Why stills still move

Ridley Scott Creative Group’s photography division began 10 years ago alongside RSA Film’s existing commercial film production department, a few years later illustrators joined the roster and the unit was renamed RSA Photo & Art. 

To celebrate its first decade, Susie Babchick produced a zine showcasing the work of both established and fresh talent in photography and illustration. Here she explains her processes and highlights what photography continues to offer us.  

How is the still image in advertising faring in a video-focussed media landscape?

As a photography specialist, I look around all the time to see what and where are the still images that we are seeing in our world. I look at branded images online, people’s personal photography on social media OOH and print campaigns and editorials, too.

Even looking at a phone with a choice of photos versus reels, the eye can go towards the draw of the still image over the reel.

This give me information on fashion trends, brands I’d be interested in, events I want to attend. Even looking at a phone with a choice of photos versus reels, the eye can go towards the draw of the still image over the reel, if it’s interesting enough, perhaps with notable expressions, lighting, intrigue.

In the London Underground a whole visual world has been laid out in a kind of corridor of experience. Ads on a tube platform are a good place to showcase great photography and art.

I don’t think people really like or trust the idea of AI generated imagery from brands.

I Iove the high taste-level of fashion editorials in magazines and ads, where the creative directors, fashion consultants and fashion photographers and models are all brought together to make something extraordinary.

Above: Kourtney Roy's portrait of actor Lea Seydoux. Main image: Filmmaker/photographer Jonas Åkerlund's photo of Sadie Sink for an Alexander McQueen campaign. 

What skills do photographers need to stay relevant and in demand?

Talented photographers who can also direct are well-placed to offer the two different types of storytelling and artists with a signature style are the ones that people will remember and want to use for certain brands.

Above: Fashion editorial by the multi award-winning fashion and beauty photographer/filmmaker Marie Schuller.

Do you believe people still value the authenticity of an image made by a human as opposed to an AI bot?

Photography as an art form will always be valued by people who want to express themselves visually, or document a time, or capture something extraordinary and beautiful. And people who love looking at photography will enjoy seeing these expressions. 

I’m seeing more young people loving the look of photographs made with film and also using polaroids to print and share immediately and to keep. I don’t think people really like or trust the idea of AI-generated imagery from brands.

If brands are portraying lifestyle moments with figures who aren’t real, who is supposed to relate to that? And why should they?

The point of advertising has always been to persuade audiences to buy into products and services from brands that they trust. If brands are portraying lifestyle moments with figures who aren’t real, who is supposed to relate to that? And why?

Above: An image from portrait/reportage photographer Ian Winstanley's work for World Vision Charity, which highlights the daily struggles of children in Uganda and Sierra Leone.

How are brands currently approaching the creation of still images and video content in their marketing?

It’s beneficial to combine a script for moving image with a creative brief for photography, either by commissioning a director who is also an accomplished photographer or by pairing up a director and a photographer whose styles are compatible.

The aim is to have a whole narrative told in one image.

First, there is an artistic and directional synergy that can be created by the visual cohesion that comes with creating it all together. Second, to have the two disciplines being planned and produced under one production umbrella saves time and money and it’s exciting to have a single purpose everyone is working towards.

Above: Kourtney Roy's personal projects: (left) 'Hope' and (right) 'Northern Noir'.

In what way is a still image a different way of storytelling than video?

With storytelling in photography, the aim is to have a whole narrative told in one image. It’s all about getting set up perfectly so that all of the elements come together to convey that one moment, one message. A photograph or still image leaves space for imagination and for the viewer to psychologically interact with the image.

When we look at photographs from any given time, we get a feel for the place, people and the era.

A single image can unlock questions and emotions and thoughts that bring more to the story, a personalised version that weaves the image into other elements in a person’s thoughts and their own life experiences. Whereas with moving image, the viewer is brought along on a journey – it can take time for the story to unravel with more detail, so could be considered more passive.

With one interesting photograph, we can close our eyes and the image can still be with us.

Above: Photographer and up-and-coming director Micaela McLucas's Christmas 2024 campaign for luxury retail group Flannels. Below: Marie Schuller fashion editorial for Vogue Poland.

How do new styles of photography reflect the world we live in?

Photography tends to run alongside the social zeitgeists locally and globally. When we look at photographs from any given time, we get a feel for the place, people and the era.

Creative people also lead the zeitgeist – making imagery and starting trends that reflect the world around us.

Trends and creativity catch on by sparks of innovation that come from person to person to communities and out into the world. People imitate who and what they’re impressed by.

It’s the same with image-making, there’s always an artist doing something different and doing it first so it then spreads – and that’s that viral thing that everyone’s after.