Uprising in association withLBB & Friends Beach

New Talent: Talia Green

Advertising Agency
New York, United States
POSSIBLE’s in-house photographer and cinematographer on journalistic skills, creative side projects and a love of dancing

Talia Green is the in-house photographer and cinematographer at POSSIBLE – a role she describes as “pretty much a dream come true”. Prior to her foray into adland, Talia gained a degree in multimedia journalism and worked as a print and video journalist, learning storytelling techniques pivotal to her current content-producing role. And her creative endeavours don’t stop with the work she does at POSSIBLE – a sucker for a side project, she is currently honing her skills within the fashion and editorial sectors and planning a ‘70s style shoot with a local model. LBB’s Addison Capper chatted with Talia to find out more...

LBB> Where did you grow up and what kind of kid were you? 

TG> I grew up in Phoenix, Arizona, which is basically a major city in the middle of the desert. I was a pretty shy young girl – my mom says I used to cry and cling to her feet when she tried to leave me at kindergarten. But around the age of ten, something switched and I started to really come out of my shell. It was like I realised that the world was actually this big, fascinating place and I wanted to ask everyone I met anything I could. I've continued to be curious ever since.


LBB> Did creativity play a big role in your childhood? 

TG> Absolutely. My sister and I were always inventing different worlds to play in. It all started with forts – you know, the kind you build in your living room with every pillow and blanket you can get your hands on. We’d hide away and pretend to be lions, or magicians, or prisoners. I also went to a performing arts school from 7th grade through high school. So the latter half of the day was spent either in piano or dance classes. And while I didn’t go on to become a prima ballerina (I never really had the turn out) I definitely was given the space to let expression into my life and explore how it manifests. 


LBB> You are the in-house photographer and cinematographer for the POSSIBLE content studio - can you tell us a bit more about what your role involves?

TG> My job is pretty much a dream come true. At the core, I take photos and make videos for brands at my agency.

First a creative team comes up with the ideas for a piece of content, they meet with my team and me to discuss how to make that idea real. Once we have the concept hashed out, my team and I build the sets, make the costumes, design the lighting and shoot the scene. We’re a very hands-on team, so often it’s an all out collative effort – but specifically, I am in charge of the camera and editing the final product – meaning I design the lighting, photograph or film the piece, and edit the images or videos before they go live. But I really can’t stress enough how much teamwork goes into everything we do in the studio.  


LBB> You have a degree in multimedia journalism and have worked as a print and video journalist - how did you end up in the ad industry? 

TG> You really never know where life will take you. After college I moved to New York for an internship at a very media-present non-profit organisation. That was my crash-course introduction to the impact of advertising. From the start, I was impressed by how much space there is in the ad world for creativity. Larger than life ideas can become reality, and I knew I wanted to be a part of that. After the internship ended I started freelancing and found my way to an interactive production company called Bossa – they worked with some of the largest agencies in town to build digital and interactive experiences for major brands. I ended up working for them for two years and had the opportunity to be on projects for clients like Coca-Cola, Intel and Target. 

LBB> How do you feel your journalistic experience influences your work within advertising?

TG> Journalism taught me to appreciate stories, to ask questions, and to connect universal truths between human experiences. I’d say every one of those points also applies to advertising. A good ad isn’t always about stunts or CG effects. In my opinion, the best ads, are the ones that are able to tap into shared experience and human nature. When an ad is able to tell a story that millions of people can relate to, you know it’s done a good job.


LBB> In 2016, how much crossover do you see between the advertising and editorial / journalism industries?

TG> Timeliness is a big one. In journalism, it’s all about breaking news – getting the facts as quickly as possible to get the story to the people. In advertising, there are entire teams dedicated to creating reactive content when big stories or major events hit. We all exist in a media-driven world and it’s important to know what is going on. I’ll also echo my previous answer and say storytelling. Without compelling stories and the ability to tell them, we’d all be out of a job.  


LBB> Which projects from your time at Possible are you most proud of and why?

TG> We’ve really worked on so many projects over the past year. I’d say a major milestone for us was the stop motion series we did for MyAT&T. Not one on the team, myself included, had ever done stop motion animation at that scale. We dove into making all of the miniature sets and characters, shot for about a week, and ended up with four pretty incredible video pieces. 


We’ve also recently finished a campaign for illy issimo that I loved being a part of. The concept was illy on the go, and the team and I spent several days filming all over San Francisco. We created a series of photos and videos that romantically featured what a day in motion could look like with illy. It was a blast and the work came out beautifully.  

LBB> Your website hints that you’re a sucker for a creative side project - what have you got going on at the moment? Which types of avenues do you enjoy exploring? 

TG> As of late, I am putting most of my side project energy into exploring the fashion and editorial spaces. I love how they allow for dramatic images and open up the possibility for getting weird with your vision. Right now I am in the midst of planning a ‘70s inspired editorial shoot with a local model and stylist. We haven’t worked together yet, so it’s really exciting to bring new creative partners into the mix. It shows me so much about how I work as a photographer and the fresh perspective that other creative minds can add to an idea I come up with. 


LBB> Side projects aside, what do you like to get up to in your free time to unwind?

TG> Oh the list is long! I’ve always been drawn to contemporary art and the DIY scene. My friends and I often spend the weekends going to local art and music shows. Whether it’s the free wine or friendly faces, I love being connected to the arts community here in Seattle, and am truly energised by all the talent in this city. Dancing is also a big one. In my kitchen, in the car, at a party or the weekly class I take, moving my body always leaves me feeling refreshed.

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