Photographers Guy Aroch, Nacho Ricci and Anna Palma shot more than 150 stills for Coca-Cola’s latest ‘Taste the Feeling’ campaign - which will appear in Coca-Cola print, outdoor, retail and digital advertising around the world - on location in New York and California.
Here, the three photographers and co-creative directors James Sommerville and Raphael Abreu from Coca-Cola share and discuss their favourite images from the campaign.
Take a look:
Guy Aroch, Photographer
Gear: Canon Mark 3 1DS with 35mm, 50mm, 100mm and 70-200mm lenses
“We were shooting down on the street, and my producer was walking around finding opportunities and cool things to photograph. He knocked on the door of this building and asked if we could use the roof. This was in August, but we needed some winter shots, so she put on a thick shirt. Her hair is perfectly messy, and she’s jumping up and down. It looks and feels authentic because it was. It wasn’t overly-thought, overly-doctored or overly-discussed."
“This shot makes you feel like there’s more to the moment captured here. You can plug yourself into it and know there’s a little before and a little after. The Coke bottle is front and centre and makes the moment that much better, that much more special. And the red accents from the rain and light through the umbrella are beautiful.”
“This one has an old-school vibe… it could be ‘50s rockabilly or late-‘70s punk. We constantly mixed old and new with this work. The colours are vintage, but you also see modern touches… they’re eating tacos, and she’s wearing fashionable earrings. It’s about the little things. And the Coca-Cola looks delicious. The straw replaces a cigarette, which you’d expect to see in a shot like this. It’s a purposeful twist. We’re pushing different buttons here."
“These girls are being silly and having fun. It’s such a happy, cool moment where they’re cracking up laughing. You either want to be them or be there with them. It’s done in a way that doesn’t feel staged. Throughout the shoot, it was all about being light-handed and believing in the moment. When we stopped believing, we'd move on to the next moment.”
“We’ve all been on that car ride. The guy in the back is a model; the girl in front isn't. We had them pass the Coke bottle back and forth. It’s giving you hints of what might have happened, but doesn’t spell it all out… you can insert yourself into the moment and draw your own conclusions. My friend was driving and I’m in the backseat. We kept circling the block. The old-school car turns up the volume on the nostalgic look."
Anna Palma, Photographer
Gear: Canon Mark 3 1DS with 35mm, 50mm, 100mm and 70-200mm lenses
“I love that this is based on a classic Coca-Cola ad from the past, which shows that great imagery is timeless. I also love the simplicity of the colours, the humour and the expression of one of my favourite models and human beings, Amanda Norgaard. I’m proud of it because it works on all levels, and it’s fun and beautiful. And I love that it was done in close collaboration with James (Sommerville), who showed me the old image to be inspired by. That’s what this project is about: a dream of a collaboration!”
“It's so atmospheric… it makes me want to drink a Coca-Cola in a movie theatre. I love how it’s cropped – less is more here – and it’s sexy. I also really like the colour simplicity. The bottle is the hero, the centrepiece, and the main character. And the rest of the image is a vignette of a relatable situation. It’s real, and it’s beautiful.”
“This one is super hot. It’s a beautiful moment of a gorgeous girl drinking a delicious-looking Coca-Cola. The styling is so cool, too. The overall feel is like Coke itself, and I love that. I can hear the music playing in the background.”
James Sommerville, VP of Global Design, Coca-Cola
“This is a very real moment. The product is not clearly visible, yet it can only be Coca-Cola. The spraying of the product in the background is celebratory and fun. We can’t see their faces, so it makes us look harder to understand who they are. The golden light of the sunset reflects the amber liquid tones of Coca-Cola.”
“An everyday, relatable moment between two friends. Are they lovers, siblings or just friends? The situation altogether is intriguing; the cinema bulbs feel intrinsic and light up their faces as she looks back. The dark tones of the city lights on the left contrast and frame the subject perfectly. The Coca-Cola bottle in full focus plays a central role in the story.”
“This is my Mona Lisa shot. Is this a smile, or not? Has she seen a friend or a foe? The natural beauty of her expression feels effortless and very real. The product against her bottom lip plays a key role in the story, while the liquid and glass bottle is the most prominent object but doesn’t overpower her. The angled, off-centre Coca-Cola bottle directs the audience upwards towards her eyes.”
“I love the empty Coca-Cola bottle, the confidence and the implied movement in this shot. It's very brave for a brand to show the packaging only and no product, but the iconicity of the Coca-Cola contour bottle allows this shot to happen and still make is unmistakable.”
“This image has style, attitude and beauty all-in-one. The symmetrical composition with the Coca-Cola bottle in the centre and in full focus acts as the centrepiece. I love her orange fingernails as a pop of colour, the way she drops out of focus while still staying visible enough to let the viewer relate to her. Most of all, I love the guy on the bike behind her, who has turned his head while cycling and is looking back at her. The fact that he's there, and not retouched, tells me this is a real moment.”
Nacho Ricci, Photographer
Gear: Canon EOS 5DS R with EF 70-200mm and EF 50mm 1.2F lenses
“Looking at the whole campaign, this shot has the largest magnetism. It's in the way she looks at you... she traps you. It’s hypnotic. When driving on the highway, if you take a glimpse, the power of her look catches you. She calls you. You can’t ignore it. When photography is honest, it reflects authenticity. It truly tells you what’s going on without rationalising. As the connection is created, everything flows... and captures the essence of the moment.”
“My goal is to create an atmosphere in which the people in front of the camera can connect with me and build a synergy that allows them to be confident. This vibe brings out the best in them. They have to feel comfortable, be honest and show themselves as they really are. I take this way of thinking to the field every time I shoot people so they can act from the truth and not pose. I seek beauty of simplicity. I'm proud of the sensation of sharing a true moment in life. I can also feel a connection and the energy of that magical moment when you kiss someone you like.”
“This reflects a moment that happened spontaneously. It wasn’t staged. Nobody expected the wave to come and stick, and when it happened, I captured the joyfulness and realism that makes the shot so authentic. The sea has a strong presence, impact and energy. Also the interaction between humans and nature, them merging. It lets you realise when an emotion is true. It’s a beautiful image and has a lot of visual impact. It definitely has stopping power.”
Raphael Abreu, Global Design Director, Coca-Cola
“It’s our most intriguing and sexy 'drinking' shot. Super tight close-up, simple composition, big pop of Coca-Cola red on her lips… and just a peek of our Georgia green glass bottle.”
“This is a 'product' shot with a great story behind. The composition is very symmetrical, and the single eye looking at the camera is magnetic. I picture a story in my head of her flirting with her photographer boyfriend. You probably imagine a different story… that’s the beauty of this image.”
“This is a 'moment' image but it has it all: The drinking (she’s looking at the camera with a beautiful smile… and I love the teeth gap), product (very prominent with the white-and-red straw) and social connection (two friends, but I can see by the look of the red-haired girl that they are not alone). I love the sunset light as well… it feels super optimistic. To me, this is a potential Coke classic image.”