FOREWORD
by Andy Saunders
Senior Vice President, Creative,
Getty Images
The words that encapsulate these trends
are useful in so many ways. Outsider
In, Extended Human, Divine Living,
Messthetics, Silence vs. Noise, Surreality
these terms create a common space
for us to engage in conversation
about whats driving culture and
visual language, as they loosely frame
questions and issues that society cant
quite resolve or make sense of.
We are in the midst of a revolution in the
generation and distribution of imagery,
and the creative photography and
advertising world is still absorbing the
long-term technological and cultural
trends generated by it. The changes in
the visual landscape, driven by social
media, have meant an overwhelming
ow of visual styles. This imagery is
having an unquestionable impact on
advertising and is becoming integral to it.
Social media has elevated consumers
visual sophistication. As they learn
the techniques required to create
fabulous imagery, they become more
demanding in their expectations of
others. As a result, and also because of
the immediacy of social media, brands
have to go beyond stunning visuals in
advertising. Brand purpose is becoming
more important. Consumers and citizens
now reect their beliefs through their
purchasing choices and want to be
directed by brands that share similar
values. People love brands that integrate
social good into their structure and
business plan. You can read more about
this in the Divine Living trend, p44.
At the same time, the mega-trend of
authenticity is morphing into something
new and different. Indeed, many of the
visual styles youll see and read about
in the following pages are far removed
from whats previously been considered
authentic. More expressive and more
personal, this new kind of imagery is
resonating and connecting with people,
but its vibrant uniqueness presents a
challenge to brands schooled in the
virtues of harmony and standardization.
Even imagery that echoes the traditional
sense of what we called authenticity
has moved forward. Weve seen a shift
from traditional street-casting in which
photographers simply used non-
models for their shoots, to the kinds of
hyper-street-casting were seeing now:
For example, a small business shoot
will feature a real mechanic or a real
deck-hand, not someone who looks
like they could be one. As people grow
accustomed to the immediacy of digital
communication and the accompanying
imagery, the volume has had to be
turned up on the testimonial image
consumers now expect to see the
reality. Its not a feeling of authenticity;
its the real thing.
Social media is also exposing our
complexity as consumers. We love
luxury, but we support ethical ambition,
we want convenience, but we also
support sustainability. As youll see in
the following pages, where we unwrap
some of the key trends happening
today, there is more room for opposites,
differences and contrasts. Its a more
recognizable reection of the reality of
what it is to be a human being.
These are exciting times to be a
photographer and a consumer of
imagery. The rules are changing fast
and we have to rely on our creativity
and insight. With this in mind, the
trends our teams have identied on
the following pages are both a useful
resource for your work, and a starting
point for discussion and debate.
 CONTENTS

Visual trends Creative viewpoint

A desire for public good, non-conformism and The consumer eye is taken by the minimalist and the
technologies that extend our sense of self our Creative maximalist exuberant expression, imaginative ights
Researchers unpack the drivers as people seek deeper of fancy and cool visual retreats. Our Art Directors track
social engagement and explore the limits of identity. the dening movements.

Outsider In 8 Messthetics 58

Extended Human 26 Silence vs. Noise 76

Divine Living 44 Surreality 94

Emerging talent Creative process
Fresh photographic talent from around the globe, As brands embrace realism and conversations about
we explore the creative vision of exceptional diversity dominate the media, street casting moves
image-makers. front and centre.

Ken Hermann 20 Thomas Barwick 116

David Vintiner 38 Mike Harrington 121

Kazunori Nagashima 70 Tara Moore 124

Alma Haser 88

Braden Summers 106

Visual
trends
THIS, NOT THAT
In politics, culture and lifestyle, deep
tectonic plates are shifting. Our
Creative Research team, who collate,
study and analyse the imagery in
advertising and culture, have been
tracking the signs and uctuations of
social values on the move. Theyve
been following the zigs and zags of
consumer behaviour as people seek
answers and anchorage in brands
and products that incorporate a
position on bigger ideas. Fuelled
by the experience of customization
and personalization, consumers are
continuing to dissolve the mainstream.
In politics around the world, the age
of the outsider is being driven by
dissatisfaction with establishments,
traditional institutions and, in image
terms, with faces that are too
monocultural, faces that people dont
recognise themselves in. In business,
new technology means a ow of small
outsider companies bursting onto the
market with new products enhancing
the experience of daily life, organizing
our work, lifestyle and health. In
culture, the trends of participation
and expression opened up by digital
technologies are accelerating. If a
mainstream lm studio would baulk at
a movie about transgender prostitutes,
it can now be shot on a smartphone
Sean Bakers Tangerine, made on an
iPhone 5S, was an unlikely hit at this
years Sundance festival. Expression
and choice, this not that. This Outsider
In trend seeks to redene and
reimagine what the mainstream might
look like.
Fuelled by the
experience of
customization and
personalization,
consumers are
continuing to dissolve
the mainstream.
These are exciting and turbulent times,
consumers are seeking partners on
their journey, they are responding to
brands that offer to help them navigate
uncertain times. Consumers are no
longer prepared to settle for one-
dimensional brands. They want their
products to deliver tangible material
benets and immaterial intangible
benets. Theyre increasingly seeking
out brands that deliver commercial
and social or spiritual value.
Its expressed in the trend we call
Divine Living, in the desire for new
forms of luxury linked to experiences
rather than through the ostentatious
display of wealth. One key driver of
the idea of luxury is about identifying,
constructing and marketing scarcity.
For this reason, the new spiritual
luxe marketing is taking its cues
from sectors such as private banking
marketing, whose appeals to high-net-
worth individuals have always been
couched in the immaterial values of
time and legacy. Luxury brands and
products are increasingly wrapped in
philosophical and spiritual questions.
Imagery is looking inward, taking us on
an introspective spiritual journey.
This blend of excitement and
uncertainty is also played out in our
Extended Human trend. As technology
is integrated into our lives at a granular
level, as it coordinates and aligns
our personal data, smoothing out
our professional and personal lives,
consumers are also seeking out
technology and products that act as
antibodies to the tech we embrace
tech that helps us concentrate,
that measures stress points and that
supports mindfulness.
Above all else, the images and
trends we will explore with you in the
following pages highlight the erratic
modern consumer, paradoxical,
driven to extremes and to the outside,
but also seeking community and
engagement in wider social good.
Contributors
Bill Bon,
Senior Art Director,
Getty Images
Bill has produced and directed shoots
for Getty Images used by clients
such as Google, Comedy Central,
Microsoft, GE, Forbes Magazine and
The Guardian. He is a graduate of the
University of Michigan School of Art
and Design, a 3D printing enthusiast,
and avid outdoorsman.

Jacqueline Bourke,
Senior Manager,
Creative Insights, Getty Images
Jacqueline has unique insight by
identifying visual trends emerging
from Getty Images customer search &
buying patterns. She researches how
brands evolve their use of imagery
to fully engage audiences which
informs the creative direction for our
contributors and customers.

Pamela Grossman,
Director, Visual Trends,
Getty Images
As US head of Creative Research, Pam
studies global visual culture and uses
custom-designed forecasting methods
to drive the creative imagery plan for
gettyimages.com. Pam is a frequent
speaker and consultant on visual trends
at various Fortune 500 companies.
Non-prots such as LeanIn.org and at
conferences including Cannes Lions,
Ad Week and SXSW.

Lee Hooper,
Manager, Creative Insights,
Getty Images
Lee explores both wider cultural macro
trends and the ever-evolving meaning
of content in advertising and marketing.
Prior to joining Getty Images, Lee
worked in trend forecasting at agencies
such as Trendwatching and Trendstop
and additionally with brands.

Lindsay Morris,
Manager, Creative Insights,
Getty Images
Lindsay analyses the meaning,
implementation and impact of
photography and video in todays
world. This research helps identify
the visual language of tomorrow
guiding our contributors to create
powerful content.
Outsider In
BY PAMELA GROSSMAN
Rebellion is in the air. People that push the envelope and visuals that
break with tradition are being more widely embraced, as popular taste
becomes more daring.
All hail the outspoken, the outr and
the odd. As we become ever more
inundated with mass-replicated imagery
and aggregated articles, our appetite
for unique messengers and standout
visuals increases with each and every
share. Those with anti-hero spirits and
extreme style are being more readily
celebrated by the populace, and what
was once marginal is increasingly
becoming mainstream. Consumers are
cannier than ever about how content
is manufactured and how businesses
and governments are run, and are more
frequently rejecting anything that has
even the slightest whiff of Goliath.
It should come as no surprise, then,
that in this climate the US presidential
candidates with the fastest growing
support bases are Donald Trump and
Bernie Sanders, opponents who both
have fringe appeal and equally forthright
attitudes. In the UK, liberal underdog
Jeremy Corbyn was elected Leader of
the Labour Party. Millennial pop stars
Miley Cyrus and Justin Bieber have
recently launched bold image updates
and more envelope-pushing musical
partnerships with The Flaming Lips,
Scrillex and Diplo. And some of the
biggest stars in entertainment at the
moment are female comedians like
Amy Schumer, Tig Notaro and Broad
City creators Abbi Jacobson and
Ilana Glazer, all of whom are lauded for
their irreverence and non-Hollywood
starlet looks.
Fortune favours the audacious, it seems,
and brands are starting to follow suit.
Campaigns that rabble-rouse using a
sly sense of humour and outrageous
design are grabbing attention. Vintage
handbag company Ethel + Frank
launched their site with the tagline Give
No Fucks in Style, using octogenarian
models in neon fashions. Although
Rebel Yell Bourbon has been around
since 1849, they decided the time was
right for a rebrand this past year with
the declaration: Risk Takers, Rule
Breakers & Noise Makers, UNITE! UK
fashion brand Belstaff recently released
their short lm Outlaws, starring
David Beckham as a motorcycle-riding
mystery man encountering Fellini-
esque characters in surreal vignettes.
Even Bank of America is embracing
its rebellious side, hiring Billy Idol as
spokesperson in commercials directed
by comic auteur Christopher Guest.
Outright oddballs are having their day
as well. A recent campaign for Trulias
real estate site that showcases people
in their houses indulging in peculiar
predilections, such as nude Scrabble
and whale-speak, has the slogan Find
A Home Where You Can Be You. David
Lynchs beloved bizarre show Twin
Peaks is being resurrected for a new
season 25 years after its series nale.
Google Plays animated commercial
with musician Reggie Watts celebrates
his past as a weirdo kid. Weve entered
a new Age of the Strange.
Were getting far less
faint of heart, it seems,
and favouring images
that express an ethos
of nonconformity.
At Getty Images, weve seen this
sideways point of view rising steadily
in our top-selling pictures as well. In a
5-year time span, the keyword attitude
has gone up 42%, individuality is up
76% and creativity is up 134%. Were
getting far less faint of heart, it seems,
and favouring images that express an
ethos of nonconformity using garish
colours, unusual models and left-of-
centre conceptual narratives.
In the coming year, we fully expect to
see an increase in visuals that confront
us, wake us up and make us look. And
we cant wait to make plenty more of
these provocative pictures ourselves.
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 Visual trends 13

Fortune
favours the
audacious, it
seems, and
brands are
starting to
follow suit.
 Visual trends 15

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Visual trends 17
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 EMERGING TALENT

Ken
Hermann
Based in Copenhagen, award-winning
photographer Ken Hermann possesses
a natural urge to explore the world
through his photography. Travelling
extensively to remote and secluded
regions of Asia and Africa, Ken draws
energy and inspiration from each
place, exploring the people, culture
and facets of everyday life. From these
experiences, he applies a rich aesthetic
full of texture, volume and atmosphere
to his commercial and editorial work.

Ken Hermanns images are pathways
connecting us to micro-worlds and
challenging us to rethink ideas of
photographic representation. Ken
doesnt worry about trends, staying
true to his point of view as an image-
maker. Its exciting to see a young
photographer with such a strong
singular vision and approach.
Emerging talent 21
149238195, Ken Hermann/Prestige
Passionate about individuals and their Gemma Fletcher,
unique histories, he explores the fragile Senior Art Director,
balance between people and their Getty Images
environment, between tradition and
modernity. Kens photography seamlessly
weaves cultural and political content,
blending documentary and cinematic
portraiture. His application of lighting,
combining artificial with natural, takes
the images into a surreal space, creating
dreamlike visions of everyday people.
 Emerging talent 23

Ken Hermann on his work

With the Survivors project, I wanted

to raise awareness of acid attacks in
Bangladesh, exploring the questions:
Can beauty prevail when innocent
people are disfigured by acid attacks?
Can they rise stronger than before,
more empowered and determined?

Although the numbers have recently

gone down, Bangladesh is a country
thats still plagued by acid attacks. In
many cases, the attack comes from
within the family, because of issues to
do with honour, dowry or even property
dispute. Women, men and children are
left with painful physical and mental
scars that can stay with them for life.

Portraits of acid victims often create

a strong reaction from audiences. By
contrast, I aspired to reveal the person
behind the scars by focusing on the
fragility and gracefulness of the people
I met, and the positive and aesthetic
aspects of these otherwise tragic stories.
171998929, Ken Hermann/Prestige
149238189, Ken Hermann/Prestige

My inspiration
I find inspiration everywhere from TV to
conversations I overhear in the street. Its
difficult to unpick why an idea inspires
you, but I think a good idea is one that
stays alive in your imagination until you
bring it to life. It can sometimes take
years before you get the chance to shoot
it, but you still remain excited about it.
I also find a lot of my inspiration in
light, how it can be shaped and formed
to heighten an image. I look at a lot
of paintings and masters of photography
like Gregory Crewdson and Erwin
Olaf to continually learn and refine my
own approach.
My process
My process is split into three sections:
inspiration and research, planning
and shooting. As I am often shooting
on location, I try to plan as much as
possible. Productions vary depending
on where I am working and how remote
the location is. I like to have a clear idea
of what I want to get out of the shoot so
I can leave some room for improvisation;
thats often where something magic and
surprising can happen.
Emerging talent 25
Ken Hermann
My creative space
I share a studio with a small advertising
agency in Copenhagen, but my true
creative space is out on location. It can
be anywhere in the world. I love that my
work can take me to new, unexplored
places, collaborating with people from
all walks of life. The challenge of working
in remote and difficult locations is a part
of my job that continues to drive and
inspire me.
See more at
gettyimages.com/kenhermann
Extended
Human
BY BILL BON AND LEE HOOPER
Our notion of personhood is expanding, as we harness the power of
technology in all areas of our lives. The parameters of man and machine
are starting to blur, and the results are riveting.
Technology is changing the way we
live our lives, share our experiences,
make our art and experience our
surroundings. Its also challenging our
idea of what it means to be human
as it optimizes our bodies, expands
our minds capacity for memory and
creativity, and affords total connectivity
with each other.
In the next 5 years, more than 75%
of the global population will own and
use smart phones, with 5G Internet in
development for commercial use by
the same time. Spanning generations
and socio-economic groups, unlimited
access to information and unlimited
connectivity will be the reality for digital
adopters and digital natives alike.
Were also witnessing staggeringly
rapid developments in robotics, AI,
wearable tech and app design, many
of which enhance lives and allow us to
learn more about ourselves, both as
individuals and as a collective.
Much of this change is playing out in
the eld of the body. Were now able
to more precisely self-monitor our
physiology, and have a more proactive
approach to our own wellness plans.
Health apps like Apple HealthKit,
Nike+ Training Club and Strava, and
wearables such as iWatch and Fitbit,
yield data that can be sliced and diced
into colourful, engaging infographics
tracked from smart phone to computer,
allowing us to put pictures to previously
abstract ideas or microscopic functions,
and set personal goals around them.
As technology transforms healthcare
services, it also removes the anxiety
around self-diagnosis. Being able to
engage with a doctor digital-face-to-
digital-face as opposed to looking up
ones own symptoms on a website
and more often than not, scaring
oneself half to death about imagined
ailments is not only more convenient,
it sets our minds at ease. The biotech
industry is increasing our longevity, as
we integrate fabricated mechanics and
foreign organic materials into the very
substance of ourselves, upgrading
our biological hardware as we do our
laptops and iPhones.
As tech becomes
an extension of the
self, what does it
say about human
being anyway?
Tech is also expanding our senses,
letting us see further and travel to innite
places, real or imagined, without ever
leaving our living rooms. We can now
explore myriad far-ung landscapes
and even spacescapes, getting a hit
of wonder any time we want. With the
launch of the Oculus Rift headset at
an affordable price for consumers and,
on an even more accessible basis,
Google Cardboard, fully immersive
experiences are becoming a (virtual)
reality for us all.
From the beginning, part of the appeal
of photography has been that it allows
us to experience people, places and
events that we could never get to see
in reality, and ultra-high resolution
imagery, 3D technologies and virtual
reality are meeting our expectations for
an even deeper visual experience. We
recently released 360 imagery for the
Oculus platform, allowing people to
experience places or events in a more
interactive and fully surrounded way
than ever before. Instead of looking at
the images, we are now in the images
its the next best thing to being in the
moment itself.
As tech becomes an extension of the
self, what does it say about human
being anyway? In a world where
babies are learning the swipe gesture
before they learn to walk, and the
boundary between skin and machine
is becoming ever more blurred, our
concept of personhood will continue to
mutate. Are we going to need to build
the cyborgs of the Terminator terrain,
or will our own enhanced physical and
mental capacities obliterate the need
to do so? These are the questions
were only just starting to contemplate
with images in the pictures we create
and the new ways in which were
creating them.
 Visual trends 27

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Tech is also
expanding
our senses,
letting us see
further and
 


places, real
or imagined,
without ever
leaving our
living rooms.
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 EMERGING TALENT

David
Vintiner
David Vintiner is a portrait and
documentary photographer based
in London. He has shot editorial for
The Sunday Times Magazine, Wired,
Esquire and The Independent, and
advertising for Karmarama, M&C
Saatchi and WCRS. His work has been
selected for several awards, including
The Taylor Wessing Portrait Prize, The
IPA Lucies and The Creative Review
Photography Annual. A number of
his portraits are held in The National
Portrait Gallerys permanent collection.

580741605, David Vintiner/Prestige
David is a master observationalist, and
curiosity is the lifeblood of his work. He
has a unique ability to both uncover the
weird and wonderful, and also transform
the mundane into the miraculous. His
work makes you look at the world
differently, revealing a new perspective
on things we thought we knew.
His projects focus on human behaviour,
exploring unique communities and
events that connect people. From
riot police rehearsals and the World
Emerging talent 39
Memory Championships, to spiritual Gemma Fletcher,
pilgrimages and bedroom futurists. Senior Art Director,
His sensitive, subtle and personable Getty Images
approach allows him to appear native
in even the most bizarre scenarios.
Davids distinctive visual style,
marrying icy blue desaturated tones
with graphic compositions, brings
a quiet intensity to his work. His
portraiture is both knowing and
unassuming, seemingly capturing a
kind of inner dialogue in his subjects.
David Vintiner on his work

Essentially, my work is all about

people, their tricks, traits, body
language and personas. It falls into
two main categories, portraiture and
observations. I love to find amateurs
and eccentrics, the bodged together,
the uncorporate, the makeshift, the
individual. By seeking out unusual
stories, I hope to discover something
interesting, something I previously
knew nothing about.

This particular image was taken as

part of a series called Los Hombres
de Musgo (The Moss Men). It was
shot in the small Spanish town of Bjar
and focuses on a group of volunteers
who recreate an important historical
event each year. The story goes that
in 1397 the Christian population
reconquered the town from the Moros
by completely covering themselves in
moss. Camouflaged, they then crawled
through the surrounding landscape
unseen by the lookouts on the city
walls. When they finally got close to
the city gates, their sudden, horrific
appearance completely surprised the
guards. The residents of Bjar have
been re-enacting similar scenes
ever since.
 Emerging talent 41

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 Emerging talent 43

David Vintiner

My inspiration My process My creative space

I find inspiration almost anywhere; its
not something I consciously sit down
to look for. The best way for me is to try
to be interested in everything. Typically,
I look to such diverse influences as
exhibitions, other photographers, books,
films, newspapers, the BBC World
Service, conversations, a walk, the
London Underground and exploring
somewhere new or somewhere familiar.
Its usually the case that inspiration then
comes when Im least expecting it. What
I am drawn to in these outside sources,
and what then inspires me and my work,
are stories.
My process tends to have two stages.
Firstly, I shoot in the way that I feel is
most appropriate for the subject. Once
shot, I think its really important to also
explore a different approach. This may
be something simple like changing
the angle or messing up the lighting,
perhaps shooting in an unfamiliar way.
The experimental stage can often look
haphazard and its sometimes 50/50 as
to whether it works or not, but when it
does work, its good to have challenged
my preconceived ideas. Its about trying
to force a happy accident and stray out
of my comfort zone.
I work from an office at the bottom
of my garden. London can be pretty
hectic so its a calm, quiet place to
work. Its all quite practical, a desk,
computers, my work on the wall for
editing. I generally prefer to shoot on
location as opposed to in a studio as
often the environment lends some
subtext to help the story along.
See more at
gettyimages.com/davidvintiner

After the shoot, editing is the next really

important stage. I like to spend time with
an edit and will often work through the
photographs four or more times to make
sure Im selecting the right image for
what I want to say.

Colour also plays a very important role

in my work. I will often test two or three
different variations of the same shot,
experimenting with the colour and final
exposure of the image.
Divine
Living
BY JACQUELINE BOURKE AND LINDSAY MORRIS
   

 
centre as we shift our focus to more meaningful consumption. Were all
seekers now.
Divine living focuses on meaningful
consumption. Its about purchasing with
purpose and carefully selecting treasured
objects and experiences over mass
accumulation. Its about living the way
we want the world to be around us and
inside us.
The word divine has two meanings.
It means delightful, magnicent and
special, and it also plugs into the idea
of supreme beings, heavenly bodies
and a desire for the marvellous, for
quasi-mystical or religious experiences
from monasticity to spirituality. Were
seeing both of these aspects play out
on the visual landscape, and a surge of
concepts such as goodness, intention
and interconnectedness. And were
recasting luxury brands in loftier roles
than ever before, using them as signiers
of lives lived with morality and distinction.
Soul-searching and contemplation are
key elements of this trend. UBS connects
the concept of wealth with the idea of
being a more thoughtful, introspective
person in their new campaign shot by
Annie Leibovitz, which shows
people in moments of repose, asking
themselves questions about how to
live more meaningful lives. Volvos new
car campaign states that luxury is
sanctuary, and Oprahs latest TV series
Belief explores peoples search for
connecting with something greater than
themselves. In an overwhelming
visual world, brands and storytellers
are placing purpose at the core of
their narratives.
Brands must now
appeal to our sense of
worth inside and out.
Consumers are increasingly savvy truth-
nders looking beneath the surface of
brand messaging with a demand for
clear vision and values. Brands must
now appeal to our sense of worth inside
and out. From Teslas open-source
car design, to Citi Bike shares, to the
wildhoods of do-it-yourself online
learning, the material objects that
we own are being replaced with new
systems of connecting and sharing.
This new transparency is being shown in
brands, both guratively, with companies
pulling back their curtains and allowing
the consumer to see their inner workings,
and literally, by using plenty of images
that feel glassy and luminous.
But how else does one depict the
divine? Our customers have a growing
appetite for images with light leaks
and an airy, aspirational aesthetic with
people looking up into the heavens.
There has been an increase in the usage
of striking aerials with a Gods-eye
view that show wonder and epic scale.
There is also a penchant for clean lines
and styling; focus on single, relic-like
objects as opposed to abundance;
and a growing use of subtle light and
a soft, ethereal, colour palette. From
sharp focus to bokeh bliss, devotional
aesthetics and illuminating messaging is
whats resonating right now.
Visuals are our new religion. We are eye-
minded beings in a continual process of
becoming and seeing, so its no wonder
were longing for imagery that will uplift
and offer reection and revelation.
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 Visual trends 49

Consumers are
increasingly
savvy truth-
 

beneath the
surface of brand
messaging with
a demand for
clear vision
and values.
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Creative
viewpoint
LIVING ON THE EDGE
The evolution of visual aesthetics
is in constant ux. Our global team
of Art Directors are alert to these
changes, and the social and cultural
inuences that underpin them to
predict what imagery consumers will
be most responsive to in the coming
months. 2016 is set to be ripe with
visual extremes. From minimalism to
maximalism, the quiet and the loud,
we are set for a rollercoaster of wildly
conicting trends.
desires. At a basic level, many
are now producers as well as
consumers, whether its small
businesses on the side or simply
as producers of digital content,
they seek to express themselves or
garner inuence.
Messthetics, for example, is both a
throwback to the past, and a burst
of maximalist, eye-popping futurism.
and something compelling and
communicative emerges from it.
Surreality is a response to the different
realities we access everywhere, the
ow of data on different devices, in
different contexts, at work, on the
commute, at home watching a box-
set, tap-tap-tapping.
We are starting to make sense of
what post-advertising means and
cutting-edge brands are starting
to think in a post-consumer way.
Traditionally, advertising has
distilled audiences into constrained
demographics and segmentations,
but forward-thinking brands are
moving away from this and talking
to customers like the complex and
multifaceted human beings they are.
We no longer t the one-dimensional
categories that 20th century
advertising set out for us.
Each of our visual trends,
Messthetics, Surreality and Silence
vs. Noise, converge on the fact that
consumers are currently enjoying the
pleasures of complexity, diversity and
difference. People are testing things
out. Given the choice of one thing or
another, people want everything;
they want to explore contrasting
Why now? The term, and its chaotic,
splashy style is partly a throwback to
the era of punk and its lurid colour,
an era with similarities to our own.
Punk culture was very much driven
by the new media of its time; the
Xerox photocopy machine enabled
the small-scale production of zines,
the distribution of yers and collage
cut-ups facilitated by multiple
copies. And, of course, it was
about the amateur, anyone could
be in a band, do-it-yourself and the
emergence of small businesses
shops, independent record labels,
entrepreneurial managers. Fast-
forward to 2016 and the DIY and
small business culture, facilitated by
new technology, is only accelerating.
Messthetics is not just driven by
technology, its also a reaction to the
authenticity trend. Its no longer
about authentic craft, but about
honest, complex expression. The
mess and disorder feel refreshing
  
one-dimensional
categories that 20th
century advertising
set out for us.
Contrasting the dynamic visual
urgency of both Messthetics and
Surreality is Silence vs. Noise,
imagery that expresses a desire for
a quiet and ordered psychological
space. These images on one level
function as a harbour, for withdrawal
from the ux of information. Its no
surprise when landscapes feature so
prominently in advertising examples,
that these images also represent
maps, the brand offering quiet,
authoritative, navigation through the
data noise.
Wanting everything, complexity
and simplicity, maximalism and
minimalism, the visual trends of 2016
are about living on the edge.
Contributors
Lauren Catten,
Art Director,
Getty Images
Lauren joined Getty Images in 2012 as
an Editor before making the transition
to Art Director in 2014. In this role
she has worked with award-winning
photographers from around the world
to conceive and produce commercial
shoots with a crafted edge. Lauren has
a degree in History of Art and Design
and a penchant for mayonnaise, fonts
and ambient lighting.

Gemma Fletcher,
Senior Art Director,
Getty Images
Gemma specializes in art direction,
trend forecasting and visual strategy.
Collaborating with a global roster
of photographers and lmmakers
to create award-winning content.
Focused on supporting emerging talent
and championing new approaches
to image making. She has worked
on successful partnerships with We
Transfer, The Guardian, TED & D&AD.

Amy Lehfeldt,
Senior Art Director,
Getty Images
With a degree in Fashion Design,
Amy Lehfeldt became a costumer
for Disney/MGM before taking up
art direction assignments for clients
in the fashion and retail industries.
Amy is a Senior Art Director for Getty
Images where she has conceived
and produced hundreds of shoots
spanning a variety of subjects.
Messthetics
BY GEMMA FLETCHER
Messthetics is about harnessing the power of the ugly aesthetic. Its a
rebellion against the order of everyday life that revels in the physicality
and soul of human nature.
The visual cues of Messthetics are all
physical, the messy, grimy, sweaty and
visceral. Theyre born out of our desire
to break away from the sanitation and
predictability of everyday life and be
more human. With the velocity of visual
consumption ever increasing, we are
engulfed by sameness, with very little
content standing out or breaking the
rules. Consumers feel increasingly
disillusioned by advertising, a space
where beauty and perfection rule.
This trend has a spirit of unpredictability
and wonder, which can enable
brands to create powerful campaigns
and experiences. Messthetics is
a counterintuitive approach with
huge potential to stand out in a busy
marketplace. In its purest form,
Messthetics is about impact rather than
imperfection. Its deliberate smearing,
rebellion and play. This trend has
grounding in current social and cultural
issues that give it a sense of action,
power and deance. The trend drivers
include new shifts in visual aesthetics,
feminism and digital efciency.
Traditionally, we have always been
a society intolerant of mess and
ugliness, constantly cleaning up and
striving for perfection. Mud, mould and
mess were the epitome of ugliness
and all that is evil, associated with
witchcraft, the devil and death. Our
visual literacy is constantly shifting
and we are developing a broader and
more sophisticated sliding scale of
aesthetics. We want to be surprised,
shocked, jolted out of the everyday,
seeking out extremes to make us feel
more alive. The impact of mess and
ugliness does just that.
Ugly is attractive, ugly
is exciting, maybe
because it is newer.
One of fashions rebels, Miuccia Prada,
is fascinated with ugliness, claiming
that ugly is more human: Ugly is
attractive, ugly is exciting, maybe
because it is newer.
This is beyond the appreciation of
aws; this is a deliberate exploration of
awkwardness and vulgarity.
The conversation about modern
femininity is no longer something
that happens on the periphery.
Gender equality is becoming an
increasing focus in mainstream
culture, with modern icons such as
Lena Dunham, Sheryl Sandberg and
Caitlin Moran leading the conversation.
The expression of femininity now
comes in many guises, pushing the
boundaries and creating striking
and unconventional icons, bringing
inherent power in championing the
unconventional. Dirt and mess suggest
agency, activity and autonomy.
Emerging photographic talent Maisie
Cousins focuses her work on redening
femininity, celebrating the elements
of the female form that most other
photographers airbrush away. The
performative element of her work (she
often photographs herself) brings a
sense of power and rebellion to it, which
is bold and refreshing. Each image is a
visceral trip where the images equally
seduce and repulse, in all the right ways.
We have somehow forgotten we
are animals. We are meant to climb,
crawl, sweat and breathe heavy.
Thats what we were designed to do,
and we dont do it anymore,1 says
Reeboks Joe De Sena. This sentiment
is resonating globally. Were tired of the
predetermined order of our busy lives,
weighed down by routines, to-do lists,
roles and responsibilities. Our digital
lives also tend to rule out serendipity in
our day to day. Everything is automated,
predictive, scheduled and personalized,
making it harder than ever to stumble
into the unknown. We crave disorder,
rebellion and randomness, and the
revelation and wonder they bring. We
desire to be more human.
This aesthetic is about revelling in an
extreme, intense, comfort-free, primeval
state of being. We are seeing brands
from a wide range of sectors embrace
this visual manifesto, connecting and
inspiring their audience, and providing a
doorway to discovery.
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We have somehow
forgotten we are
animals. We are
meant to climb,
crawl, sweat and
breathe heavy.
Thats what we
were designed to
do, and we dont
do it anymore.1
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891088-001, Sean Murphy/Prestige

 EMERGING TALENT

Kazunori
Nagashima
Kazunori was born in Yokohama,
Japan. He trained in theatre design
and production before moving into
photography. He started shooting
professionally in 2004 and has built up
an impressive portfolio of conceptual
work taken in his native Japan. His
work has been exhibited around the
world and he has shot for a range of
brands including Toyota, Adidas, IBM,
Vodaphone and Volkswagen.

Kazunori is a photographer with a very
distinctive point of view. The majority of his
work is based on visual fantasy, escaping
the everyday and taking the viewer with
him on a journey where the limitations of
Emerging talent 71
562303661, Kazunori Nagashima/Prestige
daily life no longer apply. His motivation Masaaki Kobayashi,
is visualizing the invisible. The ideas and Senior Art Director,
execution are often simple with a subtle Getty Images
twist that elevates the whole image,
drawing you into his dynamic vision.
My inspiration

Daily life is full of contrasts that somehow

come together and bring harmony to the
world. It is full of small intimate details
that we all experience from our own
unique perspective. I am fascinated by
the role of memory, how, for example,
you can go to a caf several times and
remember the drawings on the wall to
be different each time. Our own unique
points of view mean that two people can
experience the same thing but see it in
completely different ways. Comparing
these perspectives opens us up to
different dimensions.
 Emerging talent 73

562303669, Kazunori Nagashima/Prestige

 511704971, Kazunori Nagashima/Prestige

Kazunori Nagashima
on his work

Titled Trompe Loeil, this image explores

the idea of illusion and amplifying
everyday moments that we often
overlook. We used fabric as a doorway
into a different dimension or a different
world. My focus was to explore the idea
of existence and the concept of time by
cutting the continuity of time for a few
short moments. Erasing the models body
increased her presence in the image. The
concept of the seen and the unseen is a
significant theme in my work.

My process
All of my processes, from the initial
planning to the execution of a project,
are similar to directing a drama on
the stage. Looking for locations is like
preparing the scene painting and I look
for models that can authentically
portray the story.
Props and materials are found and
constructed by scene carpenters. I have
the idea mapped out before I go on set,
so the shoot is quite simple. The camera
is just one of the tools that allow me to
explore my fantasies in image making.
Emerging talent 75
Kazunori Nagashima
My creative space
Yokohama is my hometown and my
creative base. Its a city of contrasts and
contradictions; the winding hills and
the vast bay sit next to the disordered
downtown full of classic and futuristic
architecture. Its a versatile city with lots
of exciting spaces and locations to use
in my photography. Its a huge inspiration.
There is a daily routine to life in the city
but sometimes you experience little
anomalies that reveal something special,
which inspire me to create new work.
I love this city.
See more at
gettyimages.com/kazunorinagashima
Silence
vs. Noise
BY AMY LEHFELDT
This trend is focused on making space for consumers to breathe and
reconnect in a cluttered marketplace, engaging our emotions and spirit
with visual haiku.
Quiet, epic, restrained, powerful. These
are images that tell their stories quietly
and succinctly, but create maximum
impact. The less-is-more approach
to composition and colour, and the
use of comparative scale subtly draw
you in. And then you make the visual
connections and youre hit with the
punch line. The images feel passive
because of their use of space they
allow your eyes to breathe, but
they offer deliberate and controlled
messages in a world cluttered with
visual noise.
This trend takes its cue from the 1950s
and 60s minimalist art movement that
focused on rened expression and
the distillation of complex ideas into
elegant simplicity.
On a surface level, the imagery is direct
and uncomplicated. It aims to engage
our emotions and spirit with a clean
and clear message, like a visual haiku.
The negative space and streamlined
elements can act as vehicles for other
forms of graphic communication, such
as type or illustration.
The viewer gets hooked and the story
unfolds. This can take place in the
observers mind or the design elements
can control where we end up.
As an overstimulated society, we
instinctively welcome the calmness
of this trend. Its a visual respite that
deliberately works as a contrast to the
increasing digital noise in our lives.
Stillness captured, call it the edited
version, but it makes us take notice,
focus and think. The viewer concentrates
on the single message or concept,
since all interference and unnecessary
information is removed.
All these ingredients make this trend
designer friendly. Apple built an entire
brand on a minimalist approach, from
its logo to its product design, and this
simplicity is cleverly echoed in the
award-winning iPhone 6 campaign in a
series of stunning but tranquil images.
Other brands such as Emirates, HSBC
and Oakley have created campaigns
using epic spaces and single objects
or people as a focus. These campaigns
resonate because we let
our guard down and respond to the
spirit of the imagery. The authenticity
is in the emotional engagement with
the image. It also means it doesnt feel
like a hard sell, we dont feel like were
being preached to or preyed upon.
We allow ourselves to be more open
and receptive.
Its a visual respite
that deliberately
works as a contrast to
the increasing digital
noise in our lives.
We often see the trend for minimalism
inuencing social media and photo-
sharing services like Instagram. Thats
because its a natural reaction to the
world around us, to make sense of it
and simplify it, to let the beauty speak
for itself.
In our increasingly digital worlds, there
is a growing interest in leading a less
complicated and cluttered existence,
and that can mean visually, too.
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Stillness
captured, call
it the edited
version, but it
makes us take
notice, focus
and think.

571350653, David Ryle/Prestige

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 EMERGING TALENT

Alma
Haser
Born into an artistic family in the Black
Forest, Germany, Alma Haser is now
based in the UK. Specialising in carefully
constructed portraiture inuenced by
her ne art background, Alma creates
striking work that catches the eye and
captivates the mind.

Expanding the dimensions of traditional

portrait photography, Alma takes her
photographs further. She uses inventive
paper-folding techniques to create
layers of intrigue around her subjects,
manipulating their portraits into futuristic
paper sculptures.

Alma Haser experiments with images
in multiple dimensions. Her unique
process combines origami, paper
craft and the act of rephotographing,
revealing a disrupted vision of the
people she photographs. Images are
made, deconstructed and put
back together to form her unique
point of view.
Encouraging the viewer to question
codes of representation in a culture of
Emerging talent 89
532840973, Alma Haser/Prestige
identity sharding and visual abundance, Gemma Fletcher,
her work is ripe with hidden narrative. Senior Art Director,
The resulting imagery is as disturbing Getty Images
as it is original.
Almas sculptural approach to
photography breaks down the
boundaries between different art forms,
pushing the medium into new frontiers.
A true innovator, she is reinventing
portraiture with work that is both
beautiful and alien at the same time.
 Emerging talent 91

Alma Haser on her work

Ive always liked the idea of combining

photography and collage, and I love
using a scalpel. So for this project,
I started with photographing the
models, flowers and plants, and then
I cut them out and assembled them
before scanning the result. The flowers
symbolize the birth of an idea, that
second weve all had, that Eureka!
moment. In this particular image, the
plants are coming out from behind
her face, revealing her ideas and the
thought processes behind her exterior.
Theres also something slightly robotic
about this picture, but that might be
because I love awkward, stiff, staring-
off-camera portraits. I think it makes for
a more interesting picture.
534068013, Alma Haser/Prestige
587366651, Alma Haser/Prestige

My inspiration
I am inspired by lots of things:
films, newspaper clippings, friends
and family, walks on my own,
conversations overheard on public
transport. But at the moment, Im
obsessed with audiobooks and I
listen to them while I work. Choose a
book on a subject youre interested
in and the person reading it takes
you to a different world, you lose
yourself a little. It often triggers new
ideas for me.
My process
The first step of the process for all of
my work, after research and ideas, is
the photograph. However, its not the
final finished piece, its usually just
the start. Photography is a medium
for me, one part of the creative jigsaw
puzzle. I love to experiment by printing
and rephotographing my pictures,
cutting them out, collaging or folding,
or even painting on them to create a
new element and texture. I guess I am
evolving the photograph from its natural
form and giving it a new life.
Emerging talent 93
Alma Haser
My creative space
I recently moved to the South East
Coast of England and now, for the first
time, enjoy my own studio. Before that
I would often work from home or rent
out a studio to shoot in. When I first
moved to London in 2011, I used the
living room in my rented house, so the
beige wallpaper became a common
background for my portraiture. Now, I
tend to use photo studios in London
and then come back to my own
workspace to do the postproduction,
the messy bits.
See more at
gettyimages.com/almahaser
Surreality
BY LAUREN CATTEN
As we look to visually represent the multifaceted lives we experience in
the digital age, the opportunities for creativity are endless.
Our consumption of visual culture
has irreversibly changed. Where once
traditional media were the only sources
through which a few voices could be
heard, now millions of viewpoints,
ideas and perspectives are available
through multiple channels and
platforms. Its no longer necessary to
follow the in-crowd, because we have
access to a much more diverse crowd
than the one on our doorstep.
We can create or
dismiss identities at
the click of a button.
The transient quality of the digital age,
however, means that not only are the
options vast, theyre also eeting. We
can create or dismiss identities at the
click of a button. We can be whoever
we want for however long, or exist as a
multitude of personas simultaneously.
We dont even need to commit to
words; emojis can now get the point
across more accurately.
Surreality is an aesthetic that
references how we visually make sense
of the new ways in which we consume
culture and share information. Just as
Surrealism looked to translate the
unconscious in order to understand the
conscious, the visual techniques that
shape this trend look to reconcile the
duality we experience now that much
of our lives are digital.
The Internet has disrupted the central
narratives that shaped our world,
democratising the landscape and
creating a nonlinear, nonhierarchical
arena where individuals, rather than
corporations, are taking the lead. The
2015 MTV Awards, lled with surreal
imagery, was a perfect example of how
the mainstream has taken its cue from
online culture. By using treatments that
reference online phenomena, like gifs
and memes, brands are able to tap into
the zeitgeist, positioning them at the
forefront of the current visual realm.
We see this trend manifest in a variety
of treatments. Humans are complex
and unpredictable, and theres no
reason why brand visuals cant be,
too. At the forefront, surreal collages,
like those fashion house Kenzo has
become renowned for, take inspiration
from multiple sources and reference
points, not settling on a core style.
These hyper-immersive, psychedelic
visuals appeal to a global audience by
transcending genres. In an age where
technology is removing the serendipity
of discovery, these quirky compositions
reignite the pleasure we feel in
experiencing the unexpected.
Another core component of this
aesthetic is repetition. Drowning in
visuals, repetition makes sense to us;
it references the volume of pictures
we see and the speed at which we
consume. Boundaries are redundant
in the digital realm, and with repetition
we look to visualise innity, drawing
patterns from big data to build
an understanding of a seemingly
borderless future. As we seek to
address the duality we experience with
our online and ofine personas, we see
repetition in portraiture too. Fractured,
multiple portraits present the complexity
of human behaviour; multifaceted, ckle
characters that are nonconformist,
contradictory and inclusive.
The appeal of this trend is wide-
reaching and deep. The kaleidoscopic
intensity of these visuals challenges
expectations; often igniting the creation
of memes and gifs, inviting the audience
to participate and share in the creative
process. In taking the positive aspects
of the digital age and using them to look
to the future, it allows brands to break
from the past and reach into unknown
realms with honesty and integrity.
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Humans are
complex and
unpredictable,
and theres no
reason why
brand visuals
cant be, too.
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 EMERGING TALENT

Braden
Summers
Braden Summers is an artist and award-
winning photographer specialising in
portraiture. Based in San Francisco,
his work is internationally known and
has been featured in Marie Claire, Elle,
Glamour, Advocate and The Huffington
Post. It focuses on championing
diversity and acceptance, and his most
successful project to date is All Love is
Equal. Funded by a hugely successful
Kickstarter campaign, the project saw
him travel the globe to create beautiful
tableaux of same-sex couples in love.

542710251, Braden Summers/Prestige
I fell for Bradens work because it is
intensely visually seductive and incredibly
important. His imagery contains an artful
balance between authentic emotion
and a dose of artifice in the style of old-
fashioned glamour photography. I share
his sentiment that while, it is still a
newsworthy event when a company uses
a gay couple in their advertising. If they
Emerging talent 107
are incorporated more regularly, it wont Beth Wachtel-Lipke,
be such a shock. Senior Creative Content Editor,
Getty Images
He continues to create beautifully
crafted images that depict dignity,
pride and tolerance by breaking down
perceptions of what modern love looks
like around the world. His work inspires
and opens minds.
 Emerging talent 109

Braden Summers
on his work

My work strives to be painterly, invoking

colour palettes from the Renaissance
and Expressionist eras. Im interested
in classic beauty and creating a sense
of softness.

My producer Greg Jaroszewski and I

were in Paris before departing on our
big adventure shooting the All Love
is Equal series around the world. We
planned to shoot a couple in Paris while
we were there, but struggled to find
the right willing subjects after hours of
scouting. The day before we were due
to leave for our next destination, we
went to one of our favourite Parisian
restaurants. While we were waiting to be
seated, a gorgeous couple strolled into
the restaurant. They were perfect and I
shot them the next day. It turned out that
they were one of the first couples in Paris
to get PAXT (the French equivalent to a
civil union) before gay marriage was legal
in France, and they have been together
for nearly 19 years. The couple, Edouard
and Laurent, got married last year.
542710245, Braden Summers/Prestige
 542710303, Braden Summers/Prestige
My inspiration
Although it sounds clich, beauty is
my main inspiration, and thats what I
hope to inspire in others through my
work. I am a romantic and I am an artist.
I see beauty in different cultures and
environments around the world, and
that is what inspires me to create. All of
my work centres on portraiture; I focus
on finding the subtle similarities in all of
our differences.
My process
It all starts with a mood board. Very little
of my work is spontaneous or unplanned.
I spend hours, weeks and sometimes
months building out the inspiration
boards. During this stage, I create the
vision for how the narrative, wardrobe,
colour palette, hair, makeup and subjects
will come together seamlessly to create
the final image. The planning part is
almost as fun as shooting. Thats when I
get to truly start with a blank canvas and
conjure up what I would like to say with
my next piece. By the time I get on set
with camera in hand, I would say 90%
of the vision in my head is painted. All
thats left to do is direct my team to
make it come to fruition, with a bit of
room for happenstance.
My creative space
I have a small office in my home in San
Francisco and a huge collection of art
books in my living room. When creating
pitches for new clients, I often pore over
the collection to find the right colour
palette or to help build out my mood
boards. However, when Im outside of
my home, most of my creative process is
sparked by my travels, collaborations with
other artists and various art exhibitions.
See more at
gettyimages.com/bradensummers
Emerging talent 111

Braden Summers
Creative
process
CASTING: A CHANGE IN PERSPECTIVE
Acclaimed photographer Gordon Parks
famously said: The important people are
the people he photographs. They are
what make him. When Robert Altman
was asked how he elicits such great
performances in his lms he said: I hire
good actors. The theory goes that if
you nd the right people to play the right
part, the story tells itself. In the world of
commercial photography this theory was
not always relevant. However, casting has
now become a more important element
than ever before.
Conventional stock photography features
professional models people who work
full time to pose in photo shoots and are
paid to look the part. Professional models
are booked to play couples, families,
doctors, or athletes. Their glossy smiles
provide an idealized version of reality for
the masses to aspire to. This approach
creates a sanitized version of reality
that offers few surprises and in the past
proved to be quite popular the pristine
faces of professional models had a
universal appeal.
However, the visual world we live in today
has dramatically changed. Weve seen
a shift towards a marketplace where
character and individuality are essential.
Our society has become increasingly
visually savvy (as we constantly navigate
a sea of imagery on Facebook, Instagram
and Snapchat), and customers are
sensitive to moments that feel posed
and inauthentic. On television, shows
like Orange is the New Black have been
hailed as a revelation for their unparalleled
diversity and authenticity. In advertising,
campaigns like This Girl Can, which
celebrates women of all shapes and sizes,
have seen huge success over 13 million
views online and various industry awards.
 
the real world that
people live in and
showcase genuine
diversity across all
lines, whether it be
ethnicity, gender, age,
ability or body type.
But its not just our image-aware culture
that makes casting so signicant; its also
the fact that were living in a globalized
and interconnected world. Brands are
beginning to understand the importance
of engaging consumer groups who have
previously been ignored. They understand
that they can no longer expect a
campaign conceived and shot in London
to succeed in Mexico and China. Brands
want to reect the real world that people
live in and showcase genuine diversity
across all lines, whether it be ethnicity,
gender, age, ability or body type.
Jonathan Mildenhall, Chief Marketing
Ofcer at Airbnb, believes this needs to
extend beyond cursory tokenism: The
industry has an incumbent responsibility
to really portray the beauty and diversity
of the human race as it is, not as its
been sanitised to be, through the lens of
traditional marketing.
On a practical level, moving away from
professional models comes down to
street casting or the casting of real
people. In fashion, model scouts have
long pounded the pavements of major
cities to nd the next new face. More
recently, many fashion campaigns have
cast real people to showcase their
wares. Marc Jacobs sourced models via
Instagram with the hashtag #CastMeMarc.
Nodels, or non-model models, have
become de rigueur at fashion week
runway shows may include a designers
grandparents, Paralympic athletes, or
Tumblr stars. Chantelle Winnie, a model
with the skin condition vitiligo, has been
championed on social media and has
become a staple in fashion magazines.
In commercial photography this approach
to casting creates scope for many unseen
and unique stories to be captured. Its
clear that brands are keen to express a
story from an unexpected perspective.
Casting real people provides an
opportunity to move away from clichs
and bring genuine authenticity and
spontaneity to imagery that a professional
model may not be able to give.
At Getty Images our most powerful
imagery features what can only be referred
to as real people people that look like
your neighbours, your teachers, or the
people you ride to work with on the bus.
On the following pages were showcasing
some great examples that have been
captured by our talented photographers.
Their work reminds us that individuality
and character are essential, and that the
subject is indeed the most important thing.
Contributor
Guy Merrill,
Senior Art Director,
Getty Images
Guy works with photographers across
the globe to create dynamic and award-
winning imagery. He is passionate
about photography and has spoken
at numerous international events
about imagery and our wider visual
culture. Guy is a graduate of New York
University and has a keen interest in
design, interiors, and good coffee.
 Creative process 115

500381463, Morsa Images/Prestige


Thomas Barwick Its taken us many years to finally realize
on his process that casting isnt really about how people
look, but much more about who they
are and how they carry themselves. We
love to work with people who are happy
with who they are and are not overly
concerned with what other people think
about it. We spend a fair amount of time
street casting, talking to friends and
family, finding people who are interesting,
people youd want to spend an afternoon
with and hear their story. These people
are great for business and lifestyle shoots,
they are compelling and engaging, and
that shows up in the imagery.
Sometimes we need people who have
the more specialised skill set that were
534776885, Thomas Barwick/Prestige
actually photographing, like athletes,
scientists or people who work in
manufacturing. In these situations, we
find locations and people who work
there who are willing to work with us.
We cant go shoot on a farm and bring
models along. We must shoot the
people who are there, as they know the
work. I couldnt tell them what to do.
Athletes we can choreograph more,
but they will still have a much better
idea of where their bodies should be
in space and time. Because the skill
and knowledge of what they are doing
trumps everything else, we will cast
people sight unseen. If you do it enough,
sometimes you get really lucky.
 Creative process 117

558008851, Thomas Barwick/Prestige

518864267, Stephanie Noritz/Prestige
 Creative process 119

551450483, Stephanie Noritz/Prestige

502368969, Mike Harrington/Prestige

Mike Harrington In recent years, street casting has
on his process become a key aspect of my images
as the changing market has favoured
the real people look. The key to
working with street cast people is good
preparation and being clear on exactly
the type of person I am looking for.
Non-professional models are much
more likely to have other jobs, so I often
shoot during evenings and weekends
to accommodate their needs. When Im
planning to shoot with younger people,
I will often look for students who tend
to be a little more exible and keen
to earn a bit of extra cash. Ill focus
my search on the type of course that
theyre studying to match the type of
person I need. If Im looking for a young,
Creative process 121
502368927, Mike Harrington/Prestige
tattooed hipster, I will look around the
local art school, if Im looking for a doctor
Ill search at a medical school. With
older people, I look into social groups
where youll nd people who are more
outgoing, such as gardening groups or
WI institutions.
Face-to-face contact with these people
always works best in convincing them
to take part. A little attery never goes
amiss either, reassuring people that
theyd be great for the part and that
theyre exactly who Im looking for.
Casting street models does take a little
more time, as I have to nd out how
they behave in front of the camera, but
a casting session quickly helps me to
decide if Ive found the right person.
 Creative process 123

144302455, Jekaterina Nikitina/Prestige

 586076699, Tara Moore/Prestige
Tara Moore For me, the casting is crucial, its just
on her process as important as having an original
concept. I tend to veer away from
what feels generic and comfortable.
Interesting personalities and unique
looks go a long way in getting the
kind of image that Im after. Ill often
spend days and days street casting,
trawling through actor sites and model
agencies, asking friends of friends, in
search of the right face.
Sometimes its a model who can inspire
a whole story. I imagine what their
environment might be, and what I could
envisage them doing. Using real people
(i.e. people who have been street cast
or who have never done a photo shoot
before) can also bring spontaneity and
freshness to an image. Thats when we
get happy accidents, where they are off
guard and not posing. I love capturing
those moments.
 Creative process 125

586076705, Tara Moore/Prestige

Meet the
Creative team
at Getty Images
Our global Creative team identies
visual trends and collaborates with
photographers, lmmakers and
partners on providing our customers
with the most exciting and relevant
content for their projects.
Bill Bon
Senior Art Director,
Getty Images
bill.bon@gettyimages.com
Jacqueline Bourke
Senior Manager, Creative Insights,
Getty Images
jacqueline.bourke@gettyimages.com
Rachel Brinton Matthews
Video Content Development
Specialist, Getty Images
rachel.brintonmatthews@gettyimages.com
Lauren Catten
Art Director,
Getty Images
lauren.catten@gettyimages.com
Claudia Marks
Senior Art Director,
Getty Images
claudia.marks@gettyimages.com
Andrew Delaney
Director, Creative Content,
Getty Images
andrew.delaney@gettyimages.com
Gemma Fletcher
Senior Art Director,
Getty Images
gemma.etcher@gettyimages.com
Paul Foster
Senior Director, Creative Content,
Getty Images
paul.foster@gettyimages.com
Sarah Foster
Senior Manager, Creative
Content, Getty Images
sarah.foster@gettyimages.com
Alwyn Gosford Amy Lehfeldt Andy Saunders
Senior Art Director, Senior Art Director, Senior Vice President, Creative,
Getty Images Getty Images Getty Images
alwyn.gosford@gettyimages.com amy.lehfeldt@gettyimages.com andy.saunders@gettyimages.com

Pamela Grossman Emilie McKittrick Erin Sullivan

Director, Visual Trends, Content Editor, Creative Content, Vice President, Content
Getty Images Getty Images Development, Getty Images
pamela.grossman@gettyimages.com emilie.mckittrick@gettyimages.com erin.sullivan@gettyimages.com

Helen Gudgeon Guy Merrill Rebecca Swift

Senior Manager, Image Partners, Senior Art Director, Director, Content Strategy,
Getty Images Getty Images Getty Images
helen.gudgeon@gettyimages.com guy.merrill@gettyimages.com rebecca.swift@gettyimages.com

Tom Hind Mika Matsubara Eve Toomey

Senior Director, Content Senior Manager, Creative Content, Senior Director, Business Planning
Development, Getty Images Getty Images & Operations, Creative Content
tom.hind@gettyimages.com mika.matsubara@gettyimages.com eve.toomey@gettyimages.com

Julia Holliday Simon Moran Beth Wachtel-Lipke

Senior Content Editor, Manager, Creative Content, Senior Content Editor,
Getty Images iStock Getty Images
julia.holliday@gettyimages.com simon.moran@gettyimages.com beth.wachtel@gettyimages.com

Lee Hooper Lindsay Morris Erin Walker

Manager, Creative Insights, Manager, Creative Insights, Content Editor,
Getty Images Getty Images Getty Images
lee.hooper@gettyimages.com lindsay.morris@gettyimages.com erin.walker@gettyimages.com

Masaaki Kobayashi Richard Newstead

Senior Art Director, Senior Content Manager,
Getty Images Getty Images
masaaki.kobayashi@gettyimages.com richard.newstead@gettyimages.com

Seiji Koyama Jane Perovich

Senior Content Editor, Manager, Photo Editing,
Getty Images Getty Images
seiji.koyama@gettyimages.com jane.perovich@gettyimages.com

Beth LaFrenier Brad Ralph

Content Editor, Creative Content, Senior Director, Content
Getty Images Development, iStock
beth.lafrenier@gettyimages.com brad.ralph@gettyimages.com
Front Cover Image
559052617, Rieko Honma/Stone

Contributing Editor
John OReilly

Creative Producer
Gemma Fletcher

Copy Editor
Yasmine Awwad

Designer
Benjamin Watts

Printer
EBS, Italy

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are protected under US and international
copyright laws, and may not be
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2015 Getty Images

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