Work From Our Readers: Advertising, Reportage, Fashion, Art

By David Schonauer   Friday November 30, 2012

Welcome back to our ongoing series focusing on current work from Pro Photo Daily readers. Today we feature four very different photo projects: New York-based photographer Adrian Mueller, a winner of the American Photography 28 competition, shoots an ad campaign for Costa Sunglasses, starring fish made out of the client’s product; Redux agency photographer Jean-Marc Caimi, another American Photography 28 winner, reports back from post-revolution Libya, a country facing a new array of daunting challenges; photographer Emin Kadi turns in a black-and-white fashion story for WestEast magazine featuring two beautiful and appropriate models; and photographer Francois Fontaine opens a new art exhibition in Paris with his “Silenzio!” series, which pays hazy homage to great scenes from the cinema while exploring the emotional power of still imagery.





Project: Costa Sunglasses

For the past two years, New York-based photographer Adrian Mueller has been working with the McGarrah Jessee Inc. ad agency in Austin, TX on print compaigns for Costa Sunglasses, which produces specialty eyewear for sport fishermen. The most recent project took Mueller's creativity to a new level: “They decided that they would like to create fish models entirely made out of the kind of sunglasses you would wear while trying to catch that species of fish,” says Mueller, who was one of the winners of the American Photography 28 competition. “Instead of doing this in CGI, as initially proposed, we decided to really create life-size fish models.” To build the model fish, Mueller turned to prop maker Mark Borow. The actual shooting, documented in a behind-the-scenes video, was done with a Sinar 54-megapixel digital back on a Rollei 6008 camera, with an 80mm/2.8 Planar lens at f22, notes Muller.




Project: “Libya at the Crossroads”

After the violent civil war, after the overthrow and death of Muammar Gaddafi, comes the rest of history for the people of Libya: “Hundred thousands of ex-rebel fighters are struggling for a new life after the revolution. The majority lost their job, often with companies linked to the regime of Gaddafi. Many young people are still grieving parents lost during the war,” says Redux photojournalist Jean-Marc Caimi of his most recent documentary project. Caimi, another American Photography 28 winner, has taken a gritty black-and-white view of today’s Libya and the challenges it faces, from political extremism and illegal trafficking in weapons and drugs to a cruel brand of rough justice: “Any ex-fighter believes he has the right to arrest, beat, and jail anyone suspected to have been in contact with or collaborating with the Gaddafi's regime,” Caimi says.




Project: “Black Or White,” WestEast Magazine

“There are no rules to fashion, and this sort of fashion shoot proves that,” says photographer Emin Kadi about his recent story in WestEastmagazine, which features two albino black models, Shawn Ross and Diandra Forrest, wearing all-black clothing. “I immediately thought of doing it in black and white,” says Kadi. The project came about after Kadi was approached by WestEast fashion editor and stylist Ty-ron Mayes, with whom the photographer had worked previously at Clear magazine. “I knew the comfort level and creativity were there,” says Kadi. “We shot the pictures at Splashlight Studio in New York with an amazing makeup/hair stylist, Roberto Morelli.” Post-production work was minimal: “I don't ever remember retouching being so simple,” Kadi says. Reaction to the work, on the other hand, has been maximal: “What I get from people is that it has a ‘80s appeal,” says Kadi.



                                         North by Northwest (above); Mulholland Drive (below)                                       

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Project: “Silenzio!”

Francois Fontaine’s “Silenzio!” series, up through December 18 at A. Gallery in Paris, is a tribute to the cinema, but also to still photography. His blurred images of classic movie scenes—from Bonnie & Clyde to Belle de Jour—speak of a cinephile’s nostalgia and an artist’s understanding of how photographs create memory. “The blur is…like a costume that makes impossible the immediate identification of these familiar silhouettes and evokes the different roles that made them charismatic,” writes Laurence Cornet at Le Journal de la Photography. The exhibition accompanies a new book from French publisher Les éditions de l’OEil.





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