It was true the CD was fearful in regards to the PC Jeep Thing. But I am really chagrined to read the credit is going to DJ. Stout without one word mentioned about Cheryl Brown. She is the True talent behind this book and new look. Dj Certainly helped but she put in more time and creative effort by far on this new look.

Although to be honest, I’m not really a fan. I feel like LL Bean is trying to be REI from Chase Jarvis’ perspective – and I don’t think it works for LL Bean. No matter what their advertising or catalogs come off as, I’m still not going to LL Bean to buy my activewear. Khakis and Polo’s, maybe.

I think it will certainly bring in a younger customer who wouldn’t otherwise respond to the other catalog look.

http://blog.pentagram.com/2008/08/new-work-ll-bean-2.php#more

No mention of who the photographer is.

And likely shitting his pants over a redesign that’s about to drop.

One of the great things in life is this term called “the client”. It just feels so good that you can just always have that phrase in your back pocket, like a Trump Card, and you can always play it. It’s as though “the client” is not really a living, breathing human entity, with kids in private school, and a payment on that Volvo stationwagon, because you can just “blame it on the client” and all is well again in Photography Land.

It just seems that, with any great campaigns, it’s usually done with one person firmly at the helm, calling the shots, and making the critical decisions — rarely is it Decision By Committee.

At least in the “Before” version, there are no pretenses being made — nobody’s trying to pull the wool over my eyes, and make it feel documentary. The “Before” version just says, (honestly), “Hey, this is a dorky catalogue, and we know that, and we’re trying to sell you clothes for your yuppie husband, because we are LLBean”. There’s no deceit or false premise.

Of course, that rear shot of the models running thru the water is great, but when you throw in the Jeep picture, it just really waters it down, and kills the credibility of the whole session. It just screams “politically correct casting”, made by some fearful fashion editor, attempting to not offend anyone. That kind of vision rarely leads to good work. Three-day stubble or not, it’s still just a very average catalogue approach.

Having said that, D.J. Stout rocks…

The same thing often applies to photo editors and art buyers and the way they “buy into” a photographer as a brand.

;-)

As to 3. Shannon’s comment – the wrinkles in the product shot are well done but also serve the purpose of having enough color variation that the consumer won’t return the purchased item saying it wasn’t the same color as the one in the catalogue.

Too many photographers geek out about lighting, lenses and such and disregard the most important aspect of photography – the subject in front of the camera.

I’ve had people show up for a shoot drenched from rain with makeup smearing down their face and their hair jacked up and had to pretty much shoot them that way. Sure, they cleaned them selves up a bit… but I’m sure you can imagine the results.

I couldn’t imagine not having those things for an ad shoot though. Especially for something with as big of an ad buy as LL Bean. I’m sure the travel, hotel room and per diem for the account execs who wants to be at the shoot was more than a stylist would be and the exec would add exactly 0 to the shoot.

Jeff

This is a great example of how important these details are! The dog in the jeep photo is a medium sized dog, looks like an Aussie. Imagine if the client told them “Oh you don’t need to hire a dog, one of our employees has a Golden Retriever who would be perfect and we can save the $950.00 for the trainer, dog and travel costs of the dog. Besides not being trained, it would be too large to work well in the photo.

Even with ad agencies who do some very fine creative, I get this let’s save money by using an employee instead of paying for a model once in a while. More often than I’d like to have happen.

Thanks for pointing out how important this part of the creative process is.

I’ve found a good stylist can make a big difference on a shoot. Having another pair of eyes looking for the little details can save a lot of grief later.

Of course good prep, when possible, is always helpful.

Rosh
http://www.newmediaphotographer.com