As a fashion photographer, Adam Flipp captures feelings and energy with his viewers that communicate a message and act as aspirational for a consumer. He uses art to evoke commercialism, using his unique eye to capture visual masterpieces that many of the world’s largest companies then use to market their products and brands.
Flipp has made a name for himself in Australia as a celebrated fashion and portrait photographer, working with some of the world’s most recognizable brands. He has travelled the world doing what he loves, shooting for Hewlett Packard, Johnny Was, Magic Millions, Nike, and many more throughout his well-established career.
Throughout the years, Flipp has also shot for many high-fashion projects, including the tenth season of the iconic series Australia’s Next Top Model. Australia’s Next Top Model is the extremely popular Australian version of America’s Next Top Model, on which Flipp performed a leading and critical role as a photographer. Flipp was a photographer in the models’ screen test challenge. After this, he shot the models in a session at Cradle Mountain in Tasmania. These shoots prominently featuring Flipp aired on Episode 5 of Season 10, which aired on television in Australia, New Zealand, and throughout Asia featuring world-renowned model Gemma Ward. He worked closely with stylist Jessie Heart, who asked Flipp to join the team.
“Working in Tasmania was amazing and probably the coldest environment I’ve ever worked in. The grass crunched when you walked on it and seeing how determined the girls were to succeed in these punishing conditions was inspirational,” said Flipp.
Flipp has previously seen the show and aspired to be better than any of the other photographers they had. He had found previous seasons often had stiff photographers, and he didn’t want to come across as wooden and tight, because he knew it would make the aspiring models nervous. He therefore pretended that he wasn’t being filmed and focused on doing the job as if it was like any other fashion shoot he had conducted in his past.
“The location was amazing, and the crew were really cool. They were all true professionals,” he said.
The photoshoot challenge for Flipp’s episode was to send the girls into freezing cold conditions to model in swimwear and activewear. Therefore, Flipp had to get high results quickly, especially because the models were also inexperienced and had never been shot in these conditions before. Flipp managed to produce photos that captured the beauty of the freezing scenery and the essence of each model.
When Flipp first looked at the models, he was worried that the season would not produce a model worthy of the opportunities that the finalist receives for winning the show. However, the moment Flipp put his camera on Aleyna Fitzgerald, he knew she was the winner. He found that immensely rewarding, helping launch the career of someone so deserving. For the photographer, it felt like destiny.
“I love the fact that the end result of the show is that one of the models gets given the chance of building a really successful modelling career. In this case it was Aleyna Fitzgerald,” Flipp concluded.
When it comes to movies, the audience always focuses on the actors and plot line, yet there’s one key behind the scenes player who not only captures the entire picture, he also conveys the mood and atmosphere in manner that really puts the entire plot and action across. This, of course, is the cinematographer, an essential contributor to any film and one of the top young guns working behind the camera in 2018 is the talented British-born cinematographer Guy Pooles.
Pooles came to the field through an unlikely conduit, one both poignant and liberating in its unusual nature.
“I’ve always suffered from quite severe dyslexia,” Pooles said. “Growing up, this would make it difficult to consume fiction via the reading of a book. So, films became my primary window into the world of fiction and storytelling. Paired with this fascination for cinema, I also adopted, at a young age, a great love for photography. As both of these interests grew and deepened throughout my life, they slowly evolved to form one entirely consuming fascination with the art and craft of cinematography. I was and continue to be, endlessly amazed at the human ability to tell stories through nothing more than the juxtaposition of images.”
The camera freed Poole from the constraints his condition often imposed and this unusual quality imbues his work with a clarity, vision and overall sense of artistry which really sets him apart. Moreover, Pooles’ approach to cinematography, both as an art and a science, relies on the emotional elements of his assignment, and his ability to blend the aesthetic and technical underscores a uniquely empathic brand of craftsmanship.
“My narrative interests seem to move through all genres, spanning many subject matters, artistic styles and tones,” Pooles said. “I think the one constant that a story I work upon has to possess, is an element of raw human truth. If the film never takes a moment to teach the viewer an emotional truth about his or herself, then I find it very hard to approach the cinematography from an emotional level, and I find it very hard to do my job well.”
Pooles’ always outstanding work is primarily achieved through his own regard for the story and, ultimately, forges an ideal vision of how to present it to the viewer: Case in point, his work on Marko Grujic’s extraordinary short film Unaligned. A tale of unconventional May – December romance between a college student and her one-time female babysitter, Grujic’s story came loaded with exactly the sort of raw psychological components Pooles thrives upon.
“Marko reached out to me after seeing my work on a low-budget web-series called The Ferryman,” Pooles said. “I believe this is because he knew he would require a cinematographer who could execute a complex production without sacrificing the emotive potency of the film’s visual language.”
The director’s instinct was spot-on. “Guy is much more than a common cinematographer,” Grujic said. “He goes deep into the characters psyche and translates it visually on screen with lighting and framing. Guy listens and adjusts to a situation. He understands a director, asks a lot of questions and tries to figure out things from more than one perspective. He is a tremendous talent.”
Although a short, the project presented its fair share of challenges. “The budget of film was very small, as was the crew,” Pooles said. “In light of the scope of the screenplay, it is safe to say that the production was quite ambitious. Our schedule was often so tight that, to fall behind even by few minutes, could result in losing the opportunity to shoot key scenes at the end of each day. Marko and I had to work meticulously with the first Assistant Director to ensure that our plan for the schedule was as watertight as possible and that we were prepared for contingencies, should something go wrong.”
Pooles’ used a shrewd, holistic methodology that took into consideration both the film’s logistical and artistic needs. “My approach to lighting was quite different on this project,” he said. ”I worked hard to keep my lighting set ups as simple as possible, often trying to key a scene off a practical lighting unit already on location. I did this knowing that every minute saved from a lighting standpoint would free up more time for the cast to get the performances that they and Marko were striving for. I was very aware that with a story this intimate and character-driven, it would be very hard for an actor to relax into her or his performance if they were constantly under the gun schedule-wise.”
Thanks to the seamless Pooles-Grujic collaboration, the film was successfully completed and will begin screening along the busy festival circuit later in 2018. For Pooles, who won the American Society of Cinematographers Linwood Dunn Student Heritage Award in 2014 for his work on the short film Dirty Laundry, it’s another step forward in his fast moving journey of professional accomplishment. With a raft of credits both in the camera & electrical department and as a cinematographer (including 5 episodes of TV anthology series Two Sentence Horror Stories), Pooles is poised to emerge as one of the leaders in his field.
“My philosophy has always been, that a viewer should never be able feel the cinematographer’s hand upon a film,” Pooles said. “The visual style can be bold and assertive, but the minute this leads a viewer to dwell upon the strength of the cinematographer’s work, rather than the potency of the storytelling, the entire narrative experience will begin to fall apart. The cinematographers that I admire the most are those whose work remains largely unrecognizable from project to project and who guide a viewer, almost subliminally, along the emotional path of a film.”
Alice Esposito sees life through the lens of a camera. Everywhere she looks, she knows exactly how an image could be framed perfectly, whether in a photograph or video. Her artistic instincts have been her fortitude throughout her career, and her determined work ethic sets her apart from the rest. There is little doubt as to why she is one of Italy’s best recent photographers and filmmakers.
While working on successful projects, such as Thend, Esposito has exemplified versatility and artistry. As both a filmmaker and a photographer, she is internationally sought after. Her work consistently tells a story in a beautiful way, which is exemplified by her film The Mockingbird that Fell from the Highest Branch.
The black and white silent comedy tells the story of a cynical, socially inept mime that lives a life of tiny distractions. Yet, even indulging in his smallest fantasies drives him to fits of rage and despair. A chance encounter with the woman of his reverie compels him into a series of humorously tragic attempts at wooing her. A romantic picnic, a windy walk on the beach, and multiple passes at capturing her beauty through art all backfire, with harrowing consequences.
“I feel like nowadays the stories are told so fast and full of action or sex that people do not have time for simplicity and realness anymore. With this movie, I wanted to stop time and let you live the moments with the main character, which is why some sequences of the movie are slightly slower than the normal parameters of cinema. I wanted to challenge the viewer to stay with me, to feel all these feelings that we usually escape from. There’s also a lack of technology and space/time that I wanted to use to give the audience this sense of peace, but with a little anxiety behind that. Technology made us impatient, and I wanted to analyze this concept. And love, this incredible feeling that keeps everything together; the expectation of love, its course, the ups and down, and the real and the fantasy,” Esposito described.
After premiering at The Prince of Prestige Film Festival where it was nominated for Best Short, Best Actor and Best Actress, The Mockingbird that Fell from the Highest Branch went on to tremendous success. It won the Festival Prince of Prestige Academy Award as Best Comedy (Comedy Gold).
“When the film first started having success, I was like ‘cool’, but after I began telling the cast and crew, it really hit me. This wasn’t the first time I won something, but it was the first time I won something where I worked with so many people and coordinated with them all together to create a project. It felt like all the family won and that everybody’s work was recognized. I was and still am so proud and grateful of them,” said Esposito.
Esposito’s idea for the film came from working with her friend and main actor in the film Phil Ristaino. Ristaino created character routines for fun, and his “Bad Luck Mime” stood out to Esposito. The two decided to make a movie that would be a tribute to the origin of cinema. Having already worked together on the film Dinamicity, which saw similar success, they were eager to work together again.
“Working with Alice is very collaborative. Alice is an extremely enthusiastic director. She gets caught up in whatever idea has currently caught her fancy and will talk at great length about all the ideas she has for a particular story. Often, she will call me about a project she wants to make and tell me about some visual or story ideas, and these conversations will usually result in us meeting up to discuss the next project and see if it appeals to us both. We are both very visual people, and her ideas will spark images in my own mind, and vice versa,” said Ristaino.
Esposito was the producer, writer, and director of the film, and therefore greatly responsible for its success. She wanted to make the perfect film, and thought of every last detail. Half of the post-production took place in Italy, and the other half in California. Normally, coordinating this would be immensely difficult, but Esposito’s management capabilities are exceptional.
Location scouting was also vital for the production, and this turned out to be one of Esposito’s favorite parts of filming. She was able to discover different parts of Los Angeles, like Eagle Rock and Griffith Park, Malibu, and Echo Park. Her love for the setting overcame any challenges that come from working outside, like wind and natural light. In order to film like this, a filmmaker must be fast and precise, characteristics that Esposito embodies.
She also wanted to find the perfect team to take charge. She knew how important the music would be in a silent film, and therefore found not just composer, but two, Simone Anichini and Davide Alberto Centolani.
“A big part of making this movie this successful I think was to have the right people around me. It all always comes down to the talents you work with. I learned a lot about delegating and asking for want I needed. I was able to put all the pieces of production together and have exactly what I wanted. Many of the things were planned ahead, but you need to be ready for something not working out and be able to go around it. The secret is to be always ready to change and compromise but never give up,” she advised.
The last piece of the puzzle for the filmmaker was the title. She wanted something that would encapsulate her film. It was when she remembered that in Italian, a mockingbird is also called “the mime” that she realized she had a title.
“I remember I was in the car with Phil and we started to throw titles around, it was hilarious,” she described. “The mockingbird is known to mimic the songs of other birds and the sounds of insects, and this is how it started to come together. Being in love is like being above every physical experience I know, but at the same time when you heart gets broken the impact to the ground is hard. You could say the title represents this feeling but with a tragic romanticism with a pinch of irony in it. I think we got it right!”
That they did. Keep an eye out for Esposito’s work. With talent like hers, we can expect to keep seeing her name for quite some time.
Watch The Mockingbird that Fell from the Highest Branch here.
From the time Jennifer Roberts was a child, she was always artistic. Originally from the small town of Port Hope, Ontario, she would travel to Toronto with her parents to visit art galleries and cultural events. Even then, at a young age, she was captivated, and understood the power that it was to create something beautiful. It was only natural for her to want to do the same, and that is when she found her way to photography. Now, she is an internationally celebrated photographer.
Roberts is a renowned editorial photographer who specializes in portraiture and documentary stories, and also does work for commercial clients. Her documentary style works well for newspapers while my more produced portraiture work fits in magazines. She truly loves what she does, and everyone she works with impressed with her talents.
“I’ve commissioned Jennifer on various shoots for Maclean’s magazine over the last two years. She is an outstanding photographer and my go-to for any high-profile portrait or reportage assignments. I fully trust her professionalism and ability to give the magazine what it needs on every shoot we give her,” said Sarah Palmer, Contributing Photo Editor Maclean’s Magazine.
In addition to Maclean’s, Roberts has shown not only Canada, but the world what she is capable of with her work in The Wall Street Journal, as well as Canadian Business, MoneySense Magazine, and Getty, including her work for the 2016 International Film Festival, photographing Oscar-nominated actors. Her success has been outstanding, and she believes her career truly began when she started working for TheGlobe and Mail back in 2008.
“Working with one of Canada’s largest newspapers is exciting. Some of my favourite Canadian photographers are regular contributors to TheGlobe so it feels great to be in such fantastic company. The Globe photo editors provide a helpful amount of direction so I know what type of photography they need for their story. However, they also leave lots of room for the photographer to be creative and bring their story telling abilities to the shoots. Shoots for TheGlobe are often for really interesting national and international stories that I’m very proud to work on,” said Roberts.
Initially, Roberts was hired by The Globe and Mail for a four-month summer contract. Before this, she shot a documentary photo project about refugees in Myanmar living in Thailand, which highly impressed the newspaper, and they wanted her to join their team. She relocated to Vancouver, British Columbia for the job. When she completed my contract, she moved back to Toronto, but the newspaper didn’t want to let her go, and kept her very busy with freelance work. She has been shooting for them ever since.
“I feel lucky that even when my placement was over I was given regular assignments with The Globe. Being a regular contributor is very exciting as it leads to so many diverse projects. The Globe work has allowed me to shoot a variety of celebrities, to shoot major news events, to shoot beautiful interiors, amazing food and restaurants and meet so many different people for portrait shoots. Working as an editorial photographer means every day is different. I feel like I have the best job in the world,” she said. “Working as a freelance photographer for The Globe and Mail is always interesting. I started my career there doing a lot of news stories but I now tend to shoot more food, lifestyle and portrait work. I make decisions about how to frame and light things based on what the story is and conceptually what makes the most sense. It’s important to always be true to the story you’re telling. Sometimes what makes the best picture isn’t the best way of telling the story and telling a true story is always the most important,” she described.
Since that time, Roberts has done a variety or large and important projects for the paper, where her photography was essential to the project. She did a large portrait of “Project of Women” during the March on Washington, in Washington DC. on January 21, 2017, something that she considers the highlight of her career. It started as an Instagram story but because the portraits were so successful they ended up running on A1 (the cover) of the newspaper and as a massive two-page spread in the interior of the paper.
“It was an amazing time to be in Washington and meeting and photographing all the women out demonstrating was so powerful,” said Roberts.
Roberts has done many more projects for the paper. She recently shot celebrities like -Recent Actress Kate Mara, Actor Stephan James, and Novelist Lawrence Hill, known for The Book of Negroes. She regularly shoots many features, including “My Favourite Room” for the Style Section, as well as business portraits, portraits for the news section, and a weekly shoot for restaurant reviews for the Saturday Edition, the largest edition of the paper.
“I enjoy the pace of this work and the process of being able to conceptualize and light the scenes. I like how working with TheGlobe is always different and always interesting. One day I might be shooting a story for the Style section about a beautiful living room and the next day it might be a CEO in their office. I like how every day and every shoot is a new chance to be creative and think of innovative and true ways to best tell a story,” said Roberts.
Readers of TheGlobe and Mail can keep an eye out for the visual masterpieces that are Roberts’ photos.
Today videographer Rosanna Peng is known around the world for her remarkable ability to tell relevant and impactful stories through video. Her unparalleled creativity, the diverse nature of her work and her expertise in editing are a few of the things that have made Peng standout over the last few years, not to mention the high caliber of clients that have specifically sought her out to create visual content to showcase their brand in a way that grabs people’s attention.
Last year she created the videos for the launch of the J.Crew x New Balance 997 Butterscotch and 997 Cortado sneakers, edited EST Fest: The Documentary, which was featured on Trill HD and follows multi-award winning rapper Machine Gun Kelly at EST Fest and gives viewers a closer look into Kelly’s fan base, as well as created several video tutorials for the popular craft marketplace, ETSY, that teach users how to set up their own shop. On top of that Peng was tapped by Society 6 to shoot a series of photo stories that were featured on their website. Her work in 2016 alone has revealed her to be one videographer whose creative talent truly knows no bounds.
Still in her early 20s, Peng’s story is rather unique considering the level of international attention she has already received and the fact that she is primarily self taught. Originally from Vancouver, Canada, Rosanna Peng first discovered her innate talent and passion for telling stories through videos while taking an editing class back in high school, and from that point on she was hooked.
“I was a shy girl and being able to express myself through videos was something I became addicted to. I couldn’t see myself doing anything else,” admits Peng.
In 2014, Peng was tapped as the lead videographer for FREE, a Toronto-based creator studio and digital agency built for modern creative entrepreneurs and progressive brands. The first videographer at the agency, Peng’s work with FREE gave her the chance to really begin exploring her skill as a videographer without boundaries.
She explains, “I experienced a lot of creative freedom, which was essential to the videographer I am today… I dedicated my weekends and evenings to producing content for the agency and I was oddly satisfied with that, knowing I was crafting my own style with every video that I made.”
Her work as FREE’s videographer put her in charge of creating and editing all of the video content for The Creator Class, a cutting-edge online channel designed by and for creators around the world that brings viewers innovative content centered around music, art, style, culture and adventure. A collaboration between FREE and Canon Canada, The Creator Class has been featured by publications and online platforms such as Booooooom, Fast Company, Highsnobiety, Hypebeast, It’s Nice That, Nowness and Vimeo, and has become a driving force in the social revolution of how users around the world approach creativity through photography and videography.
Peng says, “The Creator Class is a space for creatives to be inspired by one another, but also a platform for them to share their work with like-minded people. It is an important space for young creatives because they need to be reminded that even though there is an over-saturation of image consumption today, their vision and voice is still important.”
The videos Peng has created for The Creator Class over the last three years span the gamut in terms of subjects. From those that highlight the work of leading figures in the art and music scene, to the ‘Cheat Sheet’ segment of videos, which teach viewers how to use specific photography tools and achieve certain effects, Peng’s work has helped to both inspire and inform other creatives.
The ORIGINALS: Go & Get It w/ WondaGurl, ft. DJ P-Plus video she created, which has garnered over 600,000 views on Youtube, gives viewers a rare peek into the creative process, personal inspiration and unique path to success of music producer WondaGurl, who began making beats at age 9 and has since been tapped by the music industry’s leading artists, such as Travis Scott, Jay Z, Drake, SZA, Young Thug and Kanye West, to produce some of the hottest tracks on the market today.
“I feel proud of the finished video because I’m happy to share young female creative’s stories. I think a lot of people, male or female, view WondaGurl to be an immense source of inspiration and aspiration. Being able to share her story was a very rewarding feeling,” says Peng about the video.
As the videographer, Peng was in charge of not only shooting the video, but like most videos on The Creator Class channel, she edited the entire work as well. Her unique way of capturing her subjects, combined with her expertise as an editor and keen sense of pacing and rhythm, has endowed each video with a deeply personal aspect that gives viewers the experience of feeling as though they are right there in the room having a conversation with the subject in the video.
“I am naturally an introverted and sympathetic person. When I experience situations, I usually sit back and observe. My personality type lends itself to be a great videographer and editor because of my tendency to express myself through videos,” admits Peng. “I have a natural sense of pacing and timing in telling the story. I am also drawn to catching moments that most people look past or ignore. This allows my work to stand out from other work that captures more generic imagery.”
Coming on board as The Creator Class videographer early on in the channel’s inception, the visual content she’s created has bolstered the channel’s social media following exponentially and established the tone and style the channel has become known for. Considering that one of the main reasons people turn to The Creator Class is to discover information about a broad range of topics through the videos they publish online, videos that for the most part have been created by Peng, it’s not a stretch to say that her work is the foundation on which The Creator Class community has formed.
She says, “Every video was output through my computer to make sure the editing tone and aesthetic matched the channel’s. I have a natural understanding of what current video trends were and brought those elements to the channel growing them to the 40,000 plus subscription base on YouTube and 154,000 follower count on Instagram today.“
Thanks in no small part to Peng’s inspiring work, The Creator Class earned the prestigious 2016 Gold AToMiC Shift Award, which honors breakthrough achievements in the realm of advertising, media, creativity, technology and content.
Former FREE Channel Manager Danielle Reynolds says, “Working with Rosanna is always an inspiring experience. She always pushes the creative boundaries while still maintaining an attention to fine detail. It amazes me how she has been able to teach herself videography.”
While she is primarily self taught as a videographer, Rosanna Peng studied graphic design in college, an area of study that has undoubtedly come in handy as quite a bit of the visual content she creates for clients are embedded alongside stationary graphics and text online. Her understanding of how the style of the video she is creating connects with the attitude of the brand and the overall visual layout has been imperative to her unparalleled ability to create a striking finished project that commands the attention of viewers across the globe– something that can easily be seen through her work as a videographer for MTV FORA and as a photographer for Society 6.
For the Fauxley feature Peng captured LA photographer Fauxly in a series of dynamic and architecturally intriguing shots that reveal her in a way that feels natural and aesthetically lines up with the overall layout of the interview on the Society 6 site making it visually pleasing for viewers to read.
Peng explains, “I wanted to shoot her organically without too much posing. This was my approach for this photoshoot because the environments I brought her to had a lot of symmetry in architecture. By balancing an organic subject with a structured environment, it made for a well-balanced juxtaposition between the two.”
For the Art in the Wild: A Photo Essay she was tapped to translate some of her favorite Society 6 designs into photographs in various outdoor environments. The unique images she captured create a bridge between the natural world and the Society 6 designs in a way that is mesmerizingly beautiful. Clearly Peng’s creative eye extends beyond videography and her design degree has been put to good use.
Rosanna Peng’s innovative, inspiring and diverse work has definitely struck a chord with audiences around the world. Stay tuned for the release of her next Society 6 project, which is a lookbook video shoot slated to be released on June 1. She is also currently working on a promo video for Canon Canada’s macro lens, which will be released in August.
International Entertainment, and the Talents that Leave us Buzzing….