May 14th, 2012
In my opinion, Cade Martin and Design Army should team up more often. Every time they get together, they create something uniquely wonderful; usually imagery that’s both whimsical and romantic, like their memorable campaigns for Neenah Paper and The Washington Ballet. Their most recent project was no different—a fanciful collaboration for The One Club.
Each year The One Club—an organization that “seeks to celebrate the legacy of creative advertising”—produces the prestigious international advertising competition, The One Show. For this year’s competition, The One Club came to Design Army to promote their call for entries to ad creatives across the globe.
For the campaign, Design Army knew they needed stand out imagery to catch the eye of fellow creatives, so they called up Cade to help bring their “ONEderful” theme to life. The “ONEderful” world consisted of adorable furry creatures, smiling flowers, fluffy clouds and one man with flaming red hair. Cade spent weeks furiously planning the production, making sure every little detail was in place before their Saturday and Sunday shoot dates. This included numerous visits to taxidermy shops to collect the menagerie needed. It finally seemed as if everything was in place but the universe had other plans; just days before the shoot an earthquake hit the east coast, followed right up by a hurricane.
The earthquake took out Cade’s location. Then, the night before the shoot, the hurricane took their talent. Their model—the one who they’d specifically had wardrobe and a wig fitted for—couldn’t make it to DC. He refused to travel by train during a hurricane. So, Cade and his team scrambled. They found a new location and ended up using Seth Callaway, aOne Show producer, as their model—mostly because he was the only one who fit in the clothing. However, according to Cade, this turn of events actually worked out quite well,
Seth was amazing. He has a great face and so much energy. He’s so expressive. I don’t think the model could have taken it in the direction he took it.
But the universe wasn’t done yet, the hurricane ended up also taking out the studio’s power and Cade’s massive movie studio lights were in need of some serious juice. Fortunately, Cade had a generator and they were able to keep going, overcoming each problem as they arose. “Every single aspect of this shoot was adapt and overcome,” says Cade, “you gotta kind of roll with the punches.”
The final photographs—all composed in camera—were shared by The One Show through posters sent out to 35,000 creatives in over 60 countries. They were also used in banners on sites like Creativity, Campaign and Design Taxi, and in magazine ads. The images are truly ONEderful; which is maybe what the universe intended all along.
Vew more of Cade’s work on his website, cademartin.com.
- Maria Luci
May 10th, 2012
After moving to Santa Fe many years ago, Julien McRoberts became interested in rodeos. She attended the Galisteo Rodeo each year and eventually began to bring her camera along. One summer a friend invited her along on a cattle drive with some “wonderfully crusty cowboys.” The days were hot, long and dusty but Julien describes the experience as “one of the most fun things I have ever done.” The cattle drive and the people she met along the way fascinated and inspired Julien to really jump into photographing these cowboys at local rodeos. From there, she was hooked and has been documenting rodeos for six years.
For her project, Julien has stuck to shooting small, local rodeos as she views the larger pro shows to be too commercial for her taste. She aims to capture the spirit of the old west—the love and passion found in these men and women for their sport. People wholly invested in the cowboy lifestyle. So far, Julien has been welcomed with open arms into the rodeo community and says that, “cowboys and ranchers are some of the nicest people you will ever meet and they are more than gracious in allowing me access to photograph their world.”
Through her years of documenting rodeos, Julien has come to love the sport and its people. Being around the cowboy community has helped her take a look at her own lifestyle and has inspired her to take things a bit slower from time to time. She’s also found a greater appreciation for the small things in life. However, she’s seen that the lifestyle and passion that comes with rodeos sometimes comes with a high price,
Tragically, I captured a saddle bronc rider who was thrown and kicked in the head resulting in his untimely death. It still haunts me; he was an engineer by trade and a father of three with one on the way.
Even with the crushing lows, the highs have kept Julien engaged. She hopes to continue the project on more global terms saying,
I would like to expand on this and photograph cowboys around the world to show the similarities in lifestyle, food, culture as well as the differences and challenges they face. From the Maasai of Africa who are cattle herders to Aboriginal cowboys of Australia to cowboys of eastern Europe. The project could be pretty vast and interesting. The only thing holding me back at the moment is the funding aspect; if anyone out there would like to create this as an assignment, call me. Have camera (and cowboy boots)—will travel.
View more of Julien’s work on her website, julienmcroberts.com.
- Maria Luci
May 9th, 2012
In 2007, New York-based photographer Annabel Clark traveled to Colombia and Brazil with Healing the Children Northeast. Her plan was to do document their medical missions which include bringing children to the States that are in need of long-term medical care. Two of those children were Carmen and Lupita who were brought to the US from Mexico when they were just two. The girls were born conjoined twins and their mother hoped that American doctors could separate them. However, doctors soon realized that separation was not an option as the girls are joined at the base of their spine.
Carmen and Lupita’s story fascinated Annabel and she asked if she could meet and photograph them for Healing the Children. After just a few sessions with the girls, she felt compelled to continue the project on a more long-term basis; to document their emotional connection and distinct personalities. Now, after several years with the Carmen and Lupita, Annabel has compiled a compelling series that highlights the their unique and intimate bond, and more importantly, shows just how normal their lives really are.
Annabel’s work has always captivated me (especially her project Journal: A Mother and Daughter’s Recovery from Breast Cancer) and her Carmen & Lupita series is no different. Therefore, I got in touch with her to learn more and delve deeper into the story behind the photos. Below is our interview.
- Maria Luci
How open were the girls to you photographing them?
The girls have been very easy going about being photographed. The first time I met them, they did a handstand, which shattered any preconceived ideas I had about how mobile they would be. I think they wanted to show me what they were capable of. They have gotten used to my camera being around and they ask questions about the process — what does a light meter do? What’s with the camera that doesn’t have a screen on the back? Many times they don’t even seem to be aware of the camera at all.
Were there any challenges in creating this photo essay?
The main challenge I have had with this project is finding the time to work on it. As it is a personal self-funded project, I have had to squeeze it in any chance I get and sometimes editing and printing the work comes weeks after shooting. They live an hour and a half outside the city, so it takes some planning on my part to go see them and its never been as often as I would like.
What do you hope to accomplish through your photos of Carmen and Lupita?
My goal from the beginning has been to tell Carmen and Lupita’s story in a different way than the mainstream media would. There seems to be a conventional way to talk about conjoined twins, dwarves, or anyone born with a physical deformity: bring them on a talk show or give them their own series. For some reason, I never feel that those types of shows lead to more tolerance or understanding. I hope that these photos make people feel like they are hanging out with Carmen and Lupita, rather than watching them from a distance. I want people to see not only how amazing it is to be in their presence but how similar their world is to other girls their age.
What has the reaction to the photographs been so far?
I showed two pieces last summer in a group show at the Michael Mazzeo Gallery. Many people looked at the portrait of Carmen and Lupita lying on their bed and didn’t realize they were conjoined. I liked that it wasn’t obvious as it gave people a chance to really see them as the two individuals they are. Once they looked at the second picture of the doll, they realized and started to ask questions.
I had a wonderful response to the feature on the Times Lens blog and a lively discussion started in the comments section about how we define “normal.” I was really touched by a comment posted by a conjoined twin who had lost her other half. She wrote “When I Google conjoined twins I get dead ones squeezed into a glass or whacko science fiction but until now never one about the special bond we share, or about how we make relationships work, what personality is to us. Nobody ever asks us!”
Do you have any plans for the essay?
I am hoping to produce an exhibition and book about Carmen and Lupita. I see it as a 2 volume project: their childhood and then their transition to becoming women. It is my hope that I will be able to raise some money for the girls’ continuing medical needs through print and book sales.
Do you intend to continue photographing Carmen and Lupita as they become teenagers?
Yes, definitely. Through this project, I have developed a friendship with the family, so no matter what, I intend to be in touch with them throughout their lives. But I also told them that I want to photograph their Quinceañera when they turn 15.
Which is your favorite photograph of the girls?
I have a few favorites that I like for different reasons. One photo that I like a lot is of the twins at a weekend tutoring session. The room itself is kind of bland with fluorescent lighting, but I love the hidden surprises in it. There are three posters that coincidentally comment on the girls below: Partnership, Trust and Relationships. Then there is the puppet who becomes an extension of them. She is even wearing the same shade of pink. I see symbolism in the exercise they are doing. The yellow blocks contain the first few letters of a word and you have to find the green block of letters that complete it. Carmen and Lupita work together on everything from walking to playing the piano to homework. While they have their own individual personalities, they really do complete each other.
Have you learned anything through this experience?
For awhile, I was very conscious of how people would perceive the photographs, and more importantly, what the family thought about what I was doing. I was worried that it would be considered exploitative. I continued photographing the girls on and off for two years after the Healing the Children exhibition without showing the work to anyone. I kept shooting but didn’t think about the finished product. As I got to know them better, I learned to better articulate my goals and earn their trust.
What has the girl’s reaction been to their photographs?
Since I have now known them for three years and developed a friendship with them, they react to the pictures based on the memories they conjure up. When they saw a photo of themselves in the snow from 2009, Lupita exclaimed “Remember when we made the biggest snowball in the town? That was fun.” They know that they were in an exhibition and that they appeared on the New York Times website, but I honestly think they’re more interested in playing with their dog or going to the movies, just like most 11 year old girls. It takes a lot to impress them.
View more of Annabel’s work on her website, annabelclark.net.
