LPA FUTURES 2023 / JUDGES INTERVIEWS

Last night LPA hosted their Live Judging Night for the Futures 2023 competition and well what a night it was.

With only a few minor tiffs (Jonathon we’re looking at you) everyone left relatively unscathed…thank god. A massive thank you to all of our fabulous judges and of course to everyone who entered Futures this year. The talent was at an all-time high and we can’t wait to release who won!

Ahead of the night to remember we spoke to our judges to quiz them on all things Futures. Here what they had to say:

Laura Wright / Senior Art Buyer & Head of Production / Twin Productions

How did you get into art buying?

After studying photography I started working off as an agent & producer but I realised early on in my career that I didn’t want to be limited to a roster of photographers and instead have the opportunity to work with a range of different talent. I’m endlessly fascinated with imagery and I really enjoy working with creative teams to constantly craft new ways to bring brands to life so becoming an art buyer felt like the right role for me.

What will you be looking for when judging Futures?

Someone with a genuine vision, who cares about the work; who has a connection to it in a way that no one else does.

What do you think makes a great commercial photographer?

Someone who is able to build good rapport with the agency & client as well as being flexible in their approach.

Marc Jenks / Executive Creative Director and Partner / Emperor 

What has been your career journey to where you are now?
I studied Graphic Design & Illustration in Brighton, I still feel my time in Brighton (especially the range and quality of the tutors), really shaped the path I ended up taking in my career. My first job straight after graduation was as the only creative in a small Ad agency, talk about a massive learning curve! I’ve spent time in full service Ad agencies, Branding specialists (Navyblue) and also some freelance spells working in publishing . I joined Emperor in 2008 as Creative Director in their London office, we were about 70 people back then. We’re well over 300 now. My role focusses on ensuring we do the best work for our clients and grow the business (and its reputation) in the right way.

What is it about commercial photography which gets you excited?
Partly due to my seniority and age, but also just the opportunities I’ve had over my career. I’ve been really very lucky with commissioning photographers on a huge spectrum of commercial projects. Early in my career and before digital took over, I remember getting the 73 bus home from a various shoots in the city, marking up medium format colour transparencies with a chirograph pencil and how much I loved the selection process around getting the right image. We now live in an age where our access to imagery, its origin and quality is vastly different. In many ways its far easier to get good imagery and the choice of image makers is huge. This in itself means the bar has been raised and it asks much more specific questions around how and why you commission imagery. Authenticity is probably the most important criteria when working with photographers, that and the ability to bring something unexpected to any shoot. Really great photographers help grow our client relationships by demonstrating the power of really great imagery in telling their story. It’s a wonderful medium.

What will you be on the search for at this year's Futures?
I touched on this above, but authenticity is key for me. If you are shooting real life (or attempting to capture real life), it needs to be one of those few frames that connect with you as a viewer. Its normally one of the images between the takes that feels the strongest. Really outstanding photographers know this and make sure everyone on the shoot is in the right headspace. I’m looking for an edge as well, someone who stands out. An edge commercially speaking is not someone deliberately trying to be different by trying too hard, more a style or feel that sets imagery apart. Often for me this the quality of the light or composition. Really capturing the emotion of a moment, something you connect with and it speaks to you directly. I’m looking for someone who could take on a commission from a client but bring something different to the outcome.

Jonathon Nixon / Art Producer / Ogilvy

Where do you think art and advertising cross over?

I think all decent advertising is underpinned by art. When working to a commercial brief the skill is in maintaining the authenticity of the art without diluting it.

How would you describe your judging style?

Instinctive.

If you had any advice for our finalists what would you say?

Remain true to your style and be tenacious.

Pippa White / Acting Head of Art Production / BBH

Could you give us a quick run-through of how you got to the position you are now?

Started as a creative PA, then moved into creative resource then into production, am currently doing mat leave cover as head of art production. 

Would you consider yourself to be a mean or a nice judge?

Nice, always :) 

What would be your advice for someone who didn’t make it through round one this year?

Keep going at it. Hard work and passion are so important and if it's not your time now it will be soon enough, everything happens for a reason. 

Enora Thépaut / Founder & Creative Director / We Are La Vie

What first inspired you to start We Are La Vie?

I have been working with my own clients for the past 8 years, doing brand strategy & creative as well as designing a range of digital and physical products (apps, websites, courses, experiences, packaging…) 

Over that time I have been lucky enough to be able to choose projects I had a personal interest in or that aligned with my values — projects related to mental and physical health, sustainable living, diversity and inclusion, biodynamic agriculture, green technologies, etc… and to work with inspiring experts in those fields.

I took a short break in 2020 to give birth to my son, and came back to work as everyone was emerging out of lockdowns. Those paradigme shifting events both in my personal life and society pushed me to think more carefully about what kind of contribution I want to make. Sustainability and inclusion had always been important to me, but now it feels way more urgent. I want to be able to look my son in the eye when he starts asking questions about the state of this world and what I am doing about it. I haven’t got that long before he does… 

That’s essentially why I started We Are La Vie. I’m interested in doing design work that is centering life on this planet, human and non-human. I want to utilize my skills to service people and ideas that work in that direction. It’s still early days for We Are La Vie as a business, but as it grows I want to bring more people on board, because I don’t believe you can have as much impact as a lone wolf.

What elements of photography are your favourite? 

I tend to gravitate towards photographers that can tell a story through their pictures.

I guess I’m often drawn to stories that have a human element to them. There is a uniquely British way of using humour and incongruous juxtapositions to convey a story in photography which I love.

That being said, I think it’s important for creatives to be curious and to expose themselves to a broad range of photographic approaches. I wouldn't want to constantly be comissioning the same photographer for different jobs. There’s nothing more satisfying for me, than to connect a brand, a product or a project with a photographer that will tell their story in a way that feels authentic to both parties. 

What is a must-have for a Futures winner?

I’d like them to have something to say, a unique point of view or a unique way of capturing what they see. Something that makes them memorable.

The 3 winners will be announced at the launch party on 21st September and live on our website and social the following day.