Page 8 - Capture Nov 21-Jan 22

above and below the line. Several of the campaigns he worked on were developed for traditional media, he says, and some specifically for online. Much of his work, though, was used as part of integrated campaigns. Sawa’s commissions were predominantly for online campaigns and integrated across the brands’ respective social media channels. By August, Melbourne had reached more than 200 days of lockdown since COVID began which, he says, greatly affected his workload. “Thankfully, several of the commissions I did get have been career highlights,” he adds. Goodall has mostly shot for out-of-home, with secondary imagery used in social. “For the most part, this has involved capturing short motion content for social media and pre-roll ads,” he notes. Peachey found that most of his work was used for billboards. For AAMI, he shot billboards, stills, and online content for an integrated campaign.
Real meets surreal
Stylistically, Goodall feels that there has been a shift within the industry back towards a more crafted image. “In previous years the trend has been to convey authenticity and capture ‘real moments’,” he says, “whereas I feel as though 2021 has brought back a more considered approach. I feel that the authenticity sentiment still holds true in the current climate, but the process to get to the end result has become more intentional and deliberate.” Greenaway has also noticed a shift away from the “keep it real” movement in the last few years. “I’d say I’ve seen an increase in heavy retouching, compositing, and 3D elements being used in photography,” he notes.
Peachey has experienced the reverse. “I’ve noticed a shift towards ad campaigns [here] that have more of a realistic, lifestyle feel as opposed to LA and the US, where there is a focus on ‘lit’, orchestrated,
ABOVE:
Shot for Uber Eats.
Agency: Special Group. Retouching: Cream Electric Art.
Simon Cowell photographed by Simon Emmett.
MAIN: Sustainable fishing campaign showing Chatham Island Food Co. Commissioned by Kingi Restaurant and Tourism
New Zealand. Retouching: Dan Corian Vlad.
RIGHT: Part of a personal project, WITNESS.
and hyperreal.” Tovo feels that while there have been changes in advertising photography, they began with the onset COVID in 2020. “Those changes have been massive and there’s been readjustment throughout the entire industry from the top down,” he explains. “The big one is effectively learning how to communicate remotely.”
Sawa has observed that the proliferation of emotional storytelling over the last several years has continued. “It's interesting to see the lifestyle focus in light of the current situation we find ourselves in – locked in,” he adds. “Perhaps it’s all about hope...?” This kind of imagery, he adds, is not his special genre. “Instead, the campaigns I have worked on have a more visually dynamic, conceptual focus, and are less ‘on-trend’. Frequently, clients still want my minimalist, artistic approach with high-end execution. Many creative directors reference my fine art imagery as a base for their creative advertising campaigns.”
Perfido has noticed agencies being challenged. “This year, creative agencies have had to adapt to a new way of working and communicating. They have not always succeeded in their intent, unfortunately choosing easier ways too often. However, we must understand that we are experiencing a period of unexpected and new difficulties, and that it takes time to know how to communicate in this new landscape.”
Finding your inner coach
That 2021 was professionally and personally challenging for photographers too, will surprise no one. “The greatest challenge this year has been staying motivated,” Peachey confesses. “Literally, you have just been given an amazing campaign to shoot only to discover that it has all been taken away again by another lockdown. You’ve had to dust yourself off and begin the marketing enterprise again,
8
capturemag.com.au
[capture] nov.21_jan.22
© CHRISTOPHER TOVO