Feb 16

The person behind the light.

Enzo Tedeschi

It’s a weird thing to say someone is a leading light. Quite a grandiose thing to say really – almost a declamation from on high. Still, in very specific cases, it’s true.

Enzo here is a leading light in the Australian film industry. Over the past 6-7 years, he has been one of the few producers really trying to make the business sustainable in the long run; by experimenting with different release strategies, financing models and most importantly, by producing good content. But that’s enough about what he’s doing.

Let’s talk about Enzo the person.

This business can eat you up. The nature of filmmaking is that it’s a grind. To come up with the ideas, to get the finance in place, to make the damn thing and then to get it out there. Everything is a grind. How do you it well and also have a family? How do you do it well and be a good father?
This is something we talked about today.

Enzo has 4 kids. Once, several years ago, a shoot that was very close to his house went 4 hours over. As a result, he missed his son’s 11th birthday celebration at home. He promised his son he would make it, and didn’t.

That changed something in Enzo. Never again could that happen. Yes, what he does is important; but his kids, his family? Far more important. Missing that birthday caused him to doubt himself, as a father and as a filmmaker; even though his family understood. Could he actually do this and make it sustainable? Not just financially, but personally?

People who don’t know Enzo see him as this leading light, someone who has it all worked out, knows how to make the industry work again. A monolithic character 100% certain of every day. Of course that’s not the case. To be in this lifestyle is to court self doubt and to work around it. And while he absolutely deserves leading light status, it’s good to know the person, not just the symbol.

Feb 16

Jagermeister in Archive’s 200 Best Ad Photographers Worldwide 16/17

For my first proper post, I’m going to basically copy from my insta for today. Further posts will sometimes be just the instagram work. Others will be completely separate.


…Let’s see how this shindig grows…


Jagermeister print ad in Archive's 200 Best Ad Photographers Worldwide 16/17, shot by Rebecca Riegger


So, last year I found out my image for Jagermeister was accepted into Archive’s 200 Best Ad Photographers Worldwide 16/17 from over 8000+ entries. This is a big deal, a major mark on any advertising photographer’s record. Something I’m very proud of. The above image, shot by Bec our stylist, shows the image actually in the physical copy.

When you shoot advertising, you normally get what’s called a layout – a sketch or a comp or diagram that’s been signed off by the client, illustrating the main elements of the shoot. This layout was truly special – it jumped off my mobile screen and possibilities started swirling in my head. This is always a good place to start.

Then the art director, Brad, gave me a fascinating brief. Since the concept was ‘Strange But True’, he wanted me to convey a form of merged reality. The image had to show EITHER animals in the forest wearing suits, or guys in a nightclub wearing animal masks. At the same time. You couldn’t be sure which you were looking at.

My immediate reaction was to do this in camera. Physical light and its various interactions are almost always more powerful than the realms of Photoshop.

Which meant finding a truly amazing stylist. Enter Bec, who stepped up to the plate in a big, big way.

The background? That’s a stock image she blew up to over 4m tall to fit the perspective. The couch, the log, the greenery, even the frickin moss – everything had to be sourced and/or built. The masks were hand built by props maker Charli Dugdale.

The entire week before the shoot I was out of town. We did all our prepro remotely, and usually around my mad schedule. Our incredible producer Tamiko somehow keeping everything going smoothly.

I drove back down to Sydney on the morning of the shoot at 4am. The lighting set up was going to be BIG, even for me. It took over 6 hours with 19+ Elinchrom heads going off.

We got the shot. And we had a very happy client and agency.

Yep, it was one of those jobs…

Client: Jagermeister
Agency: GPY&R Sydney
ECD’s: David Joubert & Bart Pawlak
AD: Brad Stapleton
Copywriter: David Barton
Producer: Tamiko Chee
Stylist: Rebecca Riegger 
Assistants: Dan Knott, Nick Fraser & Gary Friedland