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chris crisman wired uk pixar john lasseter ed catmull photos

Whenever the phone in our studio rings and there’s a +44 country code at the beginning of the number, we get pretty excited – a phone call from Great Britain almost always means a new assignment from the folks at Wired UK and always something new and exciting for us to go shoot.

This latest cover and feature shoot was no different; we were asked to shoot the creative and technical geniuses who are behind the world famous computer animation studio, Pixar. This particular project took shape over many weeks and came to fruition as two separate shoots in California. First we set off to photograph the director, animator, producer, and all around creative genius John Lasseter. For the cover image, John was to be composited into a scene with the Arlo, the star of Pixar’s newest film The Good Dinosaur.

chris crisman wired uk pixar john lasseter ed catmull photos

chris crisman wired uk pixar john lasseter ed catmull photos

As usual with most cover shoots and important subjects, we had a short amount of time with Mr. Lasseter – Chris planned to shoot 3 unique setups in under 30 minutes. After a few hours of setup and testing, our shoot was a breeze – John was a natural and totally enjoyed himself with Chris and our team.

chris crisman wired uk pixar john lasseter ed catmull photos

chris crisman wired uk pixar john lasseter ed catmull photos

By far the most unexpected moment of the shoot was on our final all-white set when John called out to everyone behind the scenes asking if anyone had a sharpie. As if she was reading his mind, our awesome prop stylist Kim Creigthon was ready with a set of markers. The next thing everyone knew, John Lasseter was sketching out an original drawing of Buzz and Woody from Toy Story – right on the middle of our set (quite literally)! I have a feeling that drawing is currently framed back at Wired UK Headquarters in London.

chris crisman wired uk pixar john lasseter ed catmull photos

chris crisman wired uk pixar john lasseter ed catmull photos

chris crisman wired uk pixar john lasseter ed catmull photos

Arlo may have been CGI that was added in later, but we still needed something to simulate the presence of a giant dinosaur in frame. It may be a bit smaller than a dinosaur, but in this case, a tennis ball attached to a C-arm did the trick. No need to book an animal wrangler for this shoot.

chris crisman wired uk pixar john lasseter ed catmull photos

chris crisman wired uk pixar john lasseter ed catmull photos

A few days after our quick cover shoot with Lasseter, we flew back to California to spend the day at Pixar’s campus near San Fransisco, capturing images of the incredible space and some of the creative minds behind the company.

First on our shot-list was Ed Catmull, the president of Pixar and Disney Animation. Similarly short on time to John Lasseter we only had a few moments with Mr. Catmull to shoot our portraits, and were able to capture a handful of great options (if you look closely on the top portrait you may notice the very familiar looking art from the recent Pixar film Inside Out).

chris crisman wired uk pixar john lasseter ed catmull photos

We also shot portraits of Denise Ream and Peter Sohn, the producer and director of The Good Dinosaur. With the upcoming release set for only a few weeks away, these two were also very busy wrapping up any final details on the film, but spared a few moments for a portrait session in front of Chris’s camera.

chris crisman wired uk pixar john lasseter ed catmull photos

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The other unspoken star of the show on our shoot day at Pixar was the building itself. Designed and meticulously managed and built by Steve Jobs, the space was beautiful, refined and architecturally stunning, yet reflected the playful and quirky nature of Pixar – truly an inspiring space to drive creative ambition. We honestly feel very lucky to have spent the day in such an inspiring place.

Questions? Comments? let us know your thoughts below or @crismanphoto and /crismanphoto!

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chris crisman, chris crisman photography, chris crisman advertising photography, chris crisman ad photography, chris crisman american standard, chris crisman american standrd dxv, chris crisman dxv, chris crisman 22 squared, chris crisman 22 squared advertising, 22 squard american standard, 22 squared american standard dxv, chris crisman american standard advertising

chris crisman advertising photography american standard

Early on in 2015 we were already chatting with the awesome creatives at 22Squared – the word was in that their client American Standard was interested in shooting a second round of the “As told by DXV” campaign and they wanted to bring the Crisman Team back for the sequel to our 2014 shoot.

From the get-go, we worked closely with the agency and designers at American Standard to brainstorm, concept and ultimately execute three new images for this years campaign. Culled down from practically a dozen candidates, we landed on Beauty & The Beast, The Strange Case of Dr. Jekyll and Mr. Hyde, and Alice’s Adventures in Wonderland – three instantly recognizable classic stories that we were tasked to bring to life in the context of premium plumbing.

chris crisman, chris crisman photography, chris crisman advertising photography, chris crisman ad photography, chris crisman american standard, chris crisman american standrd dxv, chris crisman dxv, chris crisman 22 squared, chris crisman 22 squared advertising, 22 squard american standard, 22 squared american standard dxv, chris crisman american standard advertising

This was no small task, but we knew our team was up to the challenge. Choosing to shoot this in our hometown of Philadelphia meant that this project was a bit of bringing the band back together from 2014. Our first call was to the talented set designer Matthew Englebert. He was on-board from day one, overseeing the practical design and construction of our three sets. Matthew and his team worked for weeks to design, build, and prop the three spaces – creating custom pieces that show a true mastery of craft and an artisan quality of construction.

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chris crisman advertising photography american standard

We worked closely with the team and 22 Squared and the brand designers from American Standard to create rooms that framed up the story while keeping the plumbing fixtures the star of the show. This meant lots of discussions and lots of collaboration between Chris, our team, the agency, and the designers at American Standard. It was an amazing process to watch everyone’s ideas and input get distilled down into the three final ads.

Not only that, but it is equally amazing to see these concepts physically brought to life and built by our set building crew. Trust me when I tell you that every little detail, down to the subtle coloring of the real poured concrete floor is not missed by these talented folks.

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One of the biggest and certainly the coolest differences between our previous campaign and this years shoot for American Standard was the decision to shoot motion content and create cinemagraphs. To achieve this we needed to both concept actions and elements in the images that functioned with motion, and also practically light and build our sets in such a way that we could capture this content. For every shot that we lit with strobe, we needed to match that lighting with HMI & continuous lighting.

The results are something we’re really excited about and definitely plan on shooting again.

chris crisman advertising photography american standard

chris crisman, chris crisman photography, chris crisman advertising photography, chris crisman ad photography, chris crisman american standard, chris crisman american standrd dxv, chris crisman dxv, chris crisman 22 squared, chris crisman 22 squared advertising, 22 squard american standard, 22 squared american standard dxv, chris crisman american standard advertising

chris crisman, chris crisman photography, chris crisman advertising photography, chris crisman ad photography, chris crisman american standard, chris crisman american standrd dxv, chris crisman dxv, chris crisman 22 squared, chris crisman 22 squared advertising, 22 squard american standard, 22 squared american standard dxv, chris crisman american standard advertising

chris crisman, chris crisman photography, chris crisman advertising photography, chris crisman ad photography, chris crisman american standard, chris crisman american standrd dxv, chris crisman dxv, chris crisman 22 squared, chris crisman 22 squared advertising, 22 squard american standard, 22 squared american standard dxv, chris crisman american standard advertising

With any large production – it quite literally takes a village to get the shot sometimes. Whether that’s designing and building the sets, wrangling the animal talent, propping out the shots, tweaking the lights, or even in my case – standing in for a light test…

As always, we owe a huge thanks to everyone who helped bring this project together. From our clients at American Standard and 22Squared to our talented set building and construction crew, the hair and makeup and wardrobe styling team, and our trusty photo assistants. We couldn’t have created these images with you all so thank you!

Questions? Comments? let us know your thoughts below or @crismanphoto and /crismanphoto!

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chris crisman wired uk drones airware Jonathan Downey 3D Robotic

Drones are here. Whether it’s as simple as capturing footage from a GoPro, surveying land, top secret military operations or even drone beer delivery (my personal favorite) – these flying robots are in our skies and not going away anytime soon.

As with any developing industry on the edge of modern technology, the team at Wired UK are on it. Earlier this year we received a call from across the pond to fly out to San Fransisco and photograph two companies at the forefront of the aerial robotics industry: Airware and 3D Robotics.

chris crisman wired uk drones airware Jonathan Downey 3D Robotic

chris crisman wired uk drones airware Jonathan Downey 3D Robotic

chris crisman wired uk drones airware Jonathan Downey 3D Robotic

First up was Airware, a drone company aiming to take the already airbone industry into the cloud. Terrible tech puns aside, the Airware team creates hardware and software that is trying to create a standardized operating system for the world of commercial drone operations – no small task.

Jonathan Downey, the founder and CEO, as well as the rest of his team were generous with their time and access – helping us to illustrate both the tech and the people behind scenes who are bringing this idea to life.

chris crisman wired uk drones airware Jonathan Downey 3D Robotic

chris crisman wired uk drones airware Jonathan Downey 3D Robotic

Our second shoot took us to the Oakland based HQ of 3D Robotics, a consumer robotics startup helmed by former Wired Editor in Chief, Chris Anderson. They just released their first offering, the 3DR Solo Drone – a very user friendly and easily piloted GoPro wielding UAV capable of 3D scanning. Not too shabby.

Spending a day with their pilots and watching the R&D team work was inspiring to see where the consumer side of the drone world is headed.

chris crisman wired uk drones airware Jonathan Downey 3D Robotic

chris crisman wired uk drones airware Jonathan Downey 3D Robotic

And of course the shoot wouldn’t be complete without a few wonderful light tests from Jared and myself. After all these years we’ve gotten really good at standing next to windows and on rooftops.

chris crisman wired uk drones airware Jonathan Downey 3D Robotic

chris crisman wired uk drones airware Jonathan Downey 3D Robotic

We were pretty busy on set wrangling all of these flying robots but we managed to grab a few quick BTS shots. If you look closely enough at the shot of Chris Anderson you can spot the 3DR Solo flying dangerously close to the industrial tanks in the background. No crashes though – the shoot was a success!

Questions? Comments? Let us know at @crismanphoto on Instagram and /crismanphoto on Facebook.

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“Own It” – I can’t think of a better opening phrase for this blog post than the tagline of the campaign itself. We’re really excited to share some work we shot towards the end of 2014 for Intuit Quickbooks. Partnering with the amazing creatives at RPA, we brought a campaign to life featuring small business owners who embody the spirit of “owning it.”

Our production took us all over Los Angeles, shooting talent who included beekeepers animal veterinarians, and woodworkers. Two great shoot days with an awesome crew resulted in beautiful images that you can find in magazines and plastered on billboards throughout the country.

crisman_intuit_quickbooks_012

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It is definitely worth noting that our beekeeper shot was done entirely in camera. Sure we may have added a few extra bees in post, but they were all real – and so were the beekeeping suits.

When the rest of the crew cleared off set, Chris and yours truly donned full bee protection and got ready for a fast 30 minutes of shooting. It’s also worth noting here that making any kind of battery of CF card changes to a Phase One digital back while wearing padded beekeeping gloves is strongly not advised.

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You’d think the drama would have ended with the beekeeping shoot, but a little known fact about myself is that I’m actually scared of horses. No childhood trauma, no weird experiences, I just kinda don’t like how big or unpredictable they can be. I think this picture pretty much sums it up.

chris crisman advertising photography intuit quickbooks

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Our second day of shooting brought us to an awesome private woodworking shop just north of LA. Naturally with woodworking, you need sawdust and haze to get the right look and feel. Judging by the BTS photos from that day… It was pretty hazy on set. This shoot is also responsible for Chris’s newfound love of hazer machines.

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With any project like this, we owe a big thank you to the awesome agency RPA for having us on-board to bring their concepts to life as well as our LA based crew – you guys totally rocked it.

Thanks for reading – make sure to check us out at @Crismanphoto on Instagram and /Crismanphoto on Facebook.

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crisman_5Ds

Hi everyone!

So we just recently received a new Canon 5Ds. It’s been a long wait since we pre-ordered, but it’s finally here so we decided to see how it looked side by side with our trusty 5D Mark III and our somewhat finicky IQ 160 Phase One back. Below are some comparisons of Chris’ pearly blues from ISO ranges 100-800.

This is just our quick look at the cameras side by side to get a idea of what the new canon is all about. It’s by no means an in depth technical review… We’re not exactly the most technical photo crew on the planet and we’re not hoping to be so either.

What we’ve noticed between the cameras is that the 5Ds files have a bit more contrast than the 5D3. The 5D3 handles higher ISO’s a little better than the 5Ds but that was expected with the cramming of more pixels into the sensor. The 5Ds is very close in sharpness to the IQ160 but we feel the IQ160 beats it just barely. In terms of ISO, the IQ160 is really not great above ISO 200, and even though we rarely shoot above 800, the 5Ds will be able to cover us in that department as well as having an actually functioning auto focus system.

I’m sorry medium format cameras, but you guys just cant keep up against massive multi-point AF arrays. I can see us moving away from the IQ160 for these reasons alone, but then again it could open the door for buying an even larger medium format back in the future.

Take a look at the images below.  We’d love to hear your take on all of this as well – let us know in the comments!

-Jared

Click the images to see them at 100%.

ISO 100 test between Canon 5d Mark III, Canon 5DS, and PhaseOne IQ160.

ISO 100 test between Canon 5d Mark III, Canon 5DS, and PhaseOne IQ160.

ISO 200 test between Canon 5d Mark III, Canon 5DS, and PhaseOne IQ160.

ISO 200 test between Canon 5d Mark III, Canon 5DS, and PhaseOne IQ160.

ISO 400 test between Canon 5d Mark III, Canon 5DS, and PhaseOne IQ160.

ISO 400 test between Canon 5d Mark III, Canon 5DS, and PhaseOne IQ160.

ISO 800 test between Canon 5d Mark III, Canon 5DS, and PhaseOne IQ160.

ISO 800 test between Canon 5d Mark III, Canon 5DS, and PhaseOne IQ160.

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chris crisman editorial photography Southwest Airlines Shakespea

In the fall 0f 2014, the Crisman team headed to Detroit to spend a week working with a group of artists and actors who make up Shakespeare in Detroit. Founded in 2013, Shakespeare in Detroit is a site-specific Shakespeare company that performs throughout the city of Detroit. From the costumes to the actors, the staging and their props – every piece of the SID productions are sourced and based in Detroit. They’re an amazing group of people who are breathing life into the city, and we couldn’t be happier to tell their story.

chris crisman editorial photography Southwest Airlines Shakespea

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For this shoot we wanted to bring the characters of Shakespeare to life in real locations that spoke to the city of Detroit. The first and most obvious thought would be do go down the route of ruin and shoot inside the crumbling remains throughout the city – but this is a misstep. The true Detroit, the 2015 Detroit is not a crumbling remain, it is a city in rebirth, a thriving city which plays just as an important role in this project as the characters we’ve staged in front of the lens.

chris crisman editorial photography Southwest Airlines Shakespea

chris crisman editorial photography Southwest Airlines Shakespea

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Art, culture, food, it’s all there in Detroit. And it’s growing – faster than you may image. From city institutions like Coney Island hot dogs to brand new craft distilleries and burgeoning restaurants, there couldn’t be a better city to stage this performance in.

Not happy with just shooting stills, our team also captured motion for this project, including this video interview with the founder and director of Shakespeare in Detroit, Sam White. Although our photos may shed some light into the amazing production she founded, Sam shares the story of SID in a way that only she can.

chris crisman editorial photography Southwest Airlines Shakespea

chris crisman editorial photography Southwest Airlines Shakespea

Can’t have a shoot without some light tests and BTS coverage. We kept our kit pretty small and mobile since we were shooting at least 2 locations a day and sometimes more.

chris crisman editorial photography Southwest Airlines Shakespea

chris crisman editorial photography Southwest Airlines Shakespea

One of the most unique and most distinctively Detroit locations was The Heidelberg Project, a large scale outdoor art exhibit that spans an entire city block.

chris crisman editorial photography Southwest Airlines Shakespea

And then I got stuck in a fish tank. Well – not really… we did shoot at the amazing Belle Isle Aquarium, a historic building designed by the legendary architect Albert Kahn.

chris crisman editorial photography Southwest Airlines Shakespea

chris crisman editorial photography Southwest Airlines Shakespea

Aside from being the stage for our scenes photographed from Othello, Slow’s Bar Bq serves some damn tasty BBQ and is a must visit if you’re in the city.

chris crisman editorial photography Southwest Airlines Shakespea

chris crisman editorial photography Southwest Airlines Shakespea

chris crisman editorial photography Southwest Airlines Shakespea

chris crisman editorial photography Southwest Airlines Shakespea

We owe a big thank you to our editors at Southwest magazine for trusting us to bring this wild story to life. We also owe a thank you to Sam White and the entire acting company at Shakespeare in Detroit – we couldn’t have pulled this off this without all your help! Last but not least, we owe a thank you to the city of Detroit – the other character throughout this series of photos – quite possibly the most appropriate backdrop for these images.

chris crisman editorial photography Southwest Airlines Shakespea

And last but not least here’s a photo of Jared asleep while sitting in for a light test. Yup – it was definitely a long week.

Thanks for reading – make sure to check us out at @crismanphoto on Instagram and /crismanphoto on Facebook.

 

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