’ve completed some incredible work together.”
A native of Valencia, Spain, Munoz has firmly supplanted himself as a debonair male model of international commendation. He has graced the covers of Minus10 Magazine and Fantastics, modeled for campaigns for Tommy Hilfiger and Abercrombie & Fitch, and been featured as a leading model for editorials published in fashion magazines such as GQ Mexico, Caleo (Germany), Rocket, Coast, Agenda, Adon and more.
The widely achieved and celebrated Fierce has shot cover images and editorials for premium lifestyle magazines such as Ene (Mexico), HUF (U.K.) Minus10 (U.S.) and others.
Munoz and Fierce worked together on an editorial feature for Rocket magazine, a prominent men’s fashion publication headquartered in Barcelona. The feature concentrated on an athletic theme that immersed Muñoz in a modeling portrayal of a schoolboy soccer player.
“In the editorial, Bautista provided a knockout performance that was sensual, confident and very memorable,” Fierce said. “He was a natural at delivering strong poses and expressions that suggested everything from a cocky playboy attitude to that of a moody, passionate lover. He also did a brilliant job of modeling the nautical-style shirts and shorts selected for the feature, making them all look quite stylish.”
Munoz said, “The shoot was exciting and fun. The soccer theme was something that came together really well and I think we did a nice job in bringing this feature to life in a very intriguing way for the magazine.”
Munoz’ breathtaking appearance was pronounced by his muscular torso and raw, handsome physical features. But the remarkable work came together too because of Munoz’ refined ability to create exhilarating drama within the imagery.
“Bautista absolutely embodies these qualities, and infused every photo with a strong sense of emotion that set him and his work far above many of his peers,” said Fierce.
The dynamic duo again collaborated on a cover editorial feature called “Perfect Confidence” for Minus10 magazine.
“He excelled at transitioning through the many distinct outfits and looks we had prepared for him, which ranged from underwear to sports jerseys to stylish suit jackets and leather boots,” said Fierce. “Bautista always knew how to model each item of clothing in order to draw out its most attractive qualities, and played the part of a classy urban gentleman just as easily as that of a sporty athlete.”
Of Munoz’ visual presence, Fierce said, “Bautista’s rich black hair and dark smoldering features were especially vital to the look we wanted for the projected, as they contrasted beautifully with the array of light and dark pieces we chose for him.”
With a repertoire of work that spans many genres, photographer Emma McIntyre’s creative eye has captured endless subjects in a way that speaks to audiences around the world. Whether she is shooting celebrity portraits or capturing the energy of an environment, Emma McIntyre’s natural photographic style reveals her subjects with a surreal-like beauty, and something she likes to call the ‘pause’ in between our ever-changing reality.
Over the years, McIntyre, who has has amassed an impressive client list that includes Horses Atelier, Sennheiser, Hudson’s Bay Company, Tiffany & Co, and many others, has had countless images appear in magazines and newspapers like Rolling Stone, Nylon, Spin, The New York Times, and Toronto Life.
Read our interview below to find out more about this incredible photographer.
TTNN: For those who don’t know you, could you tell us a bit about yourself?
EM: I’m a photographer from Toronto, Canada. I shoot a mixture of editorial, fashion and commercial work.
TTNN: How did you learn photography?
EM: I started taking pictures in high school where I had a great instructor and learned in a dark room. We also always had cameras lying around the house because my dad was a hobbyist photographer, as was his father. I inherited a Pentax Spotmatic when I was 16 and fell in love with the whole process.
In University I worked as the photo editor for our campus paper and ended up shooting a lot during that time as well. Eventually I studied photography at NMIT (North Melbourne Institute of TAFE) in Melbourne, Australia for two years.
TTNN: What equipment would I find in your camera bag or studio for a typical shoot?
EM: My Nikon D3S with 85mm and 35mm prime lenses.
I also love to use my film cameras – a Hasselblad and a Mamiya 645 film camera. On commercial jobs it’s harder to shoot film, but I still love the feel of it and think it’s unparalleled.
TTNN: What lighting equipment do you favor and why?
EM: My preferred light is natural light but I’m fortunate to have worked with some great lighting techs in studio who have taught me how to recreate beautiful lighting scenarios that emulate natural light.
TTNN: How many shots on average do you shoot during a session?
EM: It really depends. With digital as you know it’s so easy to go overboard. I think that’s another reason I like to shoot with film if I can. You are so much more deliberate and don’t have the option to constantly check what you’re doing and tweak it. Film still forces you to be a bit more instinctive and trust that you’ve captured what you needed to. That being said I do commercial and fashion shoots with digital and in those cases can shoot hundreds of images. Especially with assignments like lookbooks when you’re firing off a lot of frames to make sure you capture a variety of angles and looks.
TTNN: Can you tell our readers about some of the projects you’ve worked on?
EM: Recently I’ve been working with the Toronto fashion designers Horses Atelier on their lookbooks and e-commerce. It’s been a really rewarding evolution collaborating with them and their art director to strike a balance in the look with something that properly shows the clothing while still remaining artful. I’ve loved finding that balance and their clothing is so well designed and executed it’s great to work with.
Lately I’ve also been shooting a lot of music – live concert photography as well as some backstage portraits. It’s really challenging to work with the changing lighting conditions and in a really limited time (usually the first three songs only.) I’ve loved trying to capture something unique and being a part of that performing energy is really invigorating. I’ve shot several music festivals this summer like Osheaga, North by Northeast and TURF Festival.
I have an ongoing collaboration with interior designer Timothy Johnson in Toronto. I love his design work and some of his projects have been featured in House and Home, Objekt, and Toronto Homes. I’ve documented all of his projects over several years and love the meditative aspect of just shooting spaces and objects. Editorially speaking I’ve been published in a lot of local magazines like Toronto Life, Fashion, The Grid and re:porter and internationally in places like Monocle and NYLON.
TTNN: What has been your most memorable photo shoot, and why?
EM: Probably my favorite shooting experience was in Cuba – which wasn’t an assignment – I brought my Hasselblad there and it sounds like a cliche but the textures of the buildings and the color and life of the place was so inspiring to photograph. I took some of my favorite photographs in that country. By the end of the trip I actually felt visual fatigue from seeing so many beautiful things.
TTNN: I noticed on your website you have a section entitle ‘productions stills’, what productions have you worked on?
EM: I’ve worked as a production stills photographer (or unit stills photographer) on a number of films and television shows. My first job of this nature was for the documentary Don’t You Forget About Me about filmmaker John Hughes. Here I had an opportunity to travel with the crew and shoot B roll as well as still images on a road trip to Chicago to John Hughes’ hometown. From there I worked on a number of television shows including Curious and Unusual Deaths, Inventions That Shook The World, Rescue Mediums, Totally Amp’d and Million Dollar Critic as well as films such as Everyday is Like Sunday and Diamond Tongues (currently in post-production.)
In this role you are tasked to capture images that will function as publicity images as well as capturing general atmosphere for posterity and details for continuity. It’s always an interesting experience as a photographer because you are working with film/ tv set lighting. It’s a great learning opportunity because lighting techs in film and TV are so knowledgeable and shooting with their set-up is a bit of a luxury. It can be a fun collaboration with the producers/ directors when conceptualizing what will work for publicity images. For the show Rescue Mediums (a show about two mediums from England making house calls in North America) we decided to shoot in a foggy cemetery at night. My lighting equipment kept malfunctioning and the team was convinced it was supernatural forces at work. I like the TV and film world because it always takes you to places you wouldn’t expect and especially in the more documentary type of television you have an opportunity to encounter interesting experts and perspectives.
TTNN: You’ve had an opportunity to shoot a long list of celebrity photos, can you tell us a little bit about that experience, and some of the people you’ve shot?
EM: I collaborate with a team of great people here in Toronto who produce a long format interview magazine about cinema called The Seventh Art. They’ve attracted a number of well-respected directors to be part of the magazine and I’ve captured stills during the taping of these interviews and then often had an opportunity to capture a portrait after the interview. They always chose interesting locations around the city to conduct the interviews so this gives me an opportunity to shoot environmental portraits in new spaces. It was through this magazine that I had an opportunity to photograph Peter Bogdanovich, Xavier Dolan, Andrew Bujalski, Christopher Doyle, Whit Stillman, and Paul Schrader. I was especially excited to photograph Peter Bogdanovich as I was a huge Sopranos fan and I think he has such an iconic look. I had about two seconds to capture a portrait of him between takes and he just stared deep into the barrel of the lens and gave me an image that I just love.
TTNN: What inspires you? Who are some of your favorite photographers?
EM: Lately I’ve been loving the work of Pari Dukovic. He’s been appearing a lot in publications like the New Yorker and his portraits are so imaginative and his use of color is so beautiful. Some photographers I have admired for a long time include Nadav Kander, Autumn de Wilde, and Lauren Dukoff. Vivian Maier has been an amazing discovery in the photography world – her street photography is so inspiring. Instagram is also great in that way as means for discovering new photographers. I think it’s so important to try and soak up every type of culture for inspiration though. I find inspiration in music and film as much as other photographers. I recently saw the Nick Cave documentary and it’s always so interesting to witness someone else speaking about their creative process. His discipline and the longevity he’s had with his career is so inspiring.
TTNN: Do you have a specific genre that you focus on with your photography? What is it and why are you passionate about it?
EM: Like many photographers, I’m most passionate about photographing people. That being said I love assignments where I’m asked to go document an event, space, neighbourhood, etc. Anything that takes me into a new environment is always so stimulating and I love making use of whatever lighting situations I encounter to create something interesting and tells the story of the place/ person. Portraits are more challenging because if it’s successful it’s telling a powerful story with one image. Something that communicates more than just the surface and actually relays something about the person. My love of documentary style storytelling means I pretty much love every assignment– everything presents new challenges and often you have a really limited time to capture the essence of the person, place, or environment.
TTNN: How would you describe your photography style?
EM: In terms of style I would say I like to capture quiet candid moments and expressions both in people and in urban landscapes, details and still life. I suppose it could be described as documentary/ lifestyle with a bit of a stylized/fashion sensibility. Ideally I am striving to capture a subtle emotion, something that appears in the in between moments which can be awkward and beautiful. For all my subjects – interiors, people, still life/ food – I prefer to use natural light and try to communicate the brief moment of pause – before words are spoken, spaces are entered, still life is changed.
TTNN: How do you keep productive and retain your creative edge?
EM: Being freelance forces you to be inventive and disciplined in terms of finding new work. As far as creative edge I think it’s important to expose yourself to lots of new art, film, music for inspiration and travel always makes me feel newly inspired – even if it’s just a road trip outside of the city to get a different perspective.
One of the most captivating things about a film, or rather, a good film, is the compelling nature of its imagery. The way a single shot can effect our emotions as an audience provides cinematographers with the powerful tool to create a visual language that runs along with the film’s story.
French cinematographer Johanna Coelho falls into the group of cinematographers who are known for making films that draw viewers in with their film’s visually stimulating imagery and leaves them with an emotional experience.
Coelho explains, “Images have always been a passion for me. From an early age onward I was very interested in understanding how we can visually transmit feelings and emotions.”
What separates the best cinematographers from the mediocre is their ability to shift the mood and style of the images in a way that is cohesive to the ever-changing elements of the story— but more importantly, they need to accomplish this without the audience noticing.
If viewers become preoccupied with the images in a film to the point of overshadowing the story, then the purpose of film as a medium for expression has been lost.
This subtle balance is something that Johanna Coelho, and the rest of the world’s most renowned cinematographers, recognize and execute on a daily basis in their work.
“My job is to create images that represent the vision of the director in the film,” said Johanna Coelho. “I have to be able to interpret emotions visually and create the story’s various atmospheres in the best possible way. I like to say cinematographers are visual psychologists.”
Coelho, who is originally from France, has worked on an impressive list of projects that not only show her diversity when it comes to choosing what images strike the perfect balance in the way of what’s appropriate for contrasting genres, but also display her unparalleled abilities to propel the overall energy of the story to a place that visually impacts viewers’ on an emotional level.
As the cinematographer, also known as the director of photography, of the film Scaremonger, which debuted earlier this year, Coelho was in charge of creating a juxtaposition of imagery that had elements of both realism and fantasy. The film centers on the story of a mother worried for her son who is being bullied by the neighborhood kids.
“The director wanted to treat this social issue as a dark fairytale,” said Coelho. “I had to create this magical atmosphere for the mom’s nightmares versus a pretty realistic look for the day scenes. We created gigantic shadows representing monsters appearing on the walls, we tried to make them happen as much as we could on set, and for some of them we had to use VFX. It was very interesting to see what the limits of what we could achieve on set with the resources we had were.”
The outcome of the film serves as a testament to Johanna Coelho’s extraordinary creativity and skill as a cinematographer. The film did astonishingly well on the festival circuit where it received the awards for Best Narrative Film at the 2014 California International Shorts Festival and Best LGBT Film at the 2014 Fulbright Film Festival, as well as was an Official Selection at the IFS Film Festival, Serbia’s Cinema City Festival, Costa Rica’s International Film Festival, and the renowned Montreal World Film Festival.
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