Archive for the ‘Iain Crockart’ Category

LPA Moving Image / Iain Crockart / A Bullet Across Rajasthan

March 19, 2014

The ever intrepid Iain Crockart recently journeyed to Rajasthan to combine two of his greatest passions, motorbikes and photography, well in this case video!

Travelling on 500cc Royal Enfield Bullets, Iain ventured through the vast deserts of Rajasthan as well as the bustling cities which fill the region. Iain said of the trip, ‘The smiling waving children, the sweet chai, the road side dhaba’s for a lunch of what was available, the near misses and occasional impact with wildlife, the laughs around campfires lasting well into the night…. all part of the adventure’. We love this little video which shows an insight into life on a hog!

The Brief / Edwardian Group London / ED.G.E. / Saatchi Masius / Iain Crockart

February 27, 2014

The Brief is a quarterly feature on the LPA Blog that takes a behind the scenes look at what goes into a photoshoot, from brief to final images. This month we bring you a clever campaign for Edwardian Group London’s training school ED.G.E. We even include a handy photoshoot glossary!

Photographer: Iain Crockart
Client: Edwardian Group London
Agency: Saatchi Masius
Design Director: Joseph Luffman
Account Director: Adam Brani
Account Manager: Tom Rudge
Usage: Recruitment campaign for Edwardian Group London training school (ED.G.E) plus internal posters, website and induction materials.

The Brief

LPA Photographer Iain Crockart was commissioned by Saatchi Masius for a great little campaign for the Edwardian Group London Training school ‘ED.G.E’. Known for photographing ‘real people’ in real environments but also used to big productions with a shoot crew, Iain was the perfect man for the job.

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© Iain Crockart

”Essentially we want to shoot EGL hotel employees (from chefs and porters through to management) with props that help to develop a narrative about key ‘behaviours’ that EGL want to promote. So an example could be a chef holding a map of Italy, to promote passionate behaviour. The narratives are currently being developed and we’d be interested in sharing the early drafts with you at some point, to get your input on how we can use props and lighting to best support the stories.

We’re hoping that we can shoot in around 3/4 weeks time and I’m estimating that we’ll need around 2 days.

To get the ball rolling from our side, my colleague Tom Rudge will be in touch to ask about day rates etc and as we move forward we can hopefully book in a kick-off meeting with you.”

Joe Luffman, the Design Director at Saatchi Masius initially told Iain. (more…)

LPA Photographers / Iain Crockart / Chep / Sydney Design Awards

February 3, 2014

LPA Photographer Iain Crockart was commissioned by design agency Brambles in Australia to shoot a comprehensive library of images as part of a branding project for global company CHEP. The project recently won The Sydney Design Award for Branding.

Chep provides effective solutions for the manufacturing, food, aerospace and automotive supply industries. This was an extensive international project for Iain, which saw him shoot on location in Canada, Australia and the UK. Iain’s strong graphic approach can be seen in all of the following images. Great work once again Iain!

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© Iain Crockart

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© Iain Crockart

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© Iain Crockart

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© Iain Crockart (more…)

LPA Photographers / Iain Crockart / Saatchi Masius / Radisson Hotel Group

December 16, 2013

Iain Crockart recently shot this interesting shoot for the Radisson Hotel Group training school ‘Edge’, with the skilful aid of LPA Style Charlie Cave, and  Claire Louise.

This shoot and advertising concept by Saatchi Masius combines the idea of how motivation in your personal life for a passion or hobby can improve performance in the professional workplace. Charlie’s imaginative styling and Claire’s attention to hair and make up definitely complements Iain’s expert eye behind the lens.

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© Iain Crockart

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© Iain Crockart (more…)

Iain Crockart / Captain Fawcett / Ricki Hall

November 7, 2013

Carrying on from yesterday’s hairy blog post from Victoria Poland, we present this recent shoot from Iain Crockart which combines three of his favourite things: photography, motorbikes and beards!

Shot for Captain Fawcett, a gentleman’s grooming range, Iain captured the fantastic Ricki Hall as a brooding biker who spends as much time looking after his facial hair as he does looking after his bike. Furnishing a range of products from moustache wax to shaving brushes, Captain Fawcett is a side project of Iain’s which has proven to be as popular as his photography. Don’t know how you have time to do it all Iain!

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© Iain Crockart

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© Iain Crockart

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© Iain Crockart

LPA In Focus / Personal Projects

October 17, 2013

LPA-SPOTLIGHT-PERSONALWORK-OCT2013

Iain Crockart / Personal Project / Harley Davidson

October 10, 2013

A motorbike enthusiast himself, Iain Crockart recently spent some time State-side documenting a HOG (Harley Owners Group) 1500 miles rally.

Having previously documented motorbike rallies in the Himalayas, India, Cambodia and Africa, Iain followed the bikers through Arkansas, Ohio and Oklahoma on their mammouth rally. I think this would be a road trip we’d all like to be on!

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© Iain Crockart

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© Iain Crockart

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© Iain Crockart

(more…)

Iain Crockart / SAS / Ernst & Young

September 17, 2013

LPA photographer Iain Crockart was commissioned last month by SAS to shoot these slick and graphic images for Ernst & Young

Shot to promote Ernst & Young’s School Leavers programme, Iain captured some of the young businessmen and women who will be shaping things in the Future. A master of corporate photography, Iain’s portraits and group shoots are simple and effective, professional and warm. LPA Style’s Victoria Poland provided the great hair & make-up to make sure everyone was looking their very best.

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© Iain Crockart

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© Iain Crockart

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© Iain Crockart

(more…)

5 Minutes With… /Jean-Michel Massey / The Forge

July 26, 2013

Jean-Michel works with LPA Photographer Iain Crockart, amongst others, on post production work. With his own company The Forge, and years of experience working in the industry, we thought we would ask him more about what is involved. Thanks very much for coming in Jean-Michel…

 

JM_Portrait

 

- Tell us a bit about yourself, and what’s involved in the post-production process…

My name is Jean-Michel Massey… I run a company called The Forge, based in a converted church near Camden. I’m half French, half English. Born in London, but moved to live near Bath until I was 14, my mother and I went further South West to Totnes in Devon. By the age of 19, I was back in the big city.

Post-Production is basically giving images a bit of polish, and rolling them in glitter. Each image we produce would combine all or some of the following; Focus comps and pulls, comps for additional elements, removing elements and for beauty images; intricate skin work. We’ll remove anything unsightly or anything that detracts from what the image is focusing on. Then each image is colour corrected and if required, given a “look”…

We can achieve anything with post production, given enough time and elements to use. I’ve made mountains rise from the sea, bucking horses from hundreds of frames of water splashes, I’ve made apples explode and created stunning editorials with some of the great photographers working in the UK today.

- How did you enter a career in post-production?

I basically grew up in photographic studios. My father, Ray Massey,  is a well known photographer; in the 80′s & 90’s he was shooting incredibly complicated multi-exposure images onto a single sheet of 10×8 film, which even to this day bemuse most as to how they were shot without using any kind of post-production.

My first job in London was at Primary Colour, a film processing lab – I worked on E6 & C41 a little, but mainly worked scanning film, spending hours a day “dust busting” – I loved that job, it was so therapeutic. The experience of working with, and learning from, Mark Foxwell & Steve Macleod, has been invaluable to me.

I then went on to work for the fashion label Maharishi, to work on their fantastic DPM book – which  involved a lot of scanning and furthered my knowledge of colour; we had to match swatches to images, some of which were from the early days of colour photography, this proved pretty tough and sometimes very time consuming.

At the age of 21  I went freelance; it was a huge decision but one I have never regretted- suddenly  I found myself working for  agencies such as  BBDO, McCann’s, Saatchi & Saatchi to name a few, I also worked for great  design agencies such as Harrimannsteel.

- Do you work regularly with certain photographers, and do any of their styles particularly inspire you?

I work with numerous photographers from my generation & my father’s generation, I love working and helping young photographers define a style and exploring the limits of what post-production can do with them. I really enjoy working with photographers that have come from the film era too – they generally get more things right in camera, and are usually less reliant on what we do in post.  I find their approach to an image very different and inspiring. I wouldn’t say that any one of the photographer’s styles inspire me per-se, but I love to learn and find that style so we can keep producing consistently great images.

 

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© Matthew Beedle photography, The Forge retouching

- Are you able to put your own emphasis on the work you post produce?

Each brief that comes in will usually be fairly well defined by the art director & photographer, occasionally I’m asked to add some flare, my creative twist, the main challenge on more complicated images is to translate the Art director’s concept, the photographer’s idea of how to shoot that concept and supply something that they are both happy with.

- Do you have your own photography projects aside from post-production work?

My personal work is the antithesis of what I do as a retoucher; when I travel I shoot landscapes, simple, barren landscapes. I don’t retouch them, I sometimes desaturate or contrast them, then print them 60×40 and mount in a simple frame. I’m also worryingly addicted to instagram.


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© Iain Crockart photography

- Describe the high and low points of your job….

High points would include simply looking at where an image started and where it’s ended up, it’s always very rewarding. Seeing work in print, on billboards and on blogs is always pretty fantastic too.

Words of thanks from photographers I respect are always very nice, and even more so is receiving a phone call or email saying that they’d recommended me, there’s no bigger compliment.

The lows are usually due to my own inability to supply anything I’m not happy with, or my willingness to help photographers with tight deadlines. – these two combined usually mean I’m working late or working weekends when I’d rather be out and about! I do however make up for it by taking long weekends and holidays….

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© Chris Mosey photography, The Forge retouching

- What is the biggest challenge in post-production?

The biggest challenges I encounter are usually due to lack of foresight or impossible tasks in production or on shoot, but with good communication about the project before and during each shoot, this rarely happens anymore. Most things can be done, I’ve learnt how to deal with most situations and problems…

- Would you say technical prowess or creativity is most important in post-production?

I’d say it’s a blend of both, along with patience and a keen eye. I certainly started out as a technical operator; I was very nerdy in the early days – having a firm grasp of the techinical side of things is very important and it in turn has allowed my creative side to grow. The creativity isn’t just to do with the aesthetic of the image, it’s the approach to problems on the route to achieve the finished article.

- What are your other interests outside of photography?

I’m an avid cyclist, Mountain biking and cycle touring are my two favourite activities,  my mother lives near Dartmoor, Devon, which is perfect for mountain biking. London based activities – I took up indoor climbing about two years ago, nothing quite gets your mind off a days work and stress like hanging 20 feet up by your finger tips.

 

Iain Crockart / Further / BBC

July 17, 2013

Iain Crockart was recently commissioned by Further to shoot these natural portraits for the BBC Annual Report. 

Focusing on the idea of consumers tuning into the BBC, whether it be through traditional means such as the radio or more technologically advanced equipment such as tablets and smart phones, the resultant images are natural and fresh.

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© Iain Crockart

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© Iain Crockart

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© Iain Crockart

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15 Apr 2014