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Final powerpoint outline
- 1. COMMERCIAL PHOTOGRAPHY By: Hillary, Rica, Rebecca, Jen, Stephanie and Marian
- 2. Start off question… What do you think is the difference between Fine-Art Photography and Commercial Photography?
- 12. Video http://www. youtube .com/watch? v=-zARqGgHjNc
- 13. Food Photography
- 16. Commercial vs. Still Life Fine Art
- 38. Editorial Photography JEN’S PART- REMOVE BEFORE PRESENTATION AFTER SLIDES ARE PLACED IN ORDER
- 39. Fashion Photography STEPHANIE’S PART- REMOVE BEFORE PRESENTATION AFTER SLIDES ARE PLACED IN ORDER
- 44. Example: Photo Contest 2011
- 45. http:// www.nationalgeographicassignment.com / Note:National Geographic also offers grants and programs!
Notes de l'éditeur
- Product photography ranges with various subject matters: it is commonly split into three categories: product (furniture, lighting, decoration), Jewellery (rings, necklaces etc), and food photography.
- You can create your own studio lighting kit for under $100 at your regular hardware store. All you need are a minimum 500w incandescent light – and obviously material to soften the quality
- Number 1 and 2 is a foam and plastic reflector screen. Instead of putting the light on both sides of the set I've used these screens and light number 5 (10º honeycomb grid on the Einstein 640) to get areas in front and behind the set highlighted. Notice that foam screen (number 1 ) is also blocking direct light from the hi-intense spot light source (number 5 ), protecting the brush set from unwanted harsh reflection. Aimed slightly above, spot light hits curved reflector (number 2 ), spreading the reflected soft light back to the subject. There is a diffuser panel on the right ( Westcott Illuminator Reflector Kit 6-in-1 – 52? ), highlighted from behind by WL X1600 (number 6 ) through 20º honeycomb grid. It was very easy to modulate the shape of the reflection it produced on the brushes by moving the number 6 from the diffuser panel: gradient gets sharper when we have light closer to a diffuser, and the opposite, softer gradient when spot is moved away from the panel. Notice that our spot hits diffuser at the sharp angle, creating strip-box like shape of the highlighted area. Strip box on the left (number 4 , on the Einstein 640) was there to produce that hard line on the left side of the brushes. This line is what helps to produce that glossy look I was trying to achieve. Exposure specification: shutter speed 1/250 sec, F18, ISO 100
- But how do you photograph food and get such great results? 1. Lighting Treat the food you’re photographing as you would any other still life subject and ensure that it is well lit. Many of the poor examples of food photography that I’ve come across in the research for this article could have been drastically improved with adequate lighting. One of the best places to photograph food is by a window where there is plenty of natural light – perhaps supported with flash bounced off a ceiling or wall to give more balanced lighting that cuts out the shadows. This daylight helps to keep the food looking much more natural.
- 2. Props Pay attention not only to the arrangement of the food itself but to the context that you put it in including the plate or bowl and any table settings around it. Don’t clutter the photo with a full table setting but consider one or two extra elements such as a glass, fork, flower or napkin. These elements can often be placed in secondary positions in the foreground or background of your shot. 3. Be Quick Food doesn’t keep it’s appetizing looks for long so as a photographer you’ll need to be well prepared and able to shoot quickly after it’s been cooked before it melts, collapses, wilts and/or changes color. This means being prepared and knowing what you want to achieve before the food arrives. One strategy that some use is to have the shot completely set up with props before the food is ready and then to substitute a stand-in plate to get your exposure right. Then when the food is ready you just switch the stand-in plate with the real thing and you’re ready to start shooting.
- 7. Macro Really focusing in upon just one part of the dish can be an effective way of highlighting the different elements of it. 8. Steam Having steam rising off your food can give it a ‘just cooked’ feel which some food photographers like. Of course this can be difficult to achieve naturally. I spoke with one food stylist a few years back who told me that they added steam with a number of artificial strategies including microwaving water soaked cotton balls and placing them behind food. This is probably a little advance for most of us – however it was an interesting trick so I thought I’d include it.
- Still life photography is the depiction of inanimate subject matter, commonly of a small grouping of objects. Still life photography gives the photographer leeway in terms of design and elements of composition. Still life relays heavily on a strong skill with lighting and compositional skills. The still life photographer makes pictures rather than takes them. Knowing where to look for propping and surfaces also is a required skill.
- Open discussion about commercial product vs. still life. Introduce irving penn and how he used still life for ads yet also for his own fine art practice. Example of fine art photographers: Irving Penn Edward Weston
- Which is Editorial and which is Fashion? Why? Both advertise clothing but one is obviously more exuberant and colourfull but does that make or break a photo or is an editorial ad more straight forward?
- What are your ideas on editorial and how does it apply to these ads?
- Editorial photography is work which is commissioned for articles in newspapers, magazines and websites, chapters in books and text in company brochures.
- what is the difference between editorial fashion and advertising/commercial fashion . Quite simply, as most of you know, editorial is what would be shown in a magazine. Advertising is selling a product or brand or product. Advertising tends to look cleaner, using simple lighting to really show off the clothing or make up. Editorial sells more of the mood and the situation the clothing would be worn in. There are less rules per se in editorial fashion photography because it’s a bit looser.
- Paul Kline is a working artist the blurs the line between typical editorial and advertising. I found a lot of his work is kept very general, weater it be to appeal to a larger audience or just to showcase his skills.
- Example of his work being used