CONVERSE EDITORIAL | EAST L.A.

After I watch a movie on Bluray or DVD, I usually rewatch it with the audio commentary, in hopes to get insight from the creators of the film. Hoping to hear their methods in storytelling and perhaps advice on how to become a better visual storyteller. To my great disappointment however, most directors can’t talk for the two hours of the film and give you helpful insight. They usually talk about random things as, we shot this here, or that’s a digital shot, or this actor acted really well, etc. Useless facts that don’t expand on the story, or  insight on the characters or their development. Which is really funny because I see my blog posts as the equivalent to the audio commentaries on film. I see this platform as a way to give you insight on both my inspiration and motivation into my editorials. However, as the aforementioned creators, I too can’t come up with what to say about my editorial at times, even taking months for me to write anything about an editorial. So I shouldn’t get too upset, since I too fail to give expanise insight behind my creativity.

After being tasked with creating an editorial ad campaign for Converse, as the final assignment for my Photo 03 class last semester at East Los Angeles College, I knew the very second I wanted a classic look for my editorial. Which is where the Twilight Zone comes in, having watched a few episodes over the weekend at my parents house, I decided to emulate the look and feel of The Hitch-Hiker episode, found in season one. Having only two weeks to complete it, I did what I do best, ask the models I already knew, but have not worked with before on Instagram. To my surprised both my models agreed instantly and after setting a date, we met early in the morning in the Boyle Heights industrial area, along with an immaculate 1964 Impala lent to us by an Instagram fan. I’ve used this location before for my Bonnie & Clyde editorial found HERE, as I feel it gives you that era look found in the Twilight Zone. You might notice two different tones in the following photographs. That's because I ran out of Kodak TriX midway through principal photography and switched over to Fuji Acros 100. Which after seeing the scans, I wished I’d photograph the entire set on Acros due to the lack of grain and smoother, overall tone. However, to my most  unfortunate fortune, it was announced it would no longer be in production.

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CONTRIBUTORS
Models: David Turner & Taylor B. Dunn | Automobile Prop: Yeli Hernandez

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