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التصوير الفوتوغرافي الحديث
التصوير التجاري
جوانب التصوير التجاري
قصة التسويق الإبداعي
THE CREATIVE MERCHANDISING STORY
The creative type of photography is not only much more interesting and challenging to the photographer , but it also commands a considerably higher fee . The photographer who can do this kind of work gets paid for his imagination and creativity as well as for his technical competence , and the former element being much more rare , commands a higher fee . Let us assume you get such an assignment , and that you are fortunate enough to be given complete freedom to go ahead on your own and create a story - telling picture . How would you go about it ? Of course , no two photographers would go about it in just the same way , but the following plan of action is a good one .
Figure 43 Racing action was caught in this advertising / sales promotion photo to highlight a Xerox Corporation's copier bearing the model name " Grand Spree " .
Courtesy of Xerox Corporation
Figure 44 The exaggerated perspective caused by a close - up camera provides the impact needed to put the story of a new spot - resistant floor finish across .
Courtesy of Johnson Wax
First , decide whether you want a still life or an action picture . In a still life you would place the product in an appropriate setting among other associated items which would tend to tell a story . You would rely entirely on composition , lighting and the choice of items in your picture to tell the story effectively . In an action shot , the product would be shown in use , and the action would supply the necessary element of interest . Which of these two approaches to use in any particular instance is a matter for the photographer ( or the client ) to decide . Let us assume you are photographing a still life so that we can address our comments to a specific type of picture . Bear in mind , however , that most of what we say here will apply with equal force to the action picture as well .
You are now ready to plan the actual layout . It is usually best , at this time , to dream up a setting for the product and a number of associated objects which would go well together in a tasteful arrangement . If , for example , the product is a new perfume , the logical setting would be a dressing table , and the accessories would be those objects which would norm found However , be careful that you don't photograph anything bearing another manufacturer's name , nor any product made by a competing manufacturer , even if his name is not shown .
Figure 45 ( See Picture on Opposite Page ) .
In the world of advertising , a creative photographer faces many unusual , exciting and difficult problems . To get that one picture in a million that would unite both copy and picture to create a successful ad takes careful pre - planning .
Agency created such an ad for their client , Anheuser - Busch . Gene M. Kowall , Vice President and Executive Art Director of D'Arcy's St. Louis , Missouri office takes us behind the scenes with him :
" Our assignment was photograph the famous Budweiser Clydesdales for a double page spread in national magazines . The following steps had to be taken .
1. Check to see that the Clydesdales would be in town and arrange for them to be at Grant's farm . They are transported from downtown St. Louis by special vans .
2. Arrange to have two New York photographers come to St. Louis with their equipment .
3. Order two high speed Hulche
70mm cameras from Virginia . They are hand made and can shoot a possible 60 frames per second . We planned to operate 10 to 20 per second .
4. Arrange for highway police to block off the highway when the Clydesdales came past the gates to turn around .
5. We had no time to test or pace the team so we placed the two Hulchers at different distances and parked a flat bed truck on the highway with a Hasselblad as a safety measure the Hulchers didn't get the right shot . The head photographer operated one of the Hulchers while I operated the other . The other photographer worked with the Hasselblad on the highwach time the team made a run thru the gates the Hulchers got off a 4 or 5 second burst while the Hasselblad got 2 or 3 pictures .
All in all we were able to get about 8 passes of the team in our allotted time
before the sun turned the wrong way .
In all , a couple of hundred photos were taken . The most interesting part was that with all the photos taken , only one caught the two lead Clydesdales with both front left feet up .
The ad ran in all the leading magazines and brought in more than 125,000 requests for reprints .
This highly original humorous approach was used very successfully by the Sony Corporation of America to advertise a portable battery operated television set .
Courtesy of Sony Corporation of America .
The next step would be to think up a good arrangement to show your product to best advantage . Never lose sight of the fact that your client is primarily interested in showing and glamourizing his product . He is not at all interested in composition , lighting or technique - his sole concern is to show the product in such a way that people will flock to buy it .
In deciding on the material to be included in your picture , use objects which belong together . In photographing a perfume bottle , for example , a pen and pencil set would be a bad choice to use as an accessory , even if its physical shape and size work out extremely well from a compositional point of view . However , don't use anything which would give you trouble compositionally . For example , if the perfume bottle is small and round , don't use something long , thin and upright - it is exceedingly difficult to get two such dissimilar objects into one picture and still keep the composition good .
Draw as fully as possible on your knowledge of composition to produce an outstanding picture . This is the kind of subject in which composition plays a major role . Your first thought , of course , is to emphasize the product by making it the center of interest , but all other objects within the picture area must be so arranged as to give greater emphasis and importance to the center of interest . Keep the composition simple , but within the limits of simplicity , try to get enough variety to keep up the interest . The variety may be in such matters as size and shape of the accessory items in their texture or tonal values . If you are shooting in color , give some thought to the use of color for either harmony or contrast , whichever seems best .
In working out your composition , you may find it helpful to sketch a number of possible compositions until you get one that seems right . Some photographers use this method a good deal . It is not only quick and easy , but it reduces objects to their essential shapes and makes it easier to visualize basic compositional elements .
The next step is to establish the lighting . Give some thought to the type of lighting which would best suit the subject . For example , a soft high key lighting would probably best suit the perfume still life , while a much more dramatic lighting would be appropriate for the electric shaver . The background should also be appropriate to the subject . A simple background is almost invariably best because it introduces no elements which might compete with the basic composition , but there are times when a patterned or textured background can be used to emphasize the composition or fill in empty areas . Whatever background you use , check to make sure that it does not run into or merge with any of the subject material . Light it so that it is darker or lighter to provide good separation of planes .
Finally , don't be afraid to experiment . Try different lightings - different compositions - different camera angles . If you think you have a good picture , shoot it but don't end matters there . Try something else to see if you can improve the picture . Take things out or put things in if you think there is a possibility that this might improve the picture . Look around for different points of view for the camera or for a different light to provide a completely different effect . When you go shopping for a suit of clothes , you seldom buy the first suit you try on . By the same token , you do not have to buy the first composition you come up with .
التصوير التجاري
جوانب التصوير التجاري
قصة التسويق الإبداعي
THE CREATIVE MERCHANDISING STORY
The creative type of photography is not only much more interesting and challenging to the photographer , but it also commands a considerably higher fee . The photographer who can do this kind of work gets paid for his imagination and creativity as well as for his technical competence , and the former element being much more rare , commands a higher fee . Let us assume you get such an assignment , and that you are fortunate enough to be given complete freedom to go ahead on your own and create a story - telling picture . How would you go about it ? Of course , no two photographers would go about it in just the same way , but the following plan of action is a good one .
Figure 43 Racing action was caught in this advertising / sales promotion photo to highlight a Xerox Corporation's copier bearing the model name " Grand Spree " .
Courtesy of Xerox Corporation
Figure 44 The exaggerated perspective caused by a close - up camera provides the impact needed to put the story of a new spot - resistant floor finish across .
Courtesy of Johnson Wax
First , decide whether you want a still life or an action picture . In a still life you would place the product in an appropriate setting among other associated items which would tend to tell a story . You would rely entirely on composition , lighting and the choice of items in your picture to tell the story effectively . In an action shot , the product would be shown in use , and the action would supply the necessary element of interest . Which of these two approaches to use in any particular instance is a matter for the photographer ( or the client ) to decide . Let us assume you are photographing a still life so that we can address our comments to a specific type of picture . Bear in mind , however , that most of what we say here will apply with equal force to the action picture as well .
You are now ready to plan the actual layout . It is usually best , at this time , to dream up a setting for the product and a number of associated objects which would go well together in a tasteful arrangement . If , for example , the product is a new perfume , the logical setting would be a dressing table , and the accessories would be those objects which would norm found However , be careful that you don't photograph anything bearing another manufacturer's name , nor any product made by a competing manufacturer , even if his name is not shown .
Figure 45 ( See Picture on Opposite Page ) .
In the world of advertising , a creative photographer faces many unusual , exciting and difficult problems . To get that one picture in a million that would unite both copy and picture to create a successful ad takes careful pre - planning .
Agency created such an ad for their client , Anheuser - Busch . Gene M. Kowall , Vice President and Executive Art Director of D'Arcy's St. Louis , Missouri office takes us behind the scenes with him :
" Our assignment was photograph the famous Budweiser Clydesdales for a double page spread in national magazines . The following steps had to be taken .
1. Check to see that the Clydesdales would be in town and arrange for them to be at Grant's farm . They are transported from downtown St. Louis by special vans .
2. Arrange to have two New York photographers come to St. Louis with their equipment .
3. Order two high speed Hulche
70mm cameras from Virginia . They are hand made and can shoot a possible 60 frames per second . We planned to operate 10 to 20 per second .
4. Arrange for highway police to block off the highway when the Clydesdales came past the gates to turn around .
5. We had no time to test or pace the team so we placed the two Hulchers at different distances and parked a flat bed truck on the highway with a Hasselblad as a safety measure the Hulchers didn't get the right shot . The head photographer operated one of the Hulchers while I operated the other . The other photographer worked with the Hasselblad on the highwach time the team made a run thru the gates the Hulchers got off a 4 or 5 second burst while the Hasselblad got 2 or 3 pictures .
All in all we were able to get about 8 passes of the team in our allotted time
before the sun turned the wrong way .
In all , a couple of hundred photos were taken . The most interesting part was that with all the photos taken , only one caught the two lead Clydesdales with both front left feet up .
The ad ran in all the leading magazines and brought in more than 125,000 requests for reprints .
This highly original humorous approach was used very successfully by the Sony Corporation of America to advertise a portable battery operated television set .
Courtesy of Sony Corporation of America .
The next step would be to think up a good arrangement to show your product to best advantage . Never lose sight of the fact that your client is primarily interested in showing and glamourizing his product . He is not at all interested in composition , lighting or technique - his sole concern is to show the product in such a way that people will flock to buy it .
In deciding on the material to be included in your picture , use objects which belong together . In photographing a perfume bottle , for example , a pen and pencil set would be a bad choice to use as an accessory , even if its physical shape and size work out extremely well from a compositional point of view . However , don't use anything which would give you trouble compositionally . For example , if the perfume bottle is small and round , don't use something long , thin and upright - it is exceedingly difficult to get two such dissimilar objects into one picture and still keep the composition good .
Draw as fully as possible on your knowledge of composition to produce an outstanding picture . This is the kind of subject in which composition plays a major role . Your first thought , of course , is to emphasize the product by making it the center of interest , but all other objects within the picture area must be so arranged as to give greater emphasis and importance to the center of interest . Keep the composition simple , but within the limits of simplicity , try to get enough variety to keep up the interest . The variety may be in such matters as size and shape of the accessory items in their texture or tonal values . If you are shooting in color , give some thought to the use of color for either harmony or contrast , whichever seems best .
In working out your composition , you may find it helpful to sketch a number of possible compositions until you get one that seems right . Some photographers use this method a good deal . It is not only quick and easy , but it reduces objects to their essential shapes and makes it easier to visualize basic compositional elements .
The next step is to establish the lighting . Give some thought to the type of lighting which would best suit the subject . For example , a soft high key lighting would probably best suit the perfume still life , while a much more dramatic lighting would be appropriate for the electric shaver . The background should also be appropriate to the subject . A simple background is almost invariably best because it introduces no elements which might compete with the basic composition , but there are times when a patterned or textured background can be used to emphasize the composition or fill in empty areas . Whatever background you use , check to make sure that it does not run into or merge with any of the subject material . Light it so that it is darker or lighter to provide good separation of planes .
Finally , don't be afraid to experiment . Try different lightings - different compositions - different camera angles . If you think you have a good picture , shoot it but don't end matters there . Try something else to see if you can improve the picture . Take things out or put things in if you think there is a possibility that this might improve the picture . Look around for different points of view for the camera or for a different light to provide a completely different effect . When you go shopping for a suit of clothes , you seldom buy the first suit you try on . By the same token , you do not have to buy the first composition you come up with .
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