David the Agency asked Scott to use his popular “Old Babies” image series as a starting point for a new campaign supporting the reintroduction of Miracle Whip’s original recipe, but to make them “different” - and to do it with a very aggressive budget. Fortunately, he benefitted by the knowledge gained from the first production, and was able to be more efficient the second round. That said, the imagery still required a significant amount of production and post to pull off. The kids were cast to fit their specific roles: Lady of the House, RV Granny, Fisherman and Southern Belle. Scott’s production team did an amazing job creating mini environmental narratives for them through simple propping, backgrounds and wardrobe. Sandwich, anyone?! Creative Credits: CD’s: Antony Kalathara & Russell Dodson | AD: Curtis Caja | Jr. Copywriter: Ian Holmes | Art Producer: Marina Rodrigues | Producer: Sluiter Productions | Props & Sets: Kendall Faeth | Food Styling: Meagan Faeth | Wardrobe: Joanna Hadfield | FX Artist: Isaac Prado | Primary Retouching: Electric Art | Secondary Retouching: Amy Dresser | Finishing: Zachary Scott
What better assignment for a wine lover than to travel to Portland, OR to shoot Sommelier Dana Frank’s chic new natural-wine-focused restaurant, Dame? Kolenko got to just that for a recent feature for Food & Wine Magazine. Frank gathered a group of fellow winemakers for a family-style dinner paired with the restaurant’s best vintages, and Kolenko was there to document the fun. To see more of this shoot and other recent editorial work, visit http://bit.ly/2nTVs1B.
Getting exposed to interesting people, places and things can be one of the benefits of shooting editorial work. That is especially true for Kolenko through the work she does with Food & Wine Magazine. One recent experience took her to Healdsburg, CA in the heart of Sonoma County, to shoot one of the most anticipated new restaurants opening there in the post-French Laundry era, the SingleThread. Founded by Chef Kyle Connaughton and his farmer wife Katrina, the SingleThread is a Japanese-French influenced aesthetic mash-up combining a 12 room Inn, a five acre organic farm and the restaurant itself, which features a price-fixe tasting menu based on kaiseki, the Japanese fine-dining tradition of celebrating the beauty of nature through simple, artful presentations of seasonal ingredients. Credits: Photo Editor: Sara Parks To see more from this and other recent editorial shoots, go to http://www.evakolenko.com/foodeditorial/.
Kolenko traveled to Toronto a few months ago to tag team with a TV production for The Glenlivet and Chicago agency Walton Isaacson. Kolenko shot the hero product and background plates of the environment and talent that were composited together for these ads. Despite a tight production window and working with unfamiliar crew, Kolenko kicked ass once again and left with a new happy agency and client.
Agency: Link9, CD: Brian Evans, AD: Chris Mears, Art Producer: Mitch Tepper
Electric Art’s new work for Emporium Melbourne, who “partnered with the Walt Disney Company to add a true touch of magic to launch Christmas 2017.” EA created the CGI Mickey balloons, composited the talent into the picture and retouched it all for the final image.
EA was approached by creative agency, Bashful with a quick turnaround project for Menulog, Australia’s largest online food ordering platform. The task was to create realistic bites out of Menulog ads wrapping buses, revealing the “guts” beneath. The bites were sculpted in 3D, and the metal details beneath were created and composited in Photoshop, resulting in the “made you look twice” effect of the finished bus wraps. Agency credits: CD: Tim Chenery, Art Producer: Ali Dent. Menulog Ad Graphics: Darling Brands
It’s a match made in heaven: Eva began collaborating with the agency-of-record for Panera Bread, Anomaly, last year, after being brought to their attention by the Creative Director at Willoughby, the branding and design studio handling Panera’s POP design. After a Summer Salads campaign with Anomaly, we got to work with Willoughby on the Fall season’s in-store materials, and have since worked with both in combination on several other occasions. What could be a contentious, territorial process has been just the opposite: both agencies respect and support the other and along with Eva’s team and the client, have established a collaborative, fun and productive relationship that we feel truly blessed to be part of. Here is some of the POP work from the Fall campaign. Willoughby credits: CD: Zack Shubkagel, Design Director: Kevin Garrison, Sr. Designer: Angela Snyder, Food Styling: Erin Quon, Props: Natasha Kolenko.
Over the past couple of years, Kolenko has established a wonderful collaboration with Food & Wine Magazine Photo Editor, Sara Parks, which has enabled her to pursue one of main loves: traveling to interesting locations for commissioned photo shoots. Last month’s shoot at the newly remodeled Ponchartrain Hotel in New Orlean’s was the most recent example. Featuring cuisine from The Caribbean Room, the recently re-opened Cajun eatery from acclaimed chef and restauranteur, John Besh, Kolenko got the opportunity to stay and shoot at the famous hotel, covering the food, the celebrity chef and friends, and some fantastic jazz musicians.
Y&R NZ approached EA to help create a motion and stills piece for this year’s CFE campaign for the 38th Australasian Writers and Art Directors Association (AWARD) Awards. This year’s campaign theme is ‘digging deep’ celebrating the tenacity shown by creatives aiming to strike gold at AWARD. Says Guy Denniston, CD at Y&R New Zealand: “Having those big ideas is explained away with words like ‘inspiration’ and ‘flashes of brilliance’, but the reality is much more boring. Doing great creative just takes a lot of hard work. It takes digging deeper, past all the shit ideas, all the mediocre ideas and the pretty good ideas. This campaign celebrates the real graft behind the craft.” It was all hands on deck at EA to turn this motion project around in time for the CFE. The whole thing was created in CGI out of individual pieces of paper, with the flexibility to be sculpted to mimic the scale and structure of a real open cut mine. The challenge was to keep the textures and scale realistic and to ensure the piece didn’t just look technically correct but also beautifully cinematic. EA was thrilled to be involved, an amazing team effort by all.
Agency: Y&R New Zealand, Creative Directors: Guy Denniston & Gavin Siakimotu, Agency Producer: Marique Knight, Creative Services: Claire Dooney