Showing posts with label Chicago Commercial Photographer. Show all posts
Showing posts with label Chicago Commercial Photographer. Show all posts

Tuesday, September 6, 2016

The Journey - trailer



Late last year I spent some time working on a short film called The Return with longtime friend, educator, musician and film director Matt Bilen. I worked on lighting for this film. Here is the trailer.  
Please check out my lighting and photography at www.kscottphoto.com

10 creative uses of photography in packaging

By  

Graphics and illustration are not the only weapons in your packaging design arsenal. Here are some inventive ways designers have added photography to the mix.

If you look at the most creative packaging on retail shelves today, it's usually graphics-led. When photography is used, it's usually standard product or lifestyle shots that add little visual flair to a design.
But for precisely that reason, photography can be a great weapon in your armory for getting your packaging designs noticed. In this post, we share 10 examples where designers have gone the extra mile, and combined photography with clever design to create something special.

01. Sprout baby food

 


This clever baby food packaging uses a gardening theme emphasise the product's freshness
The baby food market is a crowded and competitive one, so creating a packaging design that will really stands out is a tall order. But that's exactly what London agency Springetts Design Consultants achieved with this design for Sprout, a fresh, chilled range of part-prepared baby food that allows parents to make their 'own' baby food easily and quickly. The freshness of the food is conveyed brilliantly with this gardening-inspired design, which won in the Packaging Design category of the A'Design Awards 2013.

02. Petrocoll putty

 


With this dramatic packaging, construction workers will be putting in Petrocoll's hands
It's not often you see a multi-award-winning packaging design for spatula putty. But times change and even construction workers want to be marketed to these days, it seems. Greek agency Mouse Graphics describe these photography-led designs as a "friendly wink" to that constituency, with each image relating the product characteristic (the degree of putty overlap) with the respective garment. It's an eccentric but effective response to the original brief from Petrocoll, which apparently was a simple: "We need a new pack for our products".

03. Matsu organic wine

 


This photography-themed packaging stresses the people-centric focus of the brand
Spanish graphic design studio Moruba created this arresting packaging for Matsu, an organic winery from the Toro region. It's squarely aimed at conveying the people-centric philosophy of the company, which aims to create a sustainable, high quality viticulture. The designs represent Matsu's wine trilogy of El Pícaro, El Recio and El Viejo, using portraits showing three generations who've devoted their lives to the field. Shot by photographers Bèla Adler and Salvador Fresneda, each of these three personalities embodies the characteristics of the wine that gets its name.

04. Coco Juice

 


These impactful designs are bubbling with life
Brazilian company Coco Juice claims to have perfected a revolutionary new way of extracting coconut juice so that it can be packaged for the mass market in a way that's healthier and travels better. Award-winning brand and packaging design agency Blue Marlin created this evocative packaging for the brand, using effervescent imagery that instantly conveys the nutritional and taste benefits of this premium soft drink.

05. '1300 on Filmore' speciality foods

 


Landor brings the chef right into the packaging for his high-end food range
When renowned San Francisco restaurant 1300 on Fillmore launched a speciality foods range, it brought in global branding agency Landor to design the high-end packaging. They in turn brought chef David Lawrence, co-owner of the restaurant, to the fore in these classy photography-led designs. The monochrome images put a focus on the artisanal nature of his craft, and pay homage to where it all happens. This beautiful packaging shows how powerful photography can be in conveying a sensual experience.

06. Innocent Drinks smoothies

 


Innocent combines simple photography and graphics to great effect
Launched in 1998, Innocent Drinks has become a byword for branding excellence, and this range of 'not-from-concentrate' juices is no exception. Designed by packaging agency Family (and friends), with graphics developed by B&B Studios, the designs combine photography, cartoonish doodles and distinctive typography with artful humour, imbuing the brand with a sense of both healthiness and fun.

07. Sigtuna beer

 


Sigtuna stepped up its brand values with these photo-led packaging designs
Sigtuna is a micro brewery in the city of Sigtuna, near Stockholm, that had won numerous awards for its beer. But it was having trouble getting sold in restaurants because of its amateur packaging. These cool, photography-based label designs were created by Swedish agency Morkmen Reklambyra to highlight the products' premium image, and they worked a treat. Sigtuna's beer is now sold in Sweden's finest restaurants as well as Systembolaget, the only retail chain allowed to sell alcohol in the country.

08. Darling Spuds potato chips

 


This hand-cooked snack packaging brings the main ingredient front and centre
The potato chips market is nothing if not overcrowded, so it takes a lot to stand out on the supermarket shelf. Graphic design consultancy Davies Leslie Smith was commissioned by Salty Dog Brands to design the packaging for its new range of hand-cooked, gluten-free crisps, and they came up trumps with these ultra-clean designs. The unusual combination of a single photograph of a potato with fun graphical elements really catches the eye, and clearly conveys the natural goodness of the product inside.

09. Petcurean pet food

 


There's a sense of verve and energy to this arty pet food design
This pet food range combines arty, monochrome photography and bold use of typography to make a serious impact. It was designed by Canadian agency Subplot for Petcurean Pet Nutrition, a company aiming to produce pet food that, in nutrition and taste, replicates what families enjoy at home every day. The confident design gives this unique company a unique visual presence on the shelves.

10. Hatziyiannakis Pebbles

 


Photography helps these Greek sweets look extra-appetising
Hatziyiannakis Pebbles are Greek sweets that look like pebbles. As the saying goes, "The first bite is with the eye", so it was crucial that Mouse Graphics' packaging was as visually enticing as the product itself. These beautiful designs, using sensual photography to show the sumptuous insides, does the job perfectly.

ABOUT THE AUTHOR

Tom May is a freelance writer and editor specialising in design and technology. He was previously associate editor at Creative Bloq and deputy editor at net magazine, the world’s best-selling magazine for web designers. Over two decades in journalism he’s worked for a wide range of mainstream titles including The Sun, Radio Times, NME, Heat, Company and Bella. Follow him on Twitter @tom_may.

For Chicago advertising photography, check out my work at  www.kscottphoto.com

 

 

 

 

 

 

 

 

 

 

Monday, December 22, 2014

Merry Christmas

It has been another great year for Kevin Scott Photography! Some new clients and fun with my existing one's as well. Thank you to all of you who have been a part of it.
Chicago Commercial and Advertising photographer Kevin Scott Photography

Monday, September 24, 2012

Guinness Book of World Records


It's finally out! The new Guinness Book of World Records was released just a couple of weeks ago. I had the opportunity to shoot close to a dozen photoshoots for the 2013 book and am pleased to see the amazing coverage globally. I will post some of the articles in the next few weeks from some of the shoots. Make sure to get a copy. They make great gifts.   Guinness World Records

Sunday, January 22, 2012

Two Pennies and a trip to Africa

I will be blessed with the opportunity coming the end of March, to go to Ghana Africa as part of Alighted Lantern Productions and Two Pennies Ministries to do a documentary at the Countryside Orphanage.  Two Pennies Ministry started working with Countryside Orphanage just last year to help them re-start their chicken farm that was totally lost to disease.  Two Pennies started a campaign to raise $10,000 to allow them to purchase 2000 chicks, 3 workers to work the farm and proper inoculations to keep the chicks healthy.  I will be part of a small team telling the Two Pennies and Countryside Orphanage story.  I will keep updates in this blog about how this project is going.  As a Chicago advertising photographer, I will be way out of my element and comfort zone.

Wednesday, January 4, 2012

Jewels By Parklane Fall Catalog

Check out the latest catalog that Sierra photographed. I shot about 97% of the images in this catalog. Thank you Parklane!

Wednesday, March 23, 2011

This puts my job into perspective

4 Times Journalists Held Captive 

in Libya FacedDays of Brutality

John Moore/Getty Images
TYLER HICKS The New York Times photographer near the front line during a pause in the fighting on March 11 in Ras Lanuf, Libya. Four days later, he and three other Times journalists were taken captive by government soldiers.

As the four of us headed toward the eastern gate of Ajdabiya, the front line of a desperate rebel stand against the advancing forces of Col. Muammar el-Qaddafi, a car pulled up alongside.
“They’re in the city!” the driver shouted at us. “They’re in the city!” Lynsey and Steve had worried that government soldiers might encircle the town, trapping us, but Tyler and Anthony discounted it. We had covered the fall of two other rebel-held towns — Ras Lanuf and Brega — and each time, the government had bombed and shelled the towns for days before making a frontal, methodical assault.
When they did, rebels and journalists fled in a headlong retreat. If Ajdabiya fell, Colonel Qaddafi’s forces would be on the doorstep of Benghazi, the opposition capital, and perched on a highway to the Egyptian border, from where we had entered Libya without visas.
No one really knows the script for days like these, and neither did we.
As we left the town’s last traffic circle, heading for Benghazi, all of us saw the checkpoint in the distance. “I think it’s Qaddafi’s soldiers,” Lynsey said.
Our driver, Tyler and Anthony shook their heads, but within seconds, the reality dawned on us. Unlike the rebels in their mismatched uniforms, track suits and berets, these men were uniformed. Their vehicles were a dark army green, and they lined in the street in military formation.
By chance, we made it through the first line of soldiers, but not the second.
“Keep driving!” Tyler shouted at Mohammed, the driver. “Don’t stop! Don’t stop!”
Mohammed had no choice, and a soldier flung open his door. “Journalists!” he yelled at the other soldiers, their faces contorted in fear and rage. It was too late.
Tyler was in the front, and a soldier pulled him out of the car. Steve was hauled out by his camera bags. Anthony crawled out the same door, and Lynsey followed.
Even before the soldiers had time to speak, rebels attacked the checkpoint with what sounded like rifles and medium machine guns. Bullets flew around us, and the soft dirt popped. Tyler broke free and started running. Anthony fell on a sand berm, then got to his feet and followed Tyler, who, for a moment, considered making a run for it.
Lynsey instinctively clenched her cameras as a soldier pulled at them. She let them go and ran behind us. Soldiers tried to get Steve on the ground next to the car, and he pointed at the gunfire. They made him drop his camera, then he ran, too.
We made it behind a simple one-room house, where a woman clutched her infant child. Both cried uncontrollably and a soldier tried to console them. When we got there, soldiers trained their guns on us, beat us, stripped us of everything in our pockets and forced us on our knees.
Tyler’s hands were bound by a strip of a scarf. A soldier took off Lynsey’s gray Nike shoes, then bound her with the shoelaces. “God, I just don’t want to be raped,” she whispered to Steve.
“You’re the translator!” a slight soldier screamed at Anthony. “You’re the spy!”
A few seconds passed, and another soldier approached, demanding that we lie on our stomachs.
All of us had had close calls over the years. Lynsey was kidnapped in Falluja, Iraq, in 2004; Steve in Afghanistan in 2009. Tyler had more scrapes than he could count, from Chechnya to Sudan, and Anthony was shot in the back in 2002 by a man he believed to be an Israeli soldier. At that moment, though, none of us thought we were going to live. Steve tried to keep eye contact until they pulled the trigger. The rest of us felt the powerlessness of resignation. You feel empty when you know that it’s almost over.
“Shoot them,” a tall soldier said calmly in Arabic.
A colleague next to him shook his head. “You can’t,” he insisted. “They’re Americans.”
They bound our hands and legs instead — with wire, fabric or cable. Lynsey was carried to a Toyota pickup, where she was punched in the face. Steve and Tyler were hit, and Anthony was headbutted.
Even that Tuesday, a pattern had begun to emerge. The beating was always fiercest in the first few minutes, an aggressiveness that Colonel Qaddafi’s bizarre and twisted four decades of rule inculcated in a society that feels disfigured. It didn’t matter that we were bound, or that Lynsey was a woman.
But moments of kindness inevitably emerged, drawing on a culture’s far deeper instinct for hospitality and generosity. A soldier brought Tyler and Anthony, sitting in a pickup, dates and an orange drink. Lynsey had to talk to a soldier’s wife who, in English, called her a donkey and a dog. Then they unbound Lynsey and, sitting in another truck, gave Steve and her something to drink.
From the pickup, Lynsey saw a body outstretched next to our car, one arm outstretched. We still don’t know whether that was Mohammed. We fear it was, though his body has yet to be found.
If he died, we will have to bear the burden for the rest of our lives that an innocent man died because of us, because of wrong choices that we made, for an article that was never worth dying for.
No article is, but we were too blind to admit that.
Captors in the Same Plight
We probably shouldn’t have lived through the night.
Even before the sun set, another gun battle broke out, almost as fierce as the first one. We were trapped in trucks in the open. Tyler stretched the binding of his handcuffs, allowing him to open the door. Anthony yelled for help, trying to open the door with his teeth.
A soldier finally let Tyler crawl around the pickup to let Anthony out. For a moment, our captors were in the same plight as us. As the hours passed, they offered us food, drink and cigarettes.
“These are the morals of Islam,” one said to Anthony. “These are the morals of Qaddafi. We treat prisoners humanely.” For a few hours they did. They offered blankets and mattresses, then put us in a car. As rebels attacked every so often, we all barreled out of the car and dived to the ground, until the firing subsided. They put us back in, and we dived to the ground again. They eventually let us lie behind a pickup.
Lynsey asked for her shoes. She got a bullet-riddled pair of Tyler’s, taken from his bag.
At 2 a.m. on Wednesday we were awakened.
“The rebels are massing,” one officer shouted. That day, and the ones that followed, we never really understood the command structure. No one wore rank; authority seemed to come from the pitch of a barked order.
In hindsight, the rebels and the army, or militia, didn’t seem separated by all that much. They were really gangs of young men with guns, each convinced of the other’s evil.
The rebels’ story was more familiar: They were fighting nearly 42 years of dictatorship, wielded by a man whom the vast majority in opposition-held Libya deemed insane. To the soldiers around us, they were fighting Al Qaeda or homegrown Islamists, and they couldn’t understand why we, as Americans, didn’t understand their battle.
And none of the men around us, all born after Colonel Qaddafi seized power as a young lieutenant in 1969, could imagine Libya without him.
A new group seized us, and they were rougher. They blindfolded us, tied our arms and legs and beat us. They then stuffed us into an armored car, where Lynsey was groped. She never screamed but instead pleaded. A soldier covered her mouth, tracing his hands over her body. “Don’t speak,” he warned. Another soldier tried to shove a bayonet into Steve’s rear, laughing as he did it.
A half-hour later, we arrived on what we thought were the outskirts of the other side of Ajdabiya. A man whom soldiers called the sheik questioned us, then began taunting Tyler.
“You have a beautiful head,” he told Tyler in a mix of English and Arabic. “I’m going to remove it and put it on mine. I’m going to cut it off.” Tyler, feeling queasy, asked to sit down.
We were finally put in a pickup where a soldier taunted Lynsey.
“You might die tonight,” he told her, as he ran his hand over her face. “Maybe, maybe not.”
From the moment of our arrest, the soldiers said we would be delivered to a man they called the doctor. Some referred to him as Dr. Moatasim, one of the more vicious of Colonel Qaddafi’s sons. Each has his own militia, and each seemed to operate on its own, with its own rules.
Like Trophies of War
At 8:30 a.m. Wednesday, we were thrown blindfolded and bound in the back of a pickup truck and driven along the Mediterranean coast toward Colonel Qaddafi’s hometown, Surt, a six-hour drive. Libya was never much of a state. In theory, that was Colonel Qaddafi’s idea. The Great Socialist People’s Libyan Arab State of the Masses was supposed to be perpetual revolution.
At its best it was dictatorship, at its worst chaos, and what we saw from one end of the country to the other was the detritus of an experiment whose own people lamented had lasted far too long.
We felt like trophies of war, and at a dozen checkpoints, we could hear militiamen running to the car to administer another beating.
“Dirty dogs,” men shouted out at each stop.
Over the years, all of us had seen men detained, blindfolded and handcuffed at places like Abu Ghraib, or corralled after some operation in Iraq or Afghanistan. Now we were the faceless we had covered perhaps too dispassionately. For the first time, we felt what it was like to be disoriented by a blindfold, to have plastic cuffs dig into your wrists, for hands to go numb.
The act is probably less terrifying than the unknown. You don’t know when it’s going to end or what comes next. By late afternoon, we were taken to a jail in Surt. Our captors led us to a basement cell with a few ratty mattresses, a bottle to urinate in, a jug of water and a bag of dates. As night fell, we wondered whether anyone knew — or could know — where we were.
Graffiti of devout prisoners was etched into the wall, testament to an insurgency that was crushed in eastern Libya in the late 1990s. “God bring us relief,” one line read.
At one point, Anthony was taken out of the cell for questioning. He never saw the captors.
“How could you enter without a visa?” the man asked him. “Don’t you know you could be killed here and no one would ever know?” Anthony nodded. The man went on to denounce the rebels he said they were fighting — Qaeda fanatics, he said, and gangs of armed criminals.
“How could they ever rule Libya?” he asked.
They sent Anthony back to the cell, and we knew that no one had any idea where we were.
Camaraderie and Brutality
The next afternoon, on Thursday, was perhaps the worst beating. As we stood on the tarmac in Surt, waiting for a military plane to Tripoli, Tyler was slapped and punched, and Anthony was hit with the butt of a gun to the head. We were blindfolded and bound another time with plastic handcuffs, and Lynsey was groped again.
As we sat in the plane, we asked a question that came up at every stop: “Is everyone here?” Hearing a familiar voice seemed to encapsulate everything that camaraderie came to mean. As long as were together, we probably stood a chance.
Nothing ever felt more generous to Anthony than a handcuffed Tyler managing to reach into the pocket of Anthony’s jacket, pull out a cigarette and light it before handing it back to him.
The flight lasted 90 minutes and, again, we were dealt a gesture of kindness.
“I’m sorry,” a sympathetic air crew said to each of us.
Our destiny may have been decided at the airfield in Tripoli.
We were put in a police wagon, reeking of urine, that resembled so many Interior Ministry vehicles in so many Arab capitals. Guards stripped of us our shoes, socks and belts. One then yelled in Anthony’s ear, “Down, down U.S.A.!” He did the same to Steve. “But I’m not American, I’m Irish,” Steve answered.
“Down, down Ireland!” he shouted back.
We were moved to two more vehicles, and an argument raged for a half-hour over us. We suspected the fight was between the vicious Interior Ministry and other branches of the government. That kind of fight is waged by the logic of a dictatorship: the spoils go to whoever can muster a greater threat.
We were moved to another vehicle but not before a soldier, perhaps from the losing side, drove the barrel of his rifle into the back of Tyler’s head.
‘Protection of the State’
Within a half-hour, we were in a military compound, in the hands of military intelligence. We collapsed on the floor, accepting milk and mango juice. We saw our bags unloaded, though we would never get them back.
A gruff man struck a sympathetic tone. You won’t be beaten or bound again, he told us. You will be kept safe and, although you will be blindfolded if you are moved anywhere else in the compound, no one will mistreat you.
From that moment, no one did.
We were taken to a detention center that looked more like a double-wide trailer. On the shelves were a two-volume German-Arabic dictionary and five of Shakespeare’s plays. (Colonel Qaddafi once famously quipped that Shakespeare, or Sheik Zubeir, was actually an Arab migrant.)
The men were given track suits. Lynsey was brought a shirt that read, “Magic Girl,” emblazoned with two teddy bears. Her new underwear read, “Shake it up.”
At the late hours of night, we were blindfolded to receive visitors.
“You are now in the protection of the state,” a Foreign Ministry official told us.
Official after official made excuses for what happened to us. One said we had to understand the difference between militias loyal to Qaddafi and the actual army. Another asked whether Anthony had seen any rebel unarmed — the presence of guns deployed against the state seeming to justify any crackdown. Officials asked Lynsey whether she had been raped.
The more they talked, the clearer it became: This semblance of a state was not a state.
In the four days that followed, we fought boredom more than anything else. Tyler finished “Julius Caesar.” Lynsey started “Othello.” If it went on much longer, Tyler jokingly suggested we perform the plays. As the hours passed, we replayed each moment of the preceding days in detail, trying to piece together what had happened to Mohammed.
We wondered whether we would be delivered into more sinister hands. After the no-fly zone was imposed and we heard volleys of antiaircraft fire, we thought that a desperate government could make us human shields. Weighing over all of us was guilt for what we had put our families and friends through.
In the end, it was the trappings of diplomacy that delayed our departure.
Foreign Ministry officials, clinging to a prestige they may have never had, insisted that our transfer be formal, between two sovereign states. At one point, they insisted an American or British diplomat had to travel to Tripoli in wartime. In the end, Turkish diplomats served as intermediaries and delivered us to the border.
As we left, we saw the billboards of a crumbling government. “Forty-one years of permanent joy,” read one slogan superimposed over a sunburst. But the words that lingered with us as we left were quoted to Steve by an urbane Foreign Ministry official speaking idiomatic British English.
As we sat in an office, he murmured two lines of Yeats.
“Those that I fight I do not hate,
Those that I guard I do not love.”

Monday, February 21, 2011

Personal Projects!

The key to becoming a consistently better photographer is to shoot shoot shoot. The more you shoot the better you are able to make a vision a reality.  When I'm not going crazy at the studio or with my wife and kids, I like to work on self assisgnments.  I have recently started working on a different look and experimenting with a different style. I have been wanting to show more expression in peoples faces almost to a humorous side.  Here is the start of this project which I expect will evolve with time.




Wednesday, October 13, 2010

The New Website

The new website is almost finished. Check it out at www.kevscottphoto.com