Here for the Senior Class

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Hi I’m Jake 👋

Thanks so much for considering me for the Here for the Senior Class campaign.

The concept struck a chord right away. Framing a vaccine campaign around a high school reunion is both fresh and deeply resonant. It’s not just about survival — it’s about showing up for the moments that matter.

This is a chance to spotlight older adults not as statistics, but as full, vivid individuals. The school settings — gymnasium, hallway, trophy case — bring just the right touch of nostalgia, grounding the work in something familiar while allowing these seniors to feel iconic.

I’m excited to bring my lens to this story — and to collaborate again with producer Elle Sullivan, who brings calm clarity and years of experience to shoots like this. With Elle at the helm, we’ll build a production that’s both joyful and seamless — exactly the kind of energy this campaign deserves.

I’ve also included a mix of images that reflect how I approach group dynamics, portraiture, and emotional tone. This concept is beautifully unique, and while there isn’t an exact one-to-one match in my past work, I hope what’s here gives a clear sense of how I’d bring it to life.

Shoot Overview

Here for the Senior Class is a campaign about life, legacy, and the quiet power of showing up.


It celebrates older adults — not as afterthoughts, but as the main characters.

Through stills and motion portraits, we’ll spotlight seniors aged 60–70 in familiar school-inspired settings: the gym, the hallway, the trophy room. Places where memories were made — and where new ones are still possible.

The idea is simple, but powerful:


They made it to their reunion.


They’re here — because they chose to protect themselves and their community.

Yes, it’s a vaccine campaign. But it’s also a tribute.


To resilience. To long lives.


To the class of '68, '69, '70… still showing up, still kicking, still dancing at the reunion.

Visual Approach

Primary Format:

  • Focused on still photography, with key visuals across group portraits, individual portraits, and candid moments.

  • Moving portraits will also be captured for select individuals.

  1. Lighting:

    • Controlled, consistent lighting that enhances realism without feeling clinical.

    • Group shots will be evenly lit and composed with intention — inspired by traditional school photos, but elevated.

  2. Color and Tone:

    • Clean, modern image quality with a film-inspired grade — warm, nostalgic, and human.

    • Color grading will nod to the decades our subjects came of age in, but remain fresh and current.

  3. Environments:

    • Shot in a vintage school — well-kept but not modernized.

    • We're scouting schools in the New York area with strong architecture, original period details, and production-friendly access.

    • Key spaces: gymnasium, trophy room, hallways with lockers, and outdoor bleachers.

    • A prop stylist will help subtly reinforce setting with elements like banners, trophies, and school signage.

The vibe and environment captured in these film stills can help guide us as we search for the right school — classic and timeless.

This school in Westchester County is one of several strong contenders we're exploring for the shoot location. It offers the vintage charm and architectural character we're looking for.

Visual Approach (continued)

Group Portraits:

  • Seniors will be shown as proud, joyful, and present.

  • We'll shoot two versions of each:

    • A posed version (eye contact, camera-aware).

    • A looser version (interaction between subjects, small glances, in-between smiles).

  • We'll use locked-off framing and shoot plates to allow compositing the best expressions.

  • Candid Moments:

    • In-between frames that evoke reunion energy — the moment you spot an old friend after decades.

    • These will feel spontaneous and emotional: joyful greetings, laughter, shared glances.

    • It’s not about staging a storyline, but evoking the feeling of how lucky and meaningful it is that this class is still showing up, still thriving.

  • Individual Moving Portraits:

    • Shot in the same setups as stills, with matching light.

    • Locked-off frames focused on subtle emotional gestures: a breath, a look, a soft smile.

    • Ideal for digital placements — gives the campaign flexibility across platforms.

Location & Production Plan

Location Scouting (NY Metro Area)

  • We’ve already begun reviewing potential schools. One standout is a production-friendly location in Ossining, just north of NYC, with great character and access.

  • St. Agnes in Queens, where I’ve shot before, is another strong option — it has beautiful vintage details and is film-friendly.

  • We'll continue location scouting in tandem with our team to ensure we find the best setting for storytelling and logistics — ideally one school with varied environments to cover multiple looks in one day.

  • Why New York?

    • I'm a New York local and have built an amazing crew over the past decade.

    • Producer Elle Sullivan Wilson and I have worked together for over ten years — she brings calm, confidence, and real production muscle.

    • We’ll tap into top-tier local talent: stylists, hair/makeup, gaffers, digitechs, and art support, all experienced with real people and healthcare-related shoots.

    • New York also gives us a strong, diverse casting pool, which is especially important for a campaign centered on authenticity and representation.

  • Casting Approach

    • We’ll look for real faces with history and charisma.

    • Where possible, we may cast real-life friends to show up together — helping capture authentic joy and natural chemistry.

    • Every subject should feel like someone who belongs at this reunion — and someone you wish you could sit next to.

Location & Production Plan (continued)

Three Main Production Days

  1. Fitting Day

    • Critical to making the shoot seamless with a large cast.

    • Talent will bring wardrobe options from home to layer in personal authenticity.

    • Our stylist will have a full range of curated looks to draw from and help each person feel confident on set.

  2. Scout & Prelight Day

    • We’ll walk through the full shoot plan: mapping lighting, compositions, and transitions between setups.

    • This step is essential for efficiency and making space for real creative moments on the shoot day.

  3. Shoot Day

    • With the groundwork laid, we can focus on interaction and emotion — especially with our seniors.

    • The goal is to draw out a wide range of expressions and dynamics, from posed confidence to spontaneous joy.

    • We’ll have the time and structure to get both stills and video portraits without compromise.

This campaign depends on a cast that feels authentic, vibrant, and deeply relatable.

We’ll be casting 12–15 seniors, roughly aged 60 to 70, with a focus on diversity of background, personality, and style. The goal is for every viewer to see a bit of themselves — or someone they know — reflected in this group.

  • Casting Direction

    • We’re looking for expressive faces, great energy, and the kind of presence that comes across in both stills and video.

    • Our cast will include a range of personalities — some more playful, others more composed — to create a dynamic, believable reunion.

    • We’ll also look to cast real-life friends or couples where possible, to bring natural connection and warmth to the group shots.

    • We’re committed to a diverse cast — racially, culturally, and stylistically — so that a wide range of people can connect with and see themselves in this campaign.

  • Casting Process

    • We’ll work with a seasoned casting partner in New York, tapping into a broad and varied talent pool.

    • All casting will be done via video submissions, giving us a strong sense of personality and presence beyond the headshot.

    • We’ll prioritize authenticity, lived-in style, and a mix of looks that reflect the richness and variety of today’s senior class.

Casting

Some early casting inspiration from local NYC talent.

Deliverables

This campaign is designed to offer flexibility across print, digital, and social platforms. We’ll capture a broad range of assets to support layout variety and evolving media needs.

  • Still Photography

    • Hero group portraits

    • Individual portraits (12–15 subjects)

    • Candid, in-between moments that capture real connection and joy

    • Wide and tight framing options for layout flexibility

    • Clean plates to allow for compositing best expressions when needed

  • Motion Portraits (select individuals)

    • 5–10 second video portraits, captured in the same lighting setups as stills

    • Locked-off framing with subtle, expressive movement

    • Delivered as raw footage, ready for editorial use across platforms

  • File Delivery

    • Final stills delivered as high-resolution, color-graded files

    • Organized by subject and setup for easy navigation

    • Raw still selects and all motion footage included for extended use

Moving Portraits

In addition to stills, we’ll capture a series of 5–10 second moving portraits of select individuals. These moments are designed to bring added warmth and presence to the campaign — subtle, confident gestures that extend the creative across digital placements, from social to digital OOH.

Each portrait will be shot in the same lighting setups as the stills, ensuring visual and tonal consistency. Performances will be simple and grounded, with subjects connecting to camera in a way that feels natural and human. We’ll also experiment with slight slow motion, adding just enough cinematic texture to elevate these quiet moments.

These video portraits can stand alone or pair seamlessly with the still imagery, allowing for layered visual storytelling across platforms.

I’ve mocked up a Very rough idea with footage I shot for a different project showing how we might have the copy interplay with the image — giving a glimpse at the creative flexibility and potential emotional impact of these motion moments. I'm excited to explore this further together.

Final Thoughs

What I love about this campaign is its unique approach — it’s rare to see a vaccine message framed with such warmth, creativity, and emotional resonance.

Unlike other treatments where I can pull one-to-one matches from my portfolio, this concept stands on its own. It’s fresh. While I may not have the exact image, I hope the group portraits and lifestyle work I’ve shared give a clear sense of my creative point of view — and how I’ll bring this idea to life with care, personality, and polish.

With Elle Sullivan producing and a seasoned New York crew behind us, we’re set up to move efficiently and deliver something that truly honors the concept: a portrait of resilience, joy, and togetherness — captured with heart.

Thanks again for the opportunity. I'm excited about what we can create together.

About Me

I studied journalism at the University of Colorado, and after graduating, I moved to New York, where I got my start as a photo assistant. Today, I shoot for publications like The New York Times and brands like Cadillac, YouTube, Google, and Adidas.

I live in Cold Spring, New York, with my wife and our eight-year-old daughter. When I’m not spending time with them, you can usually find me scouring used bookstores for the next addition to my photo book collection—or playing soccer with the local team.