Page 7 - Capture Nov-Jan 2021

a look back at 2020 advertising
Almost universally, advertising photographers have found the last year to be challenging, to survive both financially and creatively. But surprisingly, a lot of good came out of 2020 as well. Here is that story, told by photographers and agency creatives who conquered it. Candide McDonald reports.
Photography no longer plays the same role in advertising as it once did. The gorgeous, glossy image-as-hero full page, full-colour spread is not the campaign highlight it once was. At the D&AD Awards, one of the most prestigious international advertising awards, it still features with a category of its own even though this is no longer the norm in major advertising awards, and the same standard of excellence still applies during judging. German photographer Esther Haase was a jury member this year. She states, “During the process we were always asking ourselves in the jury, is the work worthy of recognition, was it beautifully executed, is it outstanding work, has it creative excellence, is the idea brilliant, ground-breaking, is it surprising and can it change my point of view, widen my horizon, does it awaken my emotions, does it touch me?” 2020 made those requisites even harder to satisfy, adding challenges of its own to those that have been building due to advertising’s ever-increasing exploration of mediums other than print, which this year have even included gaming and TV series.
The photographers’ 2020
The greatest challenge, as Sydney advertising photographer Sean Izzard notes, was the same for everyone – no work at all for much of the year. “Lockdown saw productions come to a complete standstill, as social distancing meant no crews or locations.” For American photographer Randal Ford, an extra challenge was getting in front of potential clients and maintaining awareness. “We used to be able to send direct mail or do in-person portfolio shows, but that is no longer an option and, in my opinion, will not be for some time.” Randal augmented his social media, e-mail, and agent’s marketing efforts with a second book, and more books planned simply because of the awareness potential. One of the greatest challenges with high-end photography, he adds, has been work consistency. To deal with this, Ford invested in the fine art side of his business so that he is not completely dependent on getting the next big ad job.
Ex-art director and now photographer, Dana Neibert also found COVID a challenge. Commercial photography was largely shut down in the US in the middle of March, he recalls, and for the most part still was in August. A few productions started to emerge in the second half of the year, but many advertisers were wary of the risks during this time, he noted. Neibert’s first shoot for the year was in August.
Sydney advertising photographer Andreas Smetana says, “The whole year was a challenge; a challenge to survive financially and to survive creatively”. Now in what he describes as a fairly good position, he says that it took a lot of thinking. “What I tried to concentrate on, purely professionally, was what I wanted to do. I thought, ‘What can I do to get through this without losing my dignity’.” For Smetana, the answer was luxury goods, notably cars. He was able to do work for Lexus, Audi, and Hyundai.
The ad creatives’ 2020
COVID also challenged commissioners. Dave Brady, creative director at Colenso BBDO, recalls, “We’ve been incredibly lucky with the impact COVID has had here in New Zealand compared to the rest of the world, but it’s still been a tough year on top of an already tough environment for stills. More and more we’re being
MAIN: "This wasn’t what was scripted, but sometimes it is fun to experiment and find something new on set."
Campaign: Hard Rock Tampa Client: Hard Rock Hotel and Casino
Agency: Redline Media Group
Art Director: Victor Ortega
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