تويت
التصوير الفوتوغرافي الحديث
التصوير التجاري
جوانب التصوير التجاري
التصوير الفوتوغرافي للبضائع
PHOTOGRAPHING MERCHANDISE
On this page are three approaches to the photography of a fountain pen . Figure 26 is a product shot that is suitable for sales literature and simple inexpensive . advertisements . Note that the name Parker appears on the container to quickly identify the manufacturer . Figure 27 is a straight forward factual shot of the product with the back ground completely blocked out . No attempt is made at product identifica tion . This is the type of photograph often used in manufacturers ' catalogues where the copy accompanying the photograph supplies the necessary information about the product .
the Figure 28 is a good example of illustrative photography as used in high priced advertising campaigns in rculation magazines where the cost of the photograph is only a small part of the cost the campaign . Although the pen being pictured is photographed with the maximum amount of detail and brilliance , the real impact is carried by the model and the exceptionally strong composition .
Photographs of merchandise for the purpose of this Assignment may be of two categories . In the first , the merchandise itself is photographed without any accessories , aids or story telling ideas . For example , let us assume the manufacturer of an electric shaver wants a simple photograph of his new model to be included in his catalog or carried around by his salesman . The photographer is given a shaver and simply asked to make a good photograph of it . He may be given a few words of explanation as to what angle to shoot from , or he may be given a fairly complete sketch showing the camera angle and the suggested lighting , including the placement of shadows .
In either event , it is up to him to set up the shaver appropriately , light it appropriately so as to bring out its salient features and yet at the same time give it as much glamour as is possible under the circumstances . If the shaver has been properly designed to begin with so as to present an interesting appearance , it is quite possible to make an extremely interesting and dramatic picture merely by playing up the inherently good lines of the product through the use of bold and imaginative lighting .
Three approaches to the story of a new style in telephones . Figure 29 is a straightforward shot with well modeled lighting to show the functional beauty of the in strument . Figure 30 points up one of its many uses as an exten sion telephone , and Figure 31 is a close - up which illustrates the superiority of the push button over the dial system .
Courtesy of Illinois Bell Telephone Co.
Figure 32 shows the simple direct approach - just the action of pouring beer and the name , Schlitz .. Figure 33 is the sophisticated approach . Lots of action , lots of detail and complicated lighting . This photograph can be used only in the slick paper maga zines which routinely turn out reproductions of the finest quality . Note , however , that the product is carefully identified .
Courtesy of Jos . Schlitz Brewing Company ; Photographs by Marion J. Jackson , Jr.
The beginning photographer is most likely to get assignments pertaining to this type of merchandise picture . A few guiding words are , therefore , in order here .
The first and most important consideration is to show the product clearly and accurately . If the manufacturer's name or trademark appears on the product , the photographer must show it prominently . There must the minimum of perspective distortion so that the product will look natural to the client . The requirements of truth and accuracy , however , must be interpreted broadly enough so as to permit glamourizing the product through the effective use of lighting , camera angle or point of view .
A second approach to the photography of merchandise is the story - telling picture . Here the merchandise is shown in use or in an appropriate setting among allied or associated which tend to make a good and tasteful arrangement . In the case of a manufactured product , such as the electric shaver we discussed , the requirements of showing the product clearly and completely is still applicable . For example , a very common type of advertising photograph for bottled drinks such as soft drinks or beer show a hand pouring the drink into a glass . The bottle is always held in such a way that the label is clearly shown in its entirety . Actually , if you study this type of photograph carefully , you will see that this is usually not too convenient a way of pouring and few people do it that way . However , the slight awkwardness which would result from this position is not noticeable . This type of " fudging " is a common and legitimate practice which the photographer often finds necessary to employ in action pictures .
If the product is not specifically identifiable as to manufacturer , the picture is usually of the story - telling type and emphasis is generally placed on some property or attribute of the product . Canned foods , for example , could be photographed in this way . Instead of showing a can of , let us say , soup , the photographer may show steaming bowl of this soup ready to be served . If he creates his story with sufficient imagination and professional competence , it will be much more effective . True , the picture may not identify this particular soup with its manufacturer , but such photographs are used in an advertising layout , and the layout will take care of the identification . It is the photographer's business to make the best possible picture showing the essential quality of the soup in a way which would tantalize the observer and start his salivary glands functioning .
Let us discuss first the photography of simple , identifiable merchandise and go on to the more imaginative type later .
Most photographs of merchandise are taken in the studio . For such pictures , the general rules of lighting given in Assignment 9 apply here with equal force . Usually you will find that a main 45 ° light with a secondary fill - in light works best . The strength of the fill - in light will depend upon the nature of the object . and the type of photograph required . In the larger layouts , more than one fill - in light may be called for , and almost always spot - lighting can be used to advantage in creating interesting accent lights and forward moving shadows .
This series of four photographs is shown here to illustrate how a photographer is sometimes called upon to work with an exacting client who knows precisely what he wants and is willing to go to the necessary trouble and expense to get it . The subject is stainless steel nuts and bolts . In Figure 34 , representatives of the advertising agency and of the client are discussing the exact layout as well as the lighting with the photographer . Figure 35 shows the layout of parts . Note the liberal use of white backgrounds and how the nuts and bolts are supported on a sheet of plate glass above a large sheet of white board to produce a soft shadowless type of lighting . Figure 36 not only shows the lighting in more detail , but illustrates the photographer's technique in getting a bird's eye view of a table top set - up . Figure 37 is the end result . Photography by Frank Perrine
Figure 38 When it comes to such matters as beautiful technique , outstanding pictorial composition and general overall photographic quality , the major car manufacturers demand the very best and are willing to pay for it .
Courtesy of General Motors Corp.
For catalog illustrations , where clarity and detail are extremely important , the ratio of highlight to shadow should be about 2 to 1 ; for more dramatic illustrative photographs , it can be 3 to 1 , or even 4 to 1 .
The use of spotlights for studio work is greatly favored by commercial photographers . The intensity of the light beam does not fall off with a focusing spotlight as rapidly as with ordinary lighting , which makes the exposure problem simpler . This fact also makes it much easier to balance the lighting over the entire picture area . If an ordinary light is held close to the subject , there will be an appreciable falling off in illumination as you go from the side nearest the light to the side farthest from the light . This falling off in light intensity is less when a spotlight is used because it can be positioned farther away from the setup .
A spotlight can be more accurately directed so as to fill in shadow areas . Commercial photographers usually have several small spotlights which they use for this purpose . If the object being photographed has a complicated shape , the main light may not reach all important areas . Often a small focusing spot aimed at some shadow that cannot be reached otherwise will save a picture ..
Polished surfaces present difficult lighting problems , particularly in combination with other and more conventional surfaces . The still life and the model shot shown here are excellent examples of how this lighting problem can be solved . This subject is more fully discussed and illustrated on pages 43 through 45 . Courtesy of The West Bend Co.
Most items of merchandise photographed in the studio are relatively small . In order to fill the picture area properly , it is necessary to get close . This often results in bad perspective distortion , which presents a problem to the photographer .
To achieve the most natural perspective for close - up work , use a lens of the longest possible focal length . Studio cameras are provided with a long bellows extension to permit the use of such lenses . A focal length of from 1½ to 2 times the long side of the film is not too long . This comes to 7 % to 10 inches for a 4 x 5 , 10 to 14 inches for a 5 x 7 , and 15 to 20 inches for an 8 x 10 .
Convertible lenses which provide a choice of two or three focal lengths are very useful for this purpose . However , they have the disadvantage of being very slow when only one element is used to provide a long focal length . This makes groundglass focusing difficult because of the poor illumination . A good focusing magnifier is essential in such cases .
The depth of field for such close - up work is very shallow , so that it becomes necessary to stop the lens way down . You will seldom find it possible to do close - up work at larger openings than f / 16 . In most cases , the lens will have to be stopped down to f / 32 or even f / 45 to get the necessary sharpness throughout the entire picture area . This , however , is usually not a serious handicap , since the object is fixed and cannot move . In model shots , it may be necessary to use strong lighting plus fast film and keep the exposure down to a second or less . If this is still too long , use flash .
When focusing with the lens wide open , the depth of field is so shallow as to present quite a problem . If you focus sharply on one part of the subject , distances even a few inches in front or back of this point may be blurred . You can check the range of focus by stopping the lens down , but the groundglass image at f / 32 is so dim that this is not always practical . As a good working rule , adopt the following in selecting the plane on which to focus :
Select some sharply defined point or line about 1/3 of the way from the front of the subject and focus sharply on it . This will give you the maximum depth of field . For example , if the subject you are photographing measures 12 inches from front to back , focus on a point 4 inches from the front .
التصوير التجاري
جوانب التصوير التجاري
التصوير الفوتوغرافي للبضائع
PHOTOGRAPHING MERCHANDISE
On this page are three approaches to the photography of a fountain pen . Figure 26 is a product shot that is suitable for sales literature and simple inexpensive . advertisements . Note that the name Parker appears on the container to quickly identify the manufacturer . Figure 27 is a straight forward factual shot of the product with the back ground completely blocked out . No attempt is made at product identifica tion . This is the type of photograph often used in manufacturers ' catalogues where the copy accompanying the photograph supplies the necessary information about the product .
the Figure 28 is a good example of illustrative photography as used in high priced advertising campaigns in rculation magazines where the cost of the photograph is only a small part of the cost the campaign . Although the pen being pictured is photographed with the maximum amount of detail and brilliance , the real impact is carried by the model and the exceptionally strong composition .
Photographs of merchandise for the purpose of this Assignment may be of two categories . In the first , the merchandise itself is photographed without any accessories , aids or story telling ideas . For example , let us assume the manufacturer of an electric shaver wants a simple photograph of his new model to be included in his catalog or carried around by his salesman . The photographer is given a shaver and simply asked to make a good photograph of it . He may be given a few words of explanation as to what angle to shoot from , or he may be given a fairly complete sketch showing the camera angle and the suggested lighting , including the placement of shadows .
In either event , it is up to him to set up the shaver appropriately , light it appropriately so as to bring out its salient features and yet at the same time give it as much glamour as is possible under the circumstances . If the shaver has been properly designed to begin with so as to present an interesting appearance , it is quite possible to make an extremely interesting and dramatic picture merely by playing up the inherently good lines of the product through the use of bold and imaginative lighting .
Three approaches to the story of a new style in telephones . Figure 29 is a straightforward shot with well modeled lighting to show the functional beauty of the in strument . Figure 30 points up one of its many uses as an exten sion telephone , and Figure 31 is a close - up which illustrates the superiority of the push button over the dial system .
Courtesy of Illinois Bell Telephone Co.
Figure 32 shows the simple direct approach - just the action of pouring beer and the name , Schlitz .. Figure 33 is the sophisticated approach . Lots of action , lots of detail and complicated lighting . This photograph can be used only in the slick paper maga zines which routinely turn out reproductions of the finest quality . Note , however , that the product is carefully identified .
Courtesy of Jos . Schlitz Brewing Company ; Photographs by Marion J. Jackson , Jr.
The beginning photographer is most likely to get assignments pertaining to this type of merchandise picture . A few guiding words are , therefore , in order here .
The first and most important consideration is to show the product clearly and accurately . If the manufacturer's name or trademark appears on the product , the photographer must show it prominently . There must the minimum of perspective distortion so that the product will look natural to the client . The requirements of truth and accuracy , however , must be interpreted broadly enough so as to permit glamourizing the product through the effective use of lighting , camera angle or point of view .
A second approach to the photography of merchandise is the story - telling picture . Here the merchandise is shown in use or in an appropriate setting among allied or associated which tend to make a good and tasteful arrangement . In the case of a manufactured product , such as the electric shaver we discussed , the requirements of showing the product clearly and completely is still applicable . For example , a very common type of advertising photograph for bottled drinks such as soft drinks or beer show a hand pouring the drink into a glass . The bottle is always held in such a way that the label is clearly shown in its entirety . Actually , if you study this type of photograph carefully , you will see that this is usually not too convenient a way of pouring and few people do it that way . However , the slight awkwardness which would result from this position is not noticeable . This type of " fudging " is a common and legitimate practice which the photographer often finds necessary to employ in action pictures .
If the product is not specifically identifiable as to manufacturer , the picture is usually of the story - telling type and emphasis is generally placed on some property or attribute of the product . Canned foods , for example , could be photographed in this way . Instead of showing a can of , let us say , soup , the photographer may show steaming bowl of this soup ready to be served . If he creates his story with sufficient imagination and professional competence , it will be much more effective . True , the picture may not identify this particular soup with its manufacturer , but such photographs are used in an advertising layout , and the layout will take care of the identification . It is the photographer's business to make the best possible picture showing the essential quality of the soup in a way which would tantalize the observer and start his salivary glands functioning .
Let us discuss first the photography of simple , identifiable merchandise and go on to the more imaginative type later .
Most photographs of merchandise are taken in the studio . For such pictures , the general rules of lighting given in Assignment 9 apply here with equal force . Usually you will find that a main 45 ° light with a secondary fill - in light works best . The strength of the fill - in light will depend upon the nature of the object . and the type of photograph required . In the larger layouts , more than one fill - in light may be called for , and almost always spot - lighting can be used to advantage in creating interesting accent lights and forward moving shadows .
This series of four photographs is shown here to illustrate how a photographer is sometimes called upon to work with an exacting client who knows precisely what he wants and is willing to go to the necessary trouble and expense to get it . The subject is stainless steel nuts and bolts . In Figure 34 , representatives of the advertising agency and of the client are discussing the exact layout as well as the lighting with the photographer . Figure 35 shows the layout of parts . Note the liberal use of white backgrounds and how the nuts and bolts are supported on a sheet of plate glass above a large sheet of white board to produce a soft shadowless type of lighting . Figure 36 not only shows the lighting in more detail , but illustrates the photographer's technique in getting a bird's eye view of a table top set - up . Figure 37 is the end result . Photography by Frank Perrine
Figure 38 When it comes to such matters as beautiful technique , outstanding pictorial composition and general overall photographic quality , the major car manufacturers demand the very best and are willing to pay for it .
Courtesy of General Motors Corp.
For catalog illustrations , where clarity and detail are extremely important , the ratio of highlight to shadow should be about 2 to 1 ; for more dramatic illustrative photographs , it can be 3 to 1 , or even 4 to 1 .
The use of spotlights for studio work is greatly favored by commercial photographers . The intensity of the light beam does not fall off with a focusing spotlight as rapidly as with ordinary lighting , which makes the exposure problem simpler . This fact also makes it much easier to balance the lighting over the entire picture area . If an ordinary light is held close to the subject , there will be an appreciable falling off in illumination as you go from the side nearest the light to the side farthest from the light . This falling off in light intensity is less when a spotlight is used because it can be positioned farther away from the setup .
A spotlight can be more accurately directed so as to fill in shadow areas . Commercial photographers usually have several small spotlights which they use for this purpose . If the object being photographed has a complicated shape , the main light may not reach all important areas . Often a small focusing spot aimed at some shadow that cannot be reached otherwise will save a picture ..
Polished surfaces present difficult lighting problems , particularly in combination with other and more conventional surfaces . The still life and the model shot shown here are excellent examples of how this lighting problem can be solved . This subject is more fully discussed and illustrated on pages 43 through 45 . Courtesy of The West Bend Co.
Most items of merchandise photographed in the studio are relatively small . In order to fill the picture area properly , it is necessary to get close . This often results in bad perspective distortion , which presents a problem to the photographer .
To achieve the most natural perspective for close - up work , use a lens of the longest possible focal length . Studio cameras are provided with a long bellows extension to permit the use of such lenses . A focal length of from 1½ to 2 times the long side of the film is not too long . This comes to 7 % to 10 inches for a 4 x 5 , 10 to 14 inches for a 5 x 7 , and 15 to 20 inches for an 8 x 10 .
Convertible lenses which provide a choice of two or three focal lengths are very useful for this purpose . However , they have the disadvantage of being very slow when only one element is used to provide a long focal length . This makes groundglass focusing difficult because of the poor illumination . A good focusing magnifier is essential in such cases .
The depth of field for such close - up work is very shallow , so that it becomes necessary to stop the lens way down . You will seldom find it possible to do close - up work at larger openings than f / 16 . In most cases , the lens will have to be stopped down to f / 32 or even f / 45 to get the necessary sharpness throughout the entire picture area . This , however , is usually not a serious handicap , since the object is fixed and cannot move . In model shots , it may be necessary to use strong lighting plus fast film and keep the exposure down to a second or less . If this is still too long , use flash .
When focusing with the lens wide open , the depth of field is so shallow as to present quite a problem . If you focus sharply on one part of the subject , distances even a few inches in front or back of this point may be blurred . You can check the range of focus by stopping the lens down , but the groundglass image at f / 32 is so dim that this is not always practical . As a good working rule , adopt the following in selecting the plane on which to focus :
Select some sharply defined point or line about 1/3 of the way from the front of the subject and focus sharply on it . This will give you the maximum depth of field . For example , if the subject you are photographing measures 12 inches from front to back , focus on a point 4 inches from the front .
تعليق