Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it.
I had the pleasure of working with Peter Schafrick of Toronto and his amazing still motion of a liquidity product. I say it this way because he captures everything from smoke to paint to coffee to dirt to, well vodka. He has stayed true to his love of the work and the advertising world has taken notice. He has been able to create great campaigns that stop the viewer to take a closer look.
Suzanne: Absolut is one of those campaigns that every artists wants. Did you reach out to the agency or did they find you?
Peter: To be honest, I’ve worked with the agency before, and have known the art buyer, Julia Menassa, for a number of years. She actually gave me one of my first breaks when she was at Cossette in Toronto, and I was just starting to shoot for agencies. My rep, Charlie Holtz at Ray Brown Productions, also has a long-standing relationship with Julia. Charlie and I are in regular contact with most of the art buyers in New York. Charlie is very skilled at maintaining these relationships, and I regularly send out promos to agencies as well. I believe this combination makes it easier for an art buyer to recommend me to creative director. All I can hope is my work then resonates with the creatives and client.
Suzanne: I know you add so much to the creative process and I would assume with a client like Absolut they let you have a lot of creative license. How much did they get involved in the shape of the pour?
Peter: For this project, the creative director, Jin Park, actually has the pour and splash sketched out, so we actually had something to work towards. I find these days that by the time an agency shows me a layout, it’s already been tweaked and massaged dozens of times, and because the client signed off on it there’s not as much creative license remaining. Having said that, the unpredictability of liquid pouring and splashing does allow me to push the envelope. So while on set my crew and I will first aim for the specs as dictated in the brief and as discussed beforehand with the creatives, I still love to try different things on set in hopes we capture something more unique and beautiful that could find it’s way into the final image.
Suzanne: I think what separates you from other liquid shooters is the subject matter that you shoot. How do you find your inspiration for what to shoot for you own work?
Peter: I’m typically inspired by different types of liquids, and the unique characteristics of liquids. So I tend to latch on to a specific liquid I would like to shoot, them match it to an object. Sometimes just watching my kids play in the bath or in the pool inspires me to experiment with launching liquid in different ways.
Suzanne: What advice can you give to an artist in the photographic medium in finding their art that has a purpose in advertising?
Peter: I firmly believe that part of our role as photographers is to inspire creatives at agencies, so in turn they can inspire their clients. And as an artist, one must create compelling work that comes from what you are passionate about creating. When you love to do something, you tend to do it well, and that makes it easier to put out there and promote.
Note: Content for Still Images In Great Advertising is found. Submissions are not accepted.
Peter is a specialist within the world of commercial photography, shooting mainly product with an emphasis on liquids. He is represented in the US by Ray Brown, in Canada by Arlene Reps and in Europe by Rockenfeller & Göbels.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies.