I’ve always been very keen on photography. While I was at Art College I came very close to ditching graphic design in favour of becoming a photographer. I also left my last job in the belief that a future as a photographer was for me. As you can see, I’m not a photographer, I’m still a designer.
A few years ago my passion for photography was rekindled. I got involved with Brighton’s lively photography community. Through the Brighton Flickr group I met lots of new people and got interested in shooting more of my own stuff again. I didn’t have any real focus on what I was doing with photography, until I decided to try my hand at a 365 project (a self-portrait, every day, for a whole year).
I’d met Adam Bronkhorst at one of the Brighton Flickr meetups. His 365 project has become folklore in the Brighton photography community for its range, energy, creativity and humour. If you haven’t seen it, it’s well worth a browse. Adam’s work inspired me to also give it a try.
I made it to 100 self-portraits during my 365. Not bad, but not the whole 365. It became an enormous chore to make a new portrait everyday. On the upside, it tested my creativity and pushed me to try new things outside of design. The part of the project I’m most happy with is a series of portraits I made using gaffer tape and empty walls. I wanted to try something graphic with the portraits, and gaffer tape allowed me to sketch and make marks, and then interact with the shapes on the wall.
Around the same time, the Orchestra of the Age of Enlightenment [OAE] invited me to pitch for their 2010/11 season campaign. It was an unpaid pitch. Generally, I have a rule for our studio… NO FREE PITCHES. We’ve pitched for work in the past, won some, lost some. It gets to a point, that I believe every studio owner has to arrive at in their own time, when you just can’t justify the time, the drain on resources and the giving away of free ideas anymore. Eventually, you leave behind the desperation to win new clients and you adopt the moral high ground. But on this occasion, I made an exception (every rule has an exception). I’d been working with William Norris, Marketing Director at OAE, for several years. I’d also worked with him when he was a Marketing Officer at London Philharmonic Orchestra.
So, we pitched and we won the OAE season campaign. There were no late nights working up multiple creative routes to wow the client. I knew I was onto something with the gaffer tape shots and I knew I wanted to turn it into a commercial project. The OAE brief seemed like a good opportunity to take the gaffer tape idea for a spin.
On a cold January morning, I enlisted the help of my friend Kate Benjamin to model for a couple of test photos. I took these, along with my self-portraits to the pitch and showed them to Will. Luckily, Will loved the idea. It was the only only one I showed him. He got it straight away.
A two-day shoot was planned with the brilliant arts photographer Eric Richmond. Eric and I had never worked together before, although we had come close on two occasions. Once at Saatchi & Saatchi when I rebranded Rambert Dance Company, and a second time in 2002 for an investment bank annual report.
Eric really knows his stuff. He’s been working with the OAE for years, he knows their brand well and he also knows the players. Eric and I worked together to plan the shoot. We decided to recreate the weathered turquoise wall that I’d been shooting against in Brighton for my 365 project. Eric commissioned a theatre set builder to make the wall, 15ft wide and 10ft tall. Plenty of room to shoot in front of and also meant we could fit more than two people in the frame if we needed to. The set builder also painted and artificially weathered the wall to match the one I’d been using as a backdrop in Brighton. It looked great. We did a half day test shoot to get the lighting right, trying to match an overcast daytime light as closely as we could with minimal shadows.
I art-directed the shoot with the help of my junior designer at the time, Rob Sollom. We sketched out ideas of what we could do with the players and how we could use the gaffer tape in a creative way. In some shots we decided to use the gaffer tape to emphasise the sound of an instrument. In other shots we decided to use the tape to emphasise the personality or movement of a player.
The final shots exceeded all of our expectations. You know when a project has legs. The ideas seem to materialise on their own, people chip in and improve on ideas and the whole thing just builds and builds. It’s one of the most thrilling parts of being a designer. A project that unfolds into something special and allows for collaboration and a bit of serendipity. Nothing beats it. The campaign was rolled out onto season brochures, ad campaigns including tube posters and banners at London’s Southbank Centre.
The unexpected part was how the project went viral. Isn’t that the holy grail for any marketer? Viral advertising. Followers and fans sharing a brand’s message or campaign of their own free will. Oodles of free publicity. Of course, you can’t plan for an idea to go viral – it just happens. The creative has to be strong, but after that it relies, I believe, on a set of very tenuous circumstances. I’ve only ever experienced one other campaign going truly viral. It was fascinating to literally sit there and watch the clicks accumulating as the campaign was shared around the globe in real time.
In the case of the gaffer tape campaign, classical music lovers from Italy to Iowa blogged about the campaign. One of my favourite quotes was from an Opera blogger in Italy who commented, “…outsider art meets home depot”. Couldn’t have put it better myself. William Norris also goes into more detail in this video on the impact of the project and our working partnership.
Since 2010, we’ve worked with the OAE on two further campaigns. The 2011/12 campaign was elegant and visually pleasing, but didn’t quite have the oomph that the gaffer tape campaign had. Our most recent work, dubbed ‘Not all audiences are the same’, for the 2012/13 season has been a big hit, resulting in tens of thousands of pounds of free advertising in the form of journalistic column inches. Myself and Eric Richmond provide a bit more insight on how the idea was born in this short video.
As I write, we’re about to start work on the 2013/14 season campaign. Who knows what’s next? I’ve genuinely no idea at the moment. Whatever we come up with, it’s our goal to turn heads and put bums on seats for the OAE.