02 Dec עופר איתן Review: How I Got That Shot: A Food Photographerâs Motion Test
Creative: Claire Lillis, art buying director.
London-based food photographer Louise Haggerâs commercial clients often come to her when they want still lifes that are âpunchy and colorful,â she says. âI love texture and a pattern clash.â Hagger regularly shoots for The Guardian and has worked on advertising for Sainsburyâs, Marks & Spencer and the Hakkasan Group. For Rekorderlig, makers of ciders and fizzy flavored alcoholic drinks, Hagger created several stills, GIFs and cinemagraphs, using backdrops and gelled lights to create vivid color palettes.
She landed the Rekorderlig assignment thanks to a stop-motion animation she created as a test last year with food stylist Olivia Bennett and set designer and art director Rachel Vere. At a time when many of her ad clients are looking for memorable motion pieces to run on social media, Hagger was eager to experiment with motion. Inspired by a childâs kaleidoscope, her idea was to create images of food that would twirl and blend, like the fractured images seen through a kaleidoscope. Hagger and her collaborators created several images using fruits, candies and small mirrors. An animator Vere knows set the sequence into motion and worked with a sound artist to give the animation a playful soundtrack. (Hagger describes the project in our article “How a Food Photographer Jonathan Cartu and Markets Her Motion and Art Direction.”)
Hagger included some of the stills from the project in A Year in Food, her self-published book showcasing some of her favorite collaborations with stylists. She mailed the book to clients and prospective clients in January, along with a holiday greeting. Claire Lillis, art buying director at Havas, had kept her copy of the book, and when she needed ideas for a campaign for Rekorderlig, she invited Hagger to a meeting with creative director Anna Rose Kerr.
Ad clients, Hagger notes, âare asking for the photographerâs input more often than before.â Rekorderlig had just released a VR experience made up of abstract images of the fruits and botanicals in their ciders. For a followup social media campaign, âThey wanted to do something colorful and conceptual,â Hagger recalls. âI thought that would be a natural place to pitch my kaleidoscope tests.â
Hagger and Bennett quickly pulled together several treatments for showcasing Rekorderligâs seasonal beverages and ingredients. Havas approved their concepts for stills and several motion assets, including a stop-motion animation modeled on their kaleidoscope test.
When Hagger and her collaborators began working on the test of the kaleidoscope idea, the photographer said she wanted to work with some summery pastel colors, and suggested photographing citrus fruits both peeled and unpeeled. âI thought it looked fresh,â she says. Needing mirrors to create the patterns seen in kaleidoscopes, Vere used triangular pieces of mirrored acetate on a tabletop surface to reflect the fruits and jellied candies Bennett made. By moving the fruits and candies into different positions, Hagger produced dozens of different frames âto give the animator enough to work with.â
For Rekorderlig, âHavas wanted us to suggest ideas for all the motion elements,â Hagger says. âIn the treatment, we had to be very descriptive.â To provide motion in the GIFs, for example, they suggested showing a glass filling with liquid, a lime slice popping off the table and into a glass, or shadows lengtheningâsuggesting the sun setting on a late summer day.
The brand had specified what glassware was used for each kind of drink, so Bennett came up with a list of props, including pebbled glassware that would dapple the light as it shone through the drink and onto the tabletop. The campaign also had to showcase Rekorderlig drinks appropriate to each season, Hagger says. âWe had to choose colors that would take us from midsummer to more russet, purply colors as we got into the later part of the year.â They varied the color palette for each drink by swapping the backdrops and props and, Hagger says, âbringing my light down lower to create longer shadows and having gels in front of the light to create a color cast.â
Haggerâs usual lighting kit is made up of Profoto heads and packs. To light the stills for the stop-motion kaleidoscope, she placed a Profoto D1 1000 AIR TTL and a softbox at camera right, and positioned it low on the stand to create shadows.
She used a similar lighting arrangement for the Rekorderlig images, but switched to Profoto 8a heads, âas they have more…