In celebration of World Photography Day, we sit down with our Photographer Manos Chatzikonstantis to dive deep into one of his most cherished projects: Salt of the Earth. Authored by Carolina Doriti and published by Quadrille, this book is a vibrant exploration of Greek cuisine and culture. Manos shares insights into the creative process and techniques that shaped this unique project. From the initial concept to the final shoot, discover how personal heritage, innovative lighting, and minimalist design came together to bring this culinary journey to life.
Project Data
Book: Salt of the Earth Author: Carolina Doriti Published: March 2023 Publisher: Quadrille Art Direction and Design: Claire Rochford Editor: Stacey Cleworth
The book “Salt of the Earth” is one of the projects I’m particularly fond of. It’s a book about food and a sense of place for a London publisher. I had previously worked with this publisher on an extensive project shot across Europe, Asia, America, and Africa for an established author, which established a strong sense of trust.
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What was about the initial brief that intrigued you?
They approached me to discuss a project of a first-time author, a young Greek chef and writer. The idea was to do a book about off-the-beaten-track Greek recipes, in a fresh style, using a bright palette of colour. Having Greek heritage, for me, that was a special project to embark on!
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What were your first steps when it came to breaking down the brief and formulating your ideas?
I suggested a minimal approach, with few elements, where the background surface would give the tone and shadows would be active styling elements. I imagined a book in a style influenced by contemporary photography where colour and light would be used to frame the food and simultaneously define a Mediterranean space of quaint beauty and simplicity.
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And what were the ideas and influences that you wanted to bring together?
The images by the old master Herbert List were certainly an influence, the colour work by Alex Webb and Constantine Manos, and maybe even architectural photography utilising lines, shadows and vanishing points.
Tell us about the location or setting – where did you shoot and why there?
As the author is based in central Athens we had to shoot there. Fortunately, she had a spacious flat with good light and we transformed a small part of it by the terrace into a studio. Surfaces had to be built, painted and plastered in various sizes. Fabrics were carefully chosen and crockery was sourced from Athens’ flea markets and garage sales. We had a travel budget and were able to head out to an island relatively close to Athens for a few days to get some location shots.
Initially, we did a 2-day shoot to establish the style and streamline the process of working together. The client was happy and we had very valuable feedback from the art director for the rest of the production. I believe that everyone involved must be on the same page and understand the situation and needs of the other parties.
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Tech specs – what did you shoot on? Any interesting elements in the lighting or lenses that we should know about?
I used a combination of natural light and a large cine light to manage the shadows. While Greece is known for its sunny weather, the sun doesn’t always cooperate, especially on a seasonal project with multiple shoots. To maintain consistency in the lighting style, I relied on this setup throughout.
I shot with a 50MP Canon 5DS to ensure high-resolution files for cropping while keeping the equipment flexible and transportable for location shoots. Most of the shots were taken with 50mm and 90mm lenses. For some location shots, I used Fujifilm cameras due to their compact size and excellent color rendering. The food shoot was done tethered, and as usual, I worked with Capture One for real-time grading and colour correction before diving into more detailed edits later.
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When considering the final shots, why this particular shot over any of the other takes?
Most of the shots were done in more than one version to give the designer space to work and choose the ones that matched best with the layout.
What is it about this project that stays with you? What made it different from anything else you’ve worked on?
The shoot was great fun and totally delicious too (the perks of shooting food!). The author was an absolute pleasure to work with and, as we both loved the style of the book, the inspiration level was very high.
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Milana Karaica founded NERD Productions, a diversity and inclusion led creative production company representing a wide range of hand-picked directors, illustrators and photographers. NERDs craft animation, illustration, live-action, mixed-media, and photography for feature films, TV, digital, social, editorial and everything in between.
What was your first experience of leadership?
After being a runner for a while, I landed a cool new job – office manager at a busy production company in Soho. Sounds like quite a boring job if the title is anything to go by BUUUT.. I had a team of amazing runners to help me pull off the most random, eccentric production tasks as well as incredible parties, team bonding trips and sometimes even the most bizarre requests.
No day was ever the same, no task was ever the same. It meant always being on your toes, continuously learning, meeting new talented people and partying like it’s 1995 every single day!
How did you figure out what kind of leader you wanted to be – or what kind of leader you didn’t want to be?
This job meant that I had to interact with producers and EPs on our day to day.. They had their crew, I had mine and we had to come together to make a job happen.
It was here that I first got the real taste of amazing leaders and also simply horrific ones too.
There were those that were kind, polite and open to sharing their knowledge with others on the team regardless of their social background or what role they played in production.
On the other hand, you had those that would talk to people like they were dirt on the bottom of their worn-out trendy Converse trainers!
It was painful to watch, listen to and simply be in the same room with. Even though I had only little say at that point in my career, I often clashed with those individuals, perhaps even when the situation didn’t involve me at all as I just could not stand unfair treatment! I knew I wanted to be different from them. I did my best to be supportive but straight up at the same time, both with the ones who were mistreated and the ones that were favoured.
What experience or moment gave you your biggest lesson in leadership?
Being a young EP and getting so ahead too quickly for my age! In my eyes I had the right to be there due to my relentless work energy and never saying no to a random all-night task or an unexpected challenge. With that came the need to prove myself though, to my peers whom I left behind, to older colleagues and specifically those that didn’t like me for many personal or subjective reasons – like being too young, too ethnic, or just for being from Croydon!
I worked day and night. Missing family gatherings, birthdays – doing conference calls at funerals… yes, I did that! However, with the recognition and praise came the ego as well. There was a point where I started to care too much about myself and the unfair treatment I was getting, even in this position and actually forgetting that so many others had it the same or worse, but had much smaller voices than I did.
Did you know you always wanted to take on a leadership role? If so how did you work towards it and if not, when did you start realising that you had it in you?
I think three weeks into my first job in the industry I knew I would run a production company one day. Not because I wanted to lead, but because it really pissed me off how things were being managed from a clique and classist point rather than based on merit of hard work and talent.
When it comes to ‘leadership’ as a skill, how much do you think is a natural part of personality, how much can be taught and learned?
You can learn anything if you push yourself hard enough and don’t limit yourself with your perceived weaknesses. That’s at least what I grew up believing. As I was becoming more and more heard, I started getting told by everyone that the biggest part to my leadership success is my diplomatic and tolerant personality – and that’s something you can’t learn or practice easily.
I feel like you have to really believe in what you preach and be passionate about it, because people can always tell when you’re not being authentic.
What are the aspects of leadership that you find most personally challenging? And how do you work through them?
I hate having to let people go! It’s never nice to have to let someone go so I always try to empower people to see why they may be better at something else or be more suited to another adventure. It’s not fair to keep people on if they are not the best version of themselves as they are wasting their own time too, not just yours.
Have you ever felt like you’ve failed whilst in charge? How did you address the issue and what did you learn from it?
We all fail! Sometimes you don’t notice a team member is down and struggling with something, be it personal or work related. Sometimes you don’t initially pay enough attention to a problem or an unusual friction between team members. I believe it’s all a part of the process and if we couldn’t learn and improve continuously in our industry, I would just quit! It simply means it’s got to the point you don’t care enough anymore.
In terms of leadership and openness, what’s your approach there? Do you think it’s important to be as transparent as possible in the service of being authentic? Or is there a value in being careful and considered?
I think honesty is the most important element of any successful relationship. We value this in our personal relationships so why not in our work collaborations? I’m not saying to share your every thought and worry, but to bring transparency while coming up with suggestions is always appreciated whichever side you are on.
As you developed your leadership skills did you have a mentor, if so who were/are they and what have you learned? And on the flip side, do you mentor any aspiring leaders and how do you approach that relationship?
I have had a few people to look up to over the years and some of those have let me down which is always devastating, while others inspired and motivated me more than I expected. I mentor a lot of young and up and coming talent and always treat those as friendships and close relationships. You really have to get to know a person to be able to see their strengths and weaknesses and how to help them get to be the best they can be. It’s a big responsibility!
How important is your company culture to the success of your business? And how have you managed to keep it alive with increases in remote and hybrid working patterns?
As a company that represents diverse talent, we have been a global company since our first day. Working remotely has not really meant that we have had to change a thing about how we craft. Our company culture is the only reason I started NERD, so it is the key to what we do, how we do it and why – every day!
What are the most useful resources you’ve found to help you along your leadership journey?
There is currently no space in my life to attend all the events I want and to spend endless time on self improvement and self discovery. I simply start and end my every day with thoughts of gratitude, reminding myself of all the things I pulled off that day, who I helped elevate and who I made smile…. I gently thank my stars and my path for all the passionate and creative people as well as my family.
What I do make the time for is to follow and chat with fellow leaders and founders.
Real people with real experiences and journeys beat any theoretical resource for me personally.
Social media is one of the most fast-paced areas in the advertising and marketing world. From the big personalities running the platforms to the rapid adoption of new tech and formats to the constant flow of hot takes and lively discussions, there’s never a dull moment.
We chatted with our own social butterflies at NERD: Viktoriia, our PR Manager, and Margaux, our Social Media Manager. These talented ladies are the ones behind everything you see from NERD Productions online. Whether it’s a big PR feature, a daily story, or a fun get-together reel, they’ve got it covered. We caught up with them to talk about their expertise, what inspires them, and the essential tips you need to thrive in this industry.
What’s the most significant development or trend shaping the social space right now?
M: Short-form videos and community building are essential. Platforms themselves are the ones pushing creators to post more short-form videos by adding features such as templates, trends, transitions, and audio syncing to make short-form videos easy and fun to edit. On the other hand, community building has become an important channel for brands that want to stand out and stay authentic. A good example would be Rhode and their NYC Summer Pop-up Event, which many fans flocked to because of pop-up exclusive products and a themed event.
V: One trend that I feel is quite new this year is the even greater focus on community. With Threads launching last year and community channels on Instagram, brands and influencers can now connect with their audiences on a deeper level. You can never expect all your followers to be there, but those who are, are highly engaged. Just by looking at how REFY or WE ARE TALA do it, you can feel like a part of the brand with their feedback sessions, community trips, events, and more!
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Every platform functions so differently – and the way they function evolves there’s a lot of fun to be had on social, from shoppable live streams to AI filters – so where are you finding the most satisfying or exciting creative opportunities right now (and can you give an example of a campaign that demonstrates that)?
M: I love how Instagram’s stickers have evolved, especially the ones used for Instagram Stories. You have many creative possibilities not just through aesthetics but also through functionality such as being able to add a link, a location, share a profile, add music, and so much more. There isn’t exactly a specific campaign to demonstrate it but I see brands and people using it every day on Instagram. That being said, watch out for our latest film for Instagram that is coming to you in September!
V: I totally echo what Margaux just said. A strong community focus is where you can tap into your audience and boost creativity. I’m a big fan (or victim) of the TikTok shop and how it seamlessly integrates with content. They have created a smooth shopping experience and customer journey from a TikTok video to a purchase. It’s not only effective for marketing but also a great creative outlet for marketers and social media creatives to capture attention.
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What does ‘craft’ mean to you in a social context?
M: To me, it means to continuously experiment and to strengthen specific skills. Social media is ever-changing, the algorithm is always changing, the platforms, and the trends. There’s always something new to learn — the learning never stops.
V: ‘Craft’ in social media, for me, means the art of creating engaging and meaningful content that resonates with our audience. It is about all parts in one – visual content, captions, stories, comment interactions and ALSO how your content strategy flows between different platforms.
Social media has been accused of driving polarisation and spreading misinformation, while others call it the marketplace of ideas. Whether or not that’s the whole truth, it is certainly shaping discourse and is one of the key venues for culture war-ish behaviour. What’s your take on the role of social media in society and what responsibilities do brands and individuals working in social have?
M: As brands, it is our responsibility to uphold the philosophies the brand believes in. AtNERD, for example we support under-represented talent, so LGBTQIA+ community, female talent, minorities and more. We are always consistent with our support towards them may it be online or offline, on set, in production, in post production etc. It goes the same way for any cause or advocacy we choose to support. Whether you are a production company or agency, it is our responsibility to spark!
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V: That’s why it’s called Social Media! I firmly believe that once you post something on social media, you accept that it will receive public reactions, both positive and negative. It is up to you how you react to it. If someone wants to protect their views, they should use private accounts or close friends’ stories. It’s unrealistic to expect only positive feedback. I personally use social media for inspiration, new fitness and travel content, and to see what my friends are up to. I curate my feed and follow only those who inspire me, avoiding politics. From a brand perspective, a brand should stick to its core values and prioritise customer well-being. As Social Media Managers, we nurture our community but can’t control what everyone else does on social media.
How do you balance traditional PR efforts with social media strategies, and can you share an example of a campaign where both elements were successfully integrated to amplify the overall impact?
M: I think PR and social media go hand in hand. Both channels are crucial for gaining or receiving information about a brand. For example, I might see a social media post about a project and be led to its website, where I find more content to explore. Another example is receiving a newsletter and clicking on their social media links. It’s always a good sign when a social media account is consistent with newsletter content and is regularly active.
V: At NERD, our marketing strategy is based on storytelling and collaboration. Everything we do in PR has its voice on social media and usually, it continues the story. Whenever we do a PR feature, you will always find it on our socials and all of our PR will always link back to social. As a production company, all of our work is visual and it is only fair to use all of our media outlets to show it off harmonically.
Inevitable AI question! How are you applying AI in your day-to-day role and what have been your key insights/observations about the best way to approach it in the campaigns you’ve worked on (feel free to share examples)?
M: At NERD we embrace all new tools that can help us achieve our best work, however we pride ourselves in our authentic voice and creations so we use AI to do the heavy lifting where needed and leave the creative, juicy part for our talent . For example, I usually use AI as a research tool. If I want to know about why a certain trend is trending etc. Sometimes, I use it to learn what are good hashtags to use for a certain topic in the week. It makes my work faster because I feel like it assists me a lot when it comes to brainstorming and thinking of how to strategize my content more effectively. It’s like a booster that helps me think faster and therefore I can use my time to put the pieces together much easier.
V: I am not too clued up on all things MidJourney etc, but I am a big fan of AI when it comes to checking my punctuation and grammar. I also use AI for concept generation with prompts sometimes. It is great for helping me brainstorm and pushing me into things I might’ve missed, although it is all about prompts and how you talk to AI.
When you’re not working, what social platforms and content do you personally enjoy engaging with and why? What creators, influencers and social communities do you love?
M: I’m always on Pinterest and Instagram, and I’m also on X and Reddit a lot. I love looking at aesthetic photos on Pinterest, it calms me so much. On Instagram, I interact with the same content that I do on Pinterest. I’m mostly in the vintage fashion, beauty, crochet, and pottery communities so it’s very coquette. I love creators like Garbo Zhu because she’s both a fashion and pottery girl.
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V: I have a few personal accounts, travel, fitness and photography, and on each of them I get different content. I like creating content in my free time and I can say I live and breathe social media and digital space in general. Right now, my TikTok feed is full of Wimbledon and Mallorca because I am going on holiday and tennis has just been on ! My Instagram is always full of castles and Scotland content because that’s the kind of content I create as well as more lifestyle bits and bobs like outfits and coffee. Honestly, I love it!
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What advice would you give to people who are looking to get into social, whether as creatives, strategists or producers?
M: Experiment with your accounts, and you’ll start having an analytical approach towards social media. It’s about what cover image or thumbnail works, it’s about what clips reel people in, it’s about what time you’re posting, it’s about how often you’re sharing, and so many more. Then you’ll learn that even if there are so many different businesses out there, we’re following algorithms set by the makers of the platform. That’s the time you’ll learn that hey, I can do this to pretty much every account I’ll handle – you just have to make a few tweaks here and there like curating content to a certain audience or community. It’s fun to look at it with an analytical approach like it’s an experiment you’re trying to improve over and over again.
V: I got into social media organically, starting by sharing my photography on Instagram. This led to opportunities in PR, social media, and photography. I ended up at NERD thanks to Billelis, who introduced me to Milana (NERD founder and EP), and I met Bill through social media too!
My advice is to start your social media account in a specific niche, whether it’s fitness, cooking, comedy, or something else close to your heart. You’ll find your community. Treat social media like your favourite game, tracking views and likes. Discover what content works and why.
Follow your favourite brands to learn their strategies. Personal experience is crucial for landing your first role or internship. For producers, social media is great for inspiration and industry connections. As a creative, sharing your work on social media is essential—many of our talent at NERD have strong social media presences, which helps attract clients. I firmly believe social media will help you if done right.
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We are absolutely delighted to introduce Manos to our continuously expanding talent roster. With his remarkable portfolio featuring delectable food photography, captivating portraits brimming with purpose, and the mesmerising landscapes of the Mediterranean, Manos brings a unique creative flair to our team. In an exclusive interview, we had the pleasure of discussing Manos’ portfolio, his award-winning image for the Portrait for Humanity, and the diverse array of influences that shape his distinctive style.
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Your portfolio reflects a deep appreciation for light, composition, and the intricacies of imagery. Could you share a moment that sparked your fascination with these elements and ultimately led you to pursue photography as a career?
Creative expression comes from diverse parenthood. So many things in one’s life, many of them unconscious, contribute to one’s style. I suppose growing up in Greece, being familiar with strong light and shadows plays a role. Warm sun, reflections, the softness of the evening. These kinds of things. Working with great people as an assistant is also quite formative. Observing art plays its role, I suppose, as does literature. One resonates subconsciously with certain elements, with certain techniques. I believe in observing the world closely and photography is pretty much the profession to follow if you are like that and a horrid draughtsman at the same time.
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Your food photography is described as natural yet inviting, every shot we look at just gives us that ‘yum’ feeling. How do you approach each food shoot to ensure the dishes not only look appealing but also tell a compelling story?
What’s important is to understand the food itself and what the shot is for. It’s like a portrait really, where you have to connect with the person at some level and convey something. I need to know what the food is about, where it comes from, and what traditions it’s connected with.
Then comes the technical part. Chat with the team if this is part of a production. Which bits need to be highlighted, how this particular food reacts with light and colour? And in the end, one has to have a story going. Where are we, where is this dish supposed to be, whose place is this? Even if it’s just a white background where the food is placed, it should bear the soul of the people involved in preparing it.
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Your Mediterranean cultural roots shine through in the textures, shadows, and colours of your work. How do you incorporate your cultural influences into your photography, and how do you believe it sets your style apart in the industry?
I believe that one’s style has to be true to oneself to have some significance. I’m equally fascinated by the South as I am by the northern crisp sunlight or the shadows of an object lit through a window on a gloomy day. Maybe having lived in Germany and the UK, being originally from Greece. I somehow came to understand and appreciate the southern narrative elements better and learn how to combine them with the northern ones. That might be one thing. And the other might be that I don’t particularly care for stereotypes and try to avoid them. Removing elements usually works better than adding.
‘Karpouzenia’ Preparation And Watermelon Juice
Winning the Portrait of Humanity award and being shortlisted for prestigious awards like the Pink Lady Food Photographer of the Year demonstrate the recognition your work has received. Can you tell us a backstory of your Portrait of Humanity winning image?
Oh, I love this image. The great thing about living in London is that you rub shoulders with all those cultures, all those different people. The shot was made in Stamford Hill, where most of the Jewish Orthodox community lives. I was working on a book about Jewish kosher cuisine at the time and Purim was going on, a religious celebration similar to carnival. People get totally bonkers there during the festival. It’s a wonderful thing to observe and interestingly not many Londoners know about it. I was roaming the streets, camera in hand and these kids were just coming out of their place to join the festivities. I took a shot, then they noticed me and as they gave me a shy smile I managed another two shots. One of them made the Portrait of Humanity competition. A lovely moment.
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And to finish off, tell us a NERDy fact about yourself 🙂
Here’s two: I love Superbad. When I edit photos I listen to weird, modular, glitch music. Or Frank Zappa’s mad guitar riffs.
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Billelis’s distinct visual style serves as a testament to his unconventional inspirations. Drawing from a diverse array of influences including religious iconography, Tarot symbolism, sci-fi aesthetics, demonic imagery, Renaissance masterpieces, anatomical illustrations a la Da Vinci, classical Greek and Roman sculptures, Baroque extravagance, tattoo artistry, and adorned saints, his work resonates with a haunting beauty that defies categorisation.
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Bill’s recognisable artworks have captivated audiences across the world, propelling him into collaborations with industry titans such as Nike, Warner Music, Netflix, Red Bull, Sony, and Apple, among a myriad of others. Through these partnerships, he continues to push the boundaries of artistic expression, leaving an indelible mark on the creative landscape.
We sat down with Bill for a cup of tea, (yes he drinks tea… just like us 🙂 ) to find out more about the most prominent moments of his career and hope for the future.
What’s the most exciting place one of your artworks have lived in?
Choosing between Times Square and The Dart Milan art gallery is a tough decision! Both hold significant moments in my career and are iconic in their own right.
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What is something you’re looking forward to exploring or learning more about when it comes to your craft?
Discovering the fulfilment that arises from achieving a genuine balance between life and work has been a game-changer. Over the past decade, I immersed myself in work, but it took a toll on my personal life. Recently, I’ve made a conscious effort to prioritize my free time, and surprisingly, it has led to heightened productivity and inspiration. It’s as if setting self-imposed deadlines at the age of 35 has proven to be incredibly effective for me.
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Do you have any dream illustration projects? What are they?
We love a glass ceiling, don’t we? I have been so fortunate to work with many aspects of Hollywood and the gaming industry, coupled with the music industry and publishing book cover scene, I found myself spoilt for choice.
I have recently really enjoyed working on more collaborative projects like beer can artwork, stage art for bands and personal illustrations.
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I would love to create a coffee table book with my entire body of work, but focusing on commercial opportunities I would have to say more gaming projects and perhaps a curveball would be fashion. The tangible aspect of my work out in the world is very fulfilling.
Animators are the magicians of filmmaking – to animate means, quite literally, to bring to life after all. So today, we wanted to celebrate one of our animation directors Alicja Jasina, who fills our creative hearts every time we get to speak or see her work!
“A line is a dot that went for a walk”, as famously stated by Paul Klee, deeply resonates with Alicja’s artistic journey. For her, a line serves both as a medium and a distinct way of thinking – often defying conventional linear perspectives. Alicja’s films received many prestigious recognitions, including the shortlist at Oscars in the Animated Short Film category for her short film “Once Upon a Line”. With a blend of elegant designs, sharp wit, and a unique conceptual approach, Alicja’s boundless creativity consistently captivates and engages audiences. Commercially, her line animations have earned her campaigns for renowned brands including Google, Casper, Disney, and Airbnb.
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How did you first fall in love with animation?
Animation is part of my everyday diet, though I don’t always consume it as ferociously as in the picture below :D.
I vividly recall my first time at school at Kingston Uni when I crafted a few frames in Flash, creating the illusion of movement – it was truly mind-blowing.
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For me, in animation, the focus isn’t solely on a single frame, not even on the in-betweens, but also on what’s in between the frames – the flow, the potential, something hard to express, less defined, more ‘in the movement’.
At times, I catch myself getting caught up in the technical aspects of animation. That’s why I prefer to keep it simple – to stay grounded and remember the core essence of what I do.
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To this day, I remain intrigued by the concept of motion, and I sometimes conduct quick film experiments, treating my body as if it were an animation element – akin to being part of software moved by a cursor.
Tell us about the animation project that kick started your career?
It was my thesis project created at the University of Southern California, “Once Upon a Line.” It received numerous awards and was shortlisted for an Oscar. This recognition brought up many work opportunities and gave me the confidence I needed to pursue this career.
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From your perspective, what’s the key to animation that really lives?
Energy and thought behind it.
Show us your favourite or most impactful project that you’ve worked on – tell us, what is it that makes it special and what were the memorable moments or challenges?
“Turbo Love” was a fun personal film with a well-defined concept behind it – the kind of project I like. The real challenge for me was the shoot day.
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I asked the crew to redo certain shots many times to achieve the precise outcome I envisioned for my animation. There were moments when I sensed some frustration from the DP – you can see it reflected in his expression in the picture above :D. But perfection we did achieve!
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I learned that providing explicit instructions to our actress, Dominika, about each gesture might not be the most effective strategy for the most satisfying performance. Unlike my animated characters, who don’t require such independence. Although at times, they do take charge and start to take actions by themselves – that’s when the real magic happens, in my opinion.
Directing on a live shoot was a truly unique experience, quite distinct from my usual routine of drawing on my Cintiq. That’s when I feel I have proper control of my work. Just like in the illustration above, during the creative process, I like to be comfy and keep my feet warm 🙂
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What sort of briefs or projects do you find more personally satisfying to work on?
Something “in line with my line”, which is a client hiring me specifically for my distinctive style. This was the case when I was approached to direct a commercial for Swiss Life bank. The client had liked my previous films a lot and desired the minimal, quirky, “smart” line animation that defines my work. When you see a big “chunk of yourself” in a bigger campaign like this, it is truly satisfying.
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Currently, I’m immersed in the creation of a short film with the potential to evolve into a show, supported by the Polish Film Institute and Pomeranian Film Fund. It tells a story of a 20-year-old Lotar who is crushed and overwhelmed by the reality around him and through immersing himself in rap music, he gradually discovers his voice. I’m lucky to be working with a talented crew of animators; without them, it would be hard to pull through – the aesthetics are much more intricate than my usual work. Even at the design stage, there were moments when I felt I might be buried under the layers of the project :D.
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Outside of the field of animation, what really inspires you?
Illustration and art. I love being outdoors as well – running, biking, roller-skating, hiking – that all gives me a breath of “fresh air”, inspiring new ideas to bring into my creative practice. Nature, traveling, spending time with friends – all that recharges my batteries.
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And to finish off, tell us a NERDy fact about yourself!
Recently, I enrolled in a course in Spanish law – pretty NERDy, right?
The winner of Portrait of Britain 2024 and now a part of the Museum of Youth Culture, we’re excited to welcome Ellie to our growing photography roster. From documenting British subcultures to partnering with brands like Adidas and Nike, Ellie’s work resonates globally.
Her unique touch lies in her use of film processes, adding a certain depth to her storytelling. She sparks conversations, challenges stereotypes, and crafts to create authentic narratives.
We sat down to chat about her inspiration and favourite pieces!
Portrait Of Britain 2024 ’Reiss Nelson – Versus”
Your focus primarily lies in capturing people, especially through portraiture. What draws you to this particular craft?
A fascination and interest in people, wanting to learn from and understand everyone & anyone around me!
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Tell us about your favourite project to date and why it has a sweet spot in your heart.
The first long-term project I worked on was photographing and interviewing women in the grime scene. I was in university when I started it and was still very much learning how to take photographs and had never interviewed anyone before. I learnt so much from that project, how to create a visual style through my imagery, how to organise shoots, how to design and self-publish a photo-book, as well as learning so much about myself, those I was photographing and the scenes I was immersed in. That project will always have a special place in my heart, and is a reminder of how far I’ve come as a photographer on my journey.
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Are there any emerging photography styles/trends you are currently interested in and looking to introduce to your work?
I’m interested in taking a deeper socially engaged approach to my work, making it a more collaborative experience. Whether that’s through adding elements they’ve created, such as their own artwork or writing, or working together to create an aesthetic that they feel honestly represents them in an authentic way.
What are your career hopes and goals for 2024?
I would love to start a new social documentary project, and to hopefully get it funded.
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And to finish off, tell us a NERDY fact about yourself.
I get very excited about alternative printing methods, for instance taking a two-day algae printing workshop with photographer Laura Pannack last summer. So much fun!
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Coming in hot is a new signing at NERD Productions – fashion, beauty & editorial director Rodney Rico. With an honors degree in Filmmaking from Kingston School of Art, Rodney made his mark crafting videos for top magazines and luxury brands worldwide. Inspired by classic films and French New Wave cinema, Rodney’s style stands out from the rest and we can’t wait to see his next creative adventure as part of our creative family. We sat down with Rodney to chat through our ‘get to know’ questions and what can we say, he really is a true NERD!
How would you describe your approach to storytelling and visual style as a director?
I’m still very traditional when it comes to filmmaking—I try to be efficient but also bring a sense of realism. I can think of many ways to set up my camera movements to convey the visual storytelling, but I usually end up just holding the camera (handheld), and it becomes more personal to the viewer.
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Tell us about your favourite project to date and why it has a sweet spot in your heart.
I wrote an essay about Disney as part of my final year project, specifically about The Little Mermaid (1989). I was approached by the producer who was organizing an editorial shoot with an actor starring in the Live Action version, so I was super keen to join. It was a full-circle moment, and I was happy with the results.
If your life was a movie, what would its genre be?
I’m a big horror fan, but I wouldn’t say I want my life to be like a horror movie—maybe more of a romance. Romanticising life keeps me happy in general, and I wouldn’t have it any other way.
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What are your career hopes and goals for 2024?
I want to work closer with different talents and get to know them better on a personal level before a shoot. I really want to capture their essence and mix my own personal style into it.
We find ourselves in a world where asylum seekers face formidable challenges, where political decisions can exacerbate their plight, as evidenced by recent developments in the UK.
We sat down with Elmaz Ekrem to talk about her film ‘The Law of the Sea’ that makes us shed light on the interconnectedness of the world crises, urging us all to reflect on the choices we make as a society and to embrace the notion that compassion and empathy must guide our actions in these turbulent times.
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What is the story behind making ‘The Law of the Sea’ ?
This film started life as a graduate project but ended up being televised by Channel 4 as part of their Random Acts series in 2016. It is not a pleasant origin story.
In the summer of 2015, the European refugee crisis was escalating in response to the civil war and attacks by ISIL in Syria. I was on holiday in Turkey. That September, the bodies of drowned children washed ashore a few hundred miles away from where I sat on the beach.
The sadness and grief I felt were overwhelming and I decided I needed to use the opportunity to make my graduation film about this. To make a film about anything else felt like an act of inhumanity. How could I not acknowledge what was happening in the world?
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The team went to Lesvos, one of the Greek islands to receive thousands of migrants crossing the Aegean Sea,and interviewed many people involved in the migrant crisis from volunteers to medics to fishermen. It took a lot of interviews before we found the angle of the documentary and it emerged while translating and transcribing the interviews. We realised that the perspective of the fisherman of Lesvos had been rescuing refugees while going about their usual schedules, and spoke of their unique and heroic experiences with the same level of nonchalance as describing their occupation.
The film, once a dream born out of empathy, found its way to Channel 4, where it would be broadcasted to a wider audience, touching hearts and minds around the world in December 2016.
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What would you like to share to our audience about advocating for migrants and refugees?
After making this film, using art, documentary and filmmaking as a form of activism to advocate for migrants, refugees or displaced indigenous communities became the forefront of my practice, and something I’d like to share is how the climate crisis is something that intersects through humanitarian and social injustices.
A quote from the Zurich Group on how conflict worsens the climate crises, or vice versa:”This domino effect was felt in Syria, where the desertification of formerly fertile farming land between 2006 and 2010 meant crop yields plummeted, 800,000 people lost their income and 85 percent of the country’s livestock died. As people lost their livelihoods, food prices soared and 1.5 million rural workers moved to the city to find jobs. Those left behind facing poverty were an easy target for recruiters from the Islamic State… societal issues caused by climate change worked to exacerbate existing tensions. The result was a conflict that fueled the world’s worst refugee crises in decades with around 6.6 million Syrians (roughly a quarter of the population) forced to flee their country.”
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My main message is ‘REFUGEES ARE WELCOME’, and should be granted safe passage. But if you’re reading this you probably agree with me.
The horrible truth is that there are people who disagree. As recently as August 2023, the UK home secretary Suella Braverman refused to endorse a scheme that would help asylum seekers in the UK, despite it being described by the UN as “more humane” while she pursues increased detention capacity for immigrants, a programme which is estimated to cost billions.
As we navigate the climate emergency, we must recognise that global conflict and migration are intrinsically linked. Together, we can create a world where refugees are not only welcomed but embraced, where the threads of compassion bind us as a global community, and where the darkest of times can give rise to the brightest of futures.
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Introducing Justine, the latest addition to our NERDy family! Going by the motto ‘if it can be crafted, it must be made’, Justine is a dog-loving and an award-winning director with a diverse portfolio, ranging from heartwarming moments to action-packed car sequences.
Get to know Justine in just 3 mins below!
What are 2 things our readers should know about you?
I used to teach kids’ drama lessons to raise money for my gap year. It was my “Steve Jobs typography” moment. At the time, I thought it was to make a quick bit of cash and it ended up being a catalyst for a lot of my career/work.
I love the research and pitch process as much as the production process – it is where the heart of all work starts. It is a time for learning, discovering and dreaming (before all those pesky logistics set in).
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Tell us a short story of how you became a director and your journey so far.
I spent a few years cutting my teeth in creative research and becoming an advertising NERD. My catchphrases are all still from those good old ads and they make sense to no one except my husband, bless him.
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About 8 years ago, a producer I had met through this research journey, the very brave Brenda Wilson, approached me to start a company and we became an all-female partnership along with production legend, Lebo Mabuela.
The three of us built our reel from scratch and found niches we never thought we would – kids & cars being top of the list.
My research background opened many doors into conceptual and smart work and we managed to pull off some super interesting work like Siemens Fabric (through King James).
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Tell us about your favourite project to date and why it has a sweet spot in your heart.
It must be a spot for ‘Toyota’ – MARS.
Creatively, the job spoke to so many things I love – cinema, landscapes, kids, storytelling, science vibes…who DOESN’t want to nerd out in Star Wars land?
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Personally, it was remarkable to scout and shoot in such an isolated part of South Africa. The landscapes were truly out of this world. Filming in harsh environments with day time temperature going up to 39C and torrential downpours the night before shoot, comes with its own unique set of challenges, but motivating crew to work through it and achieving the most gorgeous shots makes those days extra sweet.
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And to finish off, tell us a NERDY fact about yourself.
There are few things that are not NERDY about me. 🙂 I love anything that will keep my hands busy – embroidery, paper flowers – if it can be crafted, it must be made.
