erik almas advertising photographer Archives | Erik Almas Photography

The why of an advertising image


I did my first advertising assignment in the year 2000. I still remember how excited I was when I, a few months later, walked out of a bookstore on Chestnut Street in San Francisco with several magazines with my pictures in them.

20 years into my career as an advertising photographer the excitement of seeing my work published in magazines and printed oversized on billboards is just as thrilling. The campaign we captured for Qatar Tourism launched globally last year and have since been used in magazines, on billboards in airports and places like New York’s time square and London’s Piccadilly Circus and “everywhere” online.

 

The thrill of having my work published is absolutely the same 20 years later.

How I approach my commercial work and how I understand the responsibility trusted to me when awarded an assignment however has changed completely during this time.

My approach early on, I now realize, was quite naïve.
Being hired was fun and exciting; I couldn’t fully believe someone would pay me to take pictures.
Eager to please, I dove into each assignment with a massive amount of enthusiasm! I was on a continuing high of creative endorphins and I pushed myself and my image process as hard as I could.
I was doing so however without the larger understanding of WHY.
Had someone asked me during these early years what the images we captured represented and symbolized for the client I would not be able to answer…

I remember vividly the assignment when I became aware of the trust extended to me when hired as a photographer.
I had just been awarded what was the largest assignment of my career at the time, and as we wrapped up the kick off call the Art Director says; “This is the biggest advertising spend this company has ever done; Don’t ***k it up!”

This company is among the 50 largest in the world…

With this I started to realize the responsibility I have as the photographer chosen to execute the images for an advertising campaign and got a larger understanding around the work the agency and client have done on the campaign prior to approaching possible photographers to create the imagery.

I did some of my signature images during this time, so it was not that the work didn’t hold up. It was more about my creative process not being refined enough to include a full understanding of what I was hired to create.
I guess I was so excited about the fact I got hired to do what I love that I didn’t quite see the bigger picture. Or maybe I simply lacked the depth or curiosity at that stage in my life to ask myself the very basic questions;
WHY do the client want to create this kind of image?
WHY this idea?
HOW does it relate to the message of the brand?
What kind of person do we cast and what environment are we in?
What light quality and color palette would help underpin the emotions the Advertising Agency wants the image and brand to be connected to?

These questions are so obvious for me to ask today and the answers serve as the North Star for my approach in every new project I take on.

 

 

One might think one gets jaded as one get older, but for me it has been the opposite.

Having been at my photography journey for 25 years and working with advertising for 20, I now have a very different insight and understanding of the work clients and advertising agencies put into building a brand or launching a product.
An AD agency, or in house creative, can work on a launch for months and years before getting to the stage where they are ready to execute the visuals.
To then be the photographer chosen to turn their ideas and concepts into images and films is a huge privilege and I put more pressure on myself to deliver today than I ever have.

With this privilege also comes the expectations to perform at a high level and to craft images which in an artful way touches on all things WHY of the image and campaign…

The first time I deeply felt the gravity of a campaign and my photographs’ need to be successful was in January 2009.
The economy was crashing, and tourism and travel came to a halt.
Spain, where the tourism industry is as much as 16% of GDP, had tasked the Advertising Agency McCannErickson in Madrid to launch a global campaign to boost tourism. They in turn hired me to be the photographer shooting the images for it…
I had done larger campaigns for a while but was still fairly new at being hired for media buys at this level.

 

I vividly remember the first day of the 3-week shoot. Never have I felt more pressure and sense of relief.

When scouting the location we had decided to have a fence along the cliff removed for the shoot. We show up in the dark, early in the morning on our first shoot day to get ready for sunrise. As my producer is removing the temporary fencing placed for safety, he trips and falls off the cliff…
He catches himself on some trees growing out of the cliffside and with just a few bruises we got him safely back up.
Shortly after 19 people from the agency and the Spanish Ministry of Tourism shows up to watch the first image of the campaign happen…

It is January and the weather had been terrible for days. The forecast for the morning was not great, but we could see breaks in the cloud cover as dawn arrived with its first light.

As the sun rose and broke through the clouds and the images came up on the computer, the relief from the group behind the camera was palpable.

 

It was a strange mixture of emotions that morning. The adrenaline from the fall and rescue of my producer, the pressure surrounding the importance of the campaign, and that relief when it all turned out ok and the sun rose across the peninsula and water.

My producer didn’t say much at all the rest of that day. He sat quiet on a patch of grass till the shoot was over and then headed for the hospital to get his bruises looked at.

I finally came off my adrenaline-fueled state of the accident and focus through the shoot.
I then had my reaction; I got dizzy, threw up and had to find my own patch of grass to catch a break and reflect on the morning.

One could argue that my early ignorance to the gravity of my assignments was bliss and that I was better off just having fun creating, but as I have gotten better at managing pressure and gained some life perspective on marketing and pictures. We are not performing life-threatening surgery…

I have found what’s closer to a balance where I have the utmost respect for the process and gratitude to get to be a part of it.
I have in the decade since been lucky enough to be hired for many both high and lower profile assignments. All with its own sets of pressures and expectations…

So why am I sharing these stories around the understanding of the creative process and the WHY of a brands visual language?

 

 

I get asked all the time where I see the future of advertising photography.

I don’t have a crystal ball, but I reflect on the traditional use of images in newspapers and magazines largely being gone, and the profound proliferation of photography through the camera phones and social media.

Gone are the times where one image could make the bold brand statement. The memory of a single image is simply washed away among the next few days or weeks of our social media streams. For companies to thrive in today’s environment they have to use every digital and media avenue available to them. There is tracking, metrics, and profiling, AdWords, social media and influencers…

At the core of these new branding efforts there has to be a brand message and narrative with a deeper substance in which the consumer can connect to. Otherwise we will forget about the company as quick as we forget about the image they used to market themselves…
If you believe this as I do, it is obvious that it will be increasingly important for us as image and filmmakers to understand both the need and the WHY of this core branding.

I believe it to be best way commercial photographers and directors can effectively help shape brands and their story, and a big part in us photographers continuing to thrive.

Beautifully shaken and stirred


In my 200+ days a year of travel I get to see and experience a lot of amazing places, but I have to say; I just had the adventure of a lifetime.

 

The place?

 

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India

 

Its magic has to be experienced, as no words or pictures can quite describe it. That said, this is my blog so I guess I have to give it a try:

India is not a place you visit or see. India is a place you feel.

Arriving to India I entered into a world like no other, greeted by a complete sensory overload. The visual and auditory stimuli are overwhelming and at times uncomfortable, and it is in this discomfort India become so fascinating. It rips you out of the western mindset and comfort level and tosses you into a world of captivating contrasts that made me feel strangely alive…

 

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To me, it is in these contrasts India is to be felt;

Its crowds can suffocate you but the people creating it have a great openness about them. The auditory chaos of traffic is relieved in the quiet presence felt in the old temple grounds and the history of the country.

The rituals of the lifecycle, celebrating both life and death, are one of the more powerful experiences I have been a part of. I witnessed the burning of bodies one minute and the most enchanting ceremonies honoring the elements of life the next.

It was all experiences that made me uncomfortable one minute and gave me life-affirming goose bumps the next.

 

Being in India is nothing short of a mythical jolt to the system, opening you up to life, and I hope this feeling of India stays with me. That I don’t just fall back into my western comforts but carry this sensation with me for a while…

 

Erik Almas Advertsing and Editorial Photogarpher India Varanasi 6

Erik Almas Advertsing and Editorial Photogarpher India Varanasi 2

Erik Almas Advertsing and Editorial Photogarpher India Varanasi 1

 

Recently our travels through India came up in conversation. One of the guys I talked to mentioned something interesting; He said he never thought he would go back to India after his first visit, but after a few years there was something that pulled him back.

It has only been a month since we got back home, but the pull of India is already there. As I look through my images and relive some of the experiences I have to say; For emotional impact there is no place like India.

 

So I’m sure I will be back to this majestic and mythical country for jet another life affirming jolt to my senses and emotions…

 

Below are a very few of the vast amounts of images captured during our 3 weeks of travel.

India foursome

Erik Almas Advertsing and Editorial Photogarpher India qutub minar

Erik Almas Advertsing and Editorial Photogarpher India 3

Erik Almas Advertsing and Editorial Photogarpher India Varanasi 4

Erik Almas Advertsing and Editorial Photogarpher India Taj Mahal 3

Erik Almas Advertsing and Editorial Photogarpher India Taj Mahal 1
Erik Almas Advertsing and Editorial Photogarpher India Kovalam_1

Erik Almas Advertsing and Editorial Photogarpher India Kovalam 2

Erik Almas Advertsing and Editorial Photogarpher India Humayan Tumb 2

Erik Almas Advertsing and Editorial Photogarpher India Fort Kochi 3

Erik Almas Advertsing and Editorial Photogarpher India Delhi 3

 

Erik Almas Advertsing and Editorial Photogarpher India Delhi 5

Erik Almas Advertsing and Editorial Photogarpher India 4

Erik Almas Advertsing and Editorial Photogarpher India Delhi 4

 

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This experience I had travelling through India would not have happened, nor been the same, without my heart, Andrea Bogart.

I also want to give thanks to International Yoga and Andrea Marcum who traded photography with Yoga and took us along for a beautifully organized 2 week trip through 5 cities of India.

 

 

Lürzer’s Archive’s 200 best Ad photographers World Wide 2016/17

I’m excited to be included in Luerzer’s Archive 2016/2017 edition of the 200 Best Advertising Photographers Worldwide with 4 images.

Humbled to say this marks my 12th year in the company of extraordinary photographers.

 

Erik Almas Luerzers Archive 200 Best Advertising photographers WorldWide Johnnie Walker

Erik Almas Luerzers Archive 200 Best Advertising photographers WorldWide American Airlines

Erik Almas Luerzers Archive 200 Best Advertising photographers WorldWide Range Rover

Erik Almas Luerzers Archive 200 Best Advertising photographers WorldWide Car Crash

 

The images included are created for Johnnie Walker Whiskey, American Airlines, McCann Erickson and the last one being self assigned.

Having personal work represented among the high production value imagery as this collection is makes this even more special…

 

It was in April last year I decided to do a series of images describing the break up of a long relationship. RGG EDU came along documenting the whole creative process around it, so not only did I create some work I’m really proud of, but I got to share my complete process from inseption to finish in the form of a wicked well produced tutorial.

That this image gets to stand among the work representing the 200 Best Advertising Photographers in the world is such fun and an honor…

 

To celebrate we are, to those interested, giving a 75$ discount on the tutorial this images was a part of over the next week. Follow the link below and use the code 200BEST at checkout.

The Complete Guide To Composite Photography, Color, & Composition With Erik Almas

 

My visual esthetic and that of the classic Norwegian Painters

It’s now 20 years since I left Trondheim, Norway, to study photography in the US.

Going about my craft, making pictures I felt good about, one can think it strange it’s only a few years ago that I discovered the connection between some of my signature imagery and Norwegian mythology and paintings.

Even though my photography have tones and themes resonating with the style described as “national romanticism” I have not consciously set out to recreate or pay homage to these paintings. Nor have I studied these prior. Subconsciously I have just been drawn to their style, or maybe even the very esthetic, landscape, light and mythology all norwegian artists has been living with growing up…

In recognizing this it became very obvious to me how my upbringing and the Norwegian landscape have shaped me as a photographer and how scandinavian my visual sensibilities truly are.

 

TheodorKittelsen-KvitebjørnKongValemon(1912)

 

 

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Norwegian Pintings

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When designer Leila Hafzi approached me to photograph her latest bridal collection with the inspiration rooted in Norwegian mythology and it’s landscape I was truly excited.

We would venture to the west coast of Norway and photograph the myths around the Snow Queen, the Hulder, and one of the more famous Norwegian paintings, Brudeferd i Hardanger (Bridal Procession on the Hardangerfjord).

In discussing this project it was impossible to not get into the subject of recreating our own version of this painting.

As we decided to do so it became the first time I consciously created an image to pay homage to a style that have deeply affected me as a photographer.

Brudeferd i Hardanger

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Leila Hafzi is an extraordinary designer and working with her on several of her design projects have been extremely rewarding creatively.

I’m in gratitude to her and all the ones involved in this project. Especially the people at the tourist office in Stryn and the people of Flo who dressed up in the traditional norwegian garb Bunad to help recreate our Bridal Procession.

 

Below are the images we created for this collection and a behind the scenes look at how it came together.

 

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