تويت
التصوير الفوتوغرافي الحديث
التصوير التجاري
جوانب التصوير التجاري
التصوير الصناعي
ASPECTS OF COMMERCIAL
PHOTOGRAPHY
Up to this point in this Assignment , we have discussed in a very general way some of the main requirements in such matters as equipment the photographer will need and his attitude and approach to his problems if he wants to be successful . In reading this material , you have undoubtedly realized that in many instances we have re - stated in a somewhat different form what we have told you . many times before when we were dealing with some specific aspect of commercial photography . However , the comments we made here are so basic and important that they needed repeating .
In the following pages of this Assignment , we will again get down to specifics and discuss the various types of commercial photography which a good all - around photographer must know thoroughly . Since we have already discussed the essential requirements such as cameras , lenses , etc. , there is no need to repeat them for these specific types of photography to be discussed in the remainder of this Assignment .
INDUSTRIAL PHOTOGRAPHY
Industrial photography , as we use the term in this Assignment , is a broad and truly exciting subject . It cannot be defined exactly , since some of its aspects spill over into a number of other fields of photography , but in broad terms it has to do with picturing man in his role of producer of both materials and services . In the process of showing production , the photographer may find it necessary to show aspects of his subject which may not normally be considered as part of industrial photography , but which nevertheless belong in its basic concept . For example , a picture of a plant manager or industrial executive either in his plant or in his executive office may be considered portraiture , but the industrial photographer taking such a picture would approach it from a completely different point of view and come up with a completely different kind of picture . His posing , his lighting , his handling of the subject and even the type of paper and the characteristics of the final print will be different .
The portrait photographer will generally use softer and more conventional lighting ; his posing of the subject will be more restrictive in nature and his print will be made on one of the warm toned portrait papers which gives maximum tonal value for direct viewing . The industrial photographer , on the other hand , is much more likely to use the more contrasty and more complicated lighting which is often the mark of the good commercial photographer . His subject will almost invariably be shown at work or doing something specific rather than just posing . for his portrait . The final print will be on one of the brilliant glossy papers to get maximum snap , and the printing will be most suitable for reproduction in a printed brochure , catalog or other sales promotional material . An outstanding portrait of an executive which received wide distribution in leading business magazines is shown on this page .
Three approaches to the portraiture of the man in action in industrial photography . Figure 12 is a close - up of a hard - hatted blue collar worker , Figure 13 is ostensibly a conference but is actually a close - up study of the dominant central figure , and Figure 14 is a candid portrait of Joseph C. Wilson , Board Chairman and Chief Executive Officer ve of Xerox Corporation , conveying the natural ease of the executive combined with the intensity of concentration in explaining an important point . This portrait appeared in Fortune , Financial World , and Business Week Magazines .
A series of eight photographs on this and the following page show a modern industrial plant in operation . Courtesy of Kellogg Co.
The industrial photographer must truly be an accomplished practitioner in practically all phases of photography . More than that , he must have a wide understanding of machines and machine processes , of production and production methods , and he must be able to grasp new ideas and concepts quickly and accurately .
The picture the average student has in mind when he first thinks of industrial photography is one showing large machinery in use . Pictures of a steel mill going . full blast , or of a huge press turning out almost complete automobile bodies at one stamping , are usually dramatic and striking things to behold .
Most photographers welcome the chance to take such pictures because their dramatic value is so high that they make excellent samples to show to prospective clients . Moreover , as only the largest and best known firms have such giant . equipment , there is a certain amount of prestige associated with such names . This prestige carries over to the photographer and enhances his reputation among his clients .
However , a very nice income can be obtained photographing small industrial plants . A manufacturer employing only 100 people is just as concerned with getting good pictures of his factory operations as a manufacturer employing 5000 , and there are more of the small manufacturers .
As a general rule , the smaller manufacturer knows less about photography for the simple reason that he doesn't have a large advertising department manned by people who deal constantly with photography . You can , therefore , deal more directly and intimately with the smaller concerns and build up a more loyal following .
The smaller manufacturer will usually require a different type of approach . He doesn't have the large machinery or the endless assembly lines of his giant competitors , yet the photographs you make must not in any way indicate that his operations are small and inefficient , for very frequently they are not . Your problem , therefore , is one of staging the photograph so skillfully that the small size of the operation is not apparent . This requires care and thought .
A personal survey made before the picture is taken is often extremely valuable in such work . It acquaints you with the problem and gives you time to solve it . As an example , suppose you are asked by a customer who operates a small factory to come down with your equipment to take a photograph of his assembly line for an ad he intends to run . He hasn't the faintest idea how the picture is to be made or just what it is that he wants shown . All he asks is that his small assembly line be made to look like part of a modern , highly efficient plant so as to inspire confidence in his business .
When you get there , you find his assembly line consists of a small conveyor in the corner of the shop . It is operating at half speed on that particular day , and the parts that are being assembled are so small and inconspicuous that they will photograph very poorly . Furthermore , the place is badly cluttered up with a lot of shopworn , half empty cartons , and the only suitable spot for the camera is taken up by a solid wall of finished merchandise which would take hours to move . That is not an exaggerated instance . Many small plants in big cities where space is at a premium operate in just that way .
If you had come down with your camera equipment all prepared to take the photograph , you would have had no alternative but to proceed to do the best you could under the circumstances . Your photograph would show just what you saw - a cramped , badly cluttered small conveyor operating at half capacity . Your chances of getting repeat business from that client would be small indeed .
If , on the other hand , you called on the client for a preliminary survey , you would have found that the line was operating at half capacity because the job being run that day was almost completed . Three days later , it would be running full force , turning out a large and interesting looking part for a prominent automobile manufacturer .
You should immediately make an appointment for that day . You could also suggest slight changes in the working position of the girls on the conveyor for the purpose of the picture so there would be no unfilled gaps . You could ask the foreman to be sure that all tattered and broken cartons be cleared away , that the good - looking girls be positioned toward the front , and that they be instructed to dress neatly to have their pictures taken . Space could be cleared for the camera , and the cartons , if neat appearing , could be used as a background for the assembly line .
While you are discussing all these things with your client , make a few discreet inquiries about the products he makes and the facilities afforded by his plant . This will suggest several other pictures to you , and it shouldn't take much selling on your part to get an order for several additional photographs of the plant and the product .
This preliminary survey has , therefore , accomplished three useful purposes : it has enabled you to make a vastly improved picture ; it has firmly cemented friendship between you and your client so that a competitor will have an exceedingly difficult job in taking him away from you ; and it has given you more business to increase your profit on the job . The survey has actually saved time , earned you more money , and improved the quality of your work .
Factory shots such as the one just described can be very profitable because a photographer is seldom called upon to make just one picture on an assignment . Every manufacturer is proud of his plant , just as every parent is proud of his child , and it requires very little selling to line up a number of interesting shots that you can make at a profit with very little extra trouble .
There is one very important point that you must always bear in mind . Never interfere with production any more than you must . The workers on an assembly line and the foreman in charge are judged by the amount of work they turn out . If that work is interfered with , they may resent it and prove very uncooperative . Your picture will suffer . This is all the more true if they are working on an incentive basis so that a reduction in output costs them money .
The first thing you must do is to establish friendly relations with the foremen and the key personnel so you can count on them for cooperation . You will usually find them willing to meet you more than half way , since you afford an interesting diversion to the monotony of their jobs . Find out if the workers are being paid by the hour or by the amount of work they turn out . You can take more liberties if they are paid by the hour so that lost production doesn't cost . them anything .
If they are paid in accordance with the amount of work they do , you should suggest to the management to have lost output averaged out and the workers so advised . This will ensure their cooperation . If this cannot be done , you should go out of your way to stage the photographs so they don't interfere with the worker's earnings .
Figure 17 A step in the spinning of synthetic fibers . Here the emphasis is on the machine rather than the operator . Courtesy of Phillips Petroleum Co.
Figure 18 Manufacturing aluminum extrusions . Here the empha sis is on the product , which is given great impact through the use of powerful diagonal lines . Courtesy of Olin Corporation .
التصوير التجاري
جوانب التصوير التجاري
التصوير الصناعي
ASPECTS OF COMMERCIAL
PHOTOGRAPHY
Up to this point in this Assignment , we have discussed in a very general way some of the main requirements in such matters as equipment the photographer will need and his attitude and approach to his problems if he wants to be successful . In reading this material , you have undoubtedly realized that in many instances we have re - stated in a somewhat different form what we have told you . many times before when we were dealing with some specific aspect of commercial photography . However , the comments we made here are so basic and important that they needed repeating .
In the following pages of this Assignment , we will again get down to specifics and discuss the various types of commercial photography which a good all - around photographer must know thoroughly . Since we have already discussed the essential requirements such as cameras , lenses , etc. , there is no need to repeat them for these specific types of photography to be discussed in the remainder of this Assignment .
INDUSTRIAL PHOTOGRAPHY
Industrial photography , as we use the term in this Assignment , is a broad and truly exciting subject . It cannot be defined exactly , since some of its aspects spill over into a number of other fields of photography , but in broad terms it has to do with picturing man in his role of producer of both materials and services . In the process of showing production , the photographer may find it necessary to show aspects of his subject which may not normally be considered as part of industrial photography , but which nevertheless belong in its basic concept . For example , a picture of a plant manager or industrial executive either in his plant or in his executive office may be considered portraiture , but the industrial photographer taking such a picture would approach it from a completely different point of view and come up with a completely different kind of picture . His posing , his lighting , his handling of the subject and even the type of paper and the characteristics of the final print will be different .
The portrait photographer will generally use softer and more conventional lighting ; his posing of the subject will be more restrictive in nature and his print will be made on one of the warm toned portrait papers which gives maximum tonal value for direct viewing . The industrial photographer , on the other hand , is much more likely to use the more contrasty and more complicated lighting which is often the mark of the good commercial photographer . His subject will almost invariably be shown at work or doing something specific rather than just posing . for his portrait . The final print will be on one of the brilliant glossy papers to get maximum snap , and the printing will be most suitable for reproduction in a printed brochure , catalog or other sales promotional material . An outstanding portrait of an executive which received wide distribution in leading business magazines is shown on this page .
Three approaches to the portraiture of the man in action in industrial photography . Figure 12 is a close - up of a hard - hatted blue collar worker , Figure 13 is ostensibly a conference but is actually a close - up study of the dominant central figure , and Figure 14 is a candid portrait of Joseph C. Wilson , Board Chairman and Chief Executive Officer ve of Xerox Corporation , conveying the natural ease of the executive combined with the intensity of concentration in explaining an important point . This portrait appeared in Fortune , Financial World , and Business Week Magazines .
A series of eight photographs on this and the following page show a modern industrial plant in operation . Courtesy of Kellogg Co.
The industrial photographer must truly be an accomplished practitioner in practically all phases of photography . More than that , he must have a wide understanding of machines and machine processes , of production and production methods , and he must be able to grasp new ideas and concepts quickly and accurately .
The picture the average student has in mind when he first thinks of industrial photography is one showing large machinery in use . Pictures of a steel mill going . full blast , or of a huge press turning out almost complete automobile bodies at one stamping , are usually dramatic and striking things to behold .
Most photographers welcome the chance to take such pictures because their dramatic value is so high that they make excellent samples to show to prospective clients . Moreover , as only the largest and best known firms have such giant . equipment , there is a certain amount of prestige associated with such names . This prestige carries over to the photographer and enhances his reputation among his clients .
However , a very nice income can be obtained photographing small industrial plants . A manufacturer employing only 100 people is just as concerned with getting good pictures of his factory operations as a manufacturer employing 5000 , and there are more of the small manufacturers .
As a general rule , the smaller manufacturer knows less about photography for the simple reason that he doesn't have a large advertising department manned by people who deal constantly with photography . You can , therefore , deal more directly and intimately with the smaller concerns and build up a more loyal following .
The smaller manufacturer will usually require a different type of approach . He doesn't have the large machinery or the endless assembly lines of his giant competitors , yet the photographs you make must not in any way indicate that his operations are small and inefficient , for very frequently they are not . Your problem , therefore , is one of staging the photograph so skillfully that the small size of the operation is not apparent . This requires care and thought .
A personal survey made before the picture is taken is often extremely valuable in such work . It acquaints you with the problem and gives you time to solve it . As an example , suppose you are asked by a customer who operates a small factory to come down with your equipment to take a photograph of his assembly line for an ad he intends to run . He hasn't the faintest idea how the picture is to be made or just what it is that he wants shown . All he asks is that his small assembly line be made to look like part of a modern , highly efficient plant so as to inspire confidence in his business .
When you get there , you find his assembly line consists of a small conveyor in the corner of the shop . It is operating at half speed on that particular day , and the parts that are being assembled are so small and inconspicuous that they will photograph very poorly . Furthermore , the place is badly cluttered up with a lot of shopworn , half empty cartons , and the only suitable spot for the camera is taken up by a solid wall of finished merchandise which would take hours to move . That is not an exaggerated instance . Many small plants in big cities where space is at a premium operate in just that way .
If you had come down with your camera equipment all prepared to take the photograph , you would have had no alternative but to proceed to do the best you could under the circumstances . Your photograph would show just what you saw - a cramped , badly cluttered small conveyor operating at half capacity . Your chances of getting repeat business from that client would be small indeed .
If , on the other hand , you called on the client for a preliminary survey , you would have found that the line was operating at half capacity because the job being run that day was almost completed . Three days later , it would be running full force , turning out a large and interesting looking part for a prominent automobile manufacturer .
You should immediately make an appointment for that day . You could also suggest slight changes in the working position of the girls on the conveyor for the purpose of the picture so there would be no unfilled gaps . You could ask the foreman to be sure that all tattered and broken cartons be cleared away , that the good - looking girls be positioned toward the front , and that they be instructed to dress neatly to have their pictures taken . Space could be cleared for the camera , and the cartons , if neat appearing , could be used as a background for the assembly line .
While you are discussing all these things with your client , make a few discreet inquiries about the products he makes and the facilities afforded by his plant . This will suggest several other pictures to you , and it shouldn't take much selling on your part to get an order for several additional photographs of the plant and the product .
This preliminary survey has , therefore , accomplished three useful purposes : it has enabled you to make a vastly improved picture ; it has firmly cemented friendship between you and your client so that a competitor will have an exceedingly difficult job in taking him away from you ; and it has given you more business to increase your profit on the job . The survey has actually saved time , earned you more money , and improved the quality of your work .
Factory shots such as the one just described can be very profitable because a photographer is seldom called upon to make just one picture on an assignment . Every manufacturer is proud of his plant , just as every parent is proud of his child , and it requires very little selling to line up a number of interesting shots that you can make at a profit with very little extra trouble .
There is one very important point that you must always bear in mind . Never interfere with production any more than you must . The workers on an assembly line and the foreman in charge are judged by the amount of work they turn out . If that work is interfered with , they may resent it and prove very uncooperative . Your picture will suffer . This is all the more true if they are working on an incentive basis so that a reduction in output costs them money .
The first thing you must do is to establish friendly relations with the foremen and the key personnel so you can count on them for cooperation . You will usually find them willing to meet you more than half way , since you afford an interesting diversion to the monotony of their jobs . Find out if the workers are being paid by the hour or by the amount of work they turn out . You can take more liberties if they are paid by the hour so that lost production doesn't cost . them anything .
If they are paid in accordance with the amount of work they do , you should suggest to the management to have lost output averaged out and the workers so advised . This will ensure their cooperation . If this cannot be done , you should go out of your way to stage the photographs so they don't interfere with the worker's earnings .
Figure 17 A step in the spinning of synthetic fibers . Here the emphasis is on the machine rather than the operator . Courtesy of Phillips Petroleum Co.
Figure 18 Manufacturing aluminum extrusions . Here the empha sis is on the product , which is given great impact through the use of powerful diagonal lines . Courtesy of Olin Corporation .
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