Mark Adrian Langtry - Commercial Photography
Upcoming SlideShare
Loading in...5
×
 

Mark Adrian Langtry - Commercial Photography

on

  • 377 views

RMIT University

RMIT University

Commercial approaches to photography of Interiors & associated cameo images

Statistics

Views

Total Views
377
Views on SlideShare
373
Embed Views
4

Actions

Likes
0
Downloads
0
Comments
0

2 Embeds 4

http://www.linkedin.com 3
http://www.lmodules.com 1

Accessibility

Categories

Upload Details

Uploaded via as Microsoft Word

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

Mark Adrian Langtry - Commercial Photography Mark Adrian Langtry - Commercial Photography Document Transcript

  • .1. VBS805 COMMERCIAL PHOTOGRAPHY INTERIOR + Associated cameo INTERIOR image Images 1. DULUX / Feast Watson floor products images. Considerations: Talent: English Sheep dog. Paid and pampered talent! Lighting: When ever possible, all available light with some introduced soft flash, (very large soft box), backlit through the window to add “Rims” and to help create feeling of openness and depth. Flash is not always introduced though. Camera: Mamiya RB, 90mm lens, (in above DULUX image which was cropped in). For DULUX, normally seek to use the longest possible lens for aesthetic purposes, (Compress perspective). This may appear contradictory but the longer the lens, the less “dramatic” the interior will appear compositionally. The flash, (back lighting), however is added to create “layers” of depth by the inclusion of highlights across the tops of surfaces and edges. For Feast Watson, work with wider lenses, (65mm / 50mm) and with camera positioned lower to the ground to create the illusion of larger floor areas, (Which is what the product and hence the image is about). No filter on lens. The floor normally warms up the colour!
  • .2. Technique: It is vitally important when executing these images that the sun NOT be shining through any windows that are in or just out of shot. This would create lighting and shadows which would be difficult to control and would also increase contrast requiring use fill which would then make this style of image appear artificial and “Lit” Therefore, shoot at a time of day when sun is on the other side of the house! Also you want to work on a fine day even though you are not seeing all that much outside. When working with animal talent, you do not want to go down to anything less than 1/15th, if you can help it, (although we have shot a couple of these down at 1 second when really desperate and achieved a quite nice result, - just really risky!) Finally, the backgrounds / exteriors are generally blown out deliberately as what is outside ids generally ugly and distracting. Many of these locations are to be found in display villages and there are always ugly powerlines and building sites in progress across the road. The client also likes the “ethereal feeling” that this approach provides. Styling: VITAL! Must ensure props appear of quality and are not cheap looking. Sometimes, available furniture utilised with better props than those at the display home, were brought in by stylist. A VITAL consideration! Also these props were often utilised later in close up cameos to accompany these images and to provide a lifestyle feel. Retouching: These image generally require a considerable degree of retouching as paint reflects different tones in corners and shadows. Also the colour of the product, which in the DULUX case is paint will sometimes render at a slightly different colour to that which the client desires. This is considered acceptable and is expected. In the case of Feast Watson, the floors are generally far less than perfect and even areas where reflections from outside are falling often need tone “Re-introduced”
  • .3. Required accompanying cameo image Image 2. DULUX cameo images. Considerations: Talent: Not relevant. Lighting: All shot available BACKLIT with mirrors and reflectors sometimes used to fill certain areas or accentuate certain aspects. Generally set up in front of open window. Camera: Mamiya RB, 127mm / 180mm lens. Sometimes a no. 1 close up extension tube used. For DULUX, normally seek to use the longest possible lens and reasonably wide aperture for aesthetic purposes, (create narrow depth of field / contemporary feel). This approach also seeks to convey a certain editorial “Feeling” which lends a more lifestyle feel to images. For “Whites” cameos, (all cameos for that matter), generally bracket roll in 1/2 stops, but seek to keep aperture as wide open as possible. We do a reasonable bracket, as sometimes the lighter or darker image just looks better! This carried out in following manner; Indicated correct exposure for 100 ISO established as 1/2 sec @ f5.6. Bracket  first 3 frames; 1/2sec @ f4 , f4.5, f5.6 THEN to complete Bracket  1/4 sec @ f4.5, f5.6 No filter on lens! Although sometimes do a warm and a cool version depending on subject matter and perceived colour of light at location.
  • .4. Styling: VITAL! As before, must ensure props appear of quality and are not cheap looking. Work with stylist in the set up of such images. Look for composition techniques like “framing” / “diagonals” / Leading lines etc. Also vital to focus on “point of Interest” Technique: Once again, it is vitally important when executing these images that the sun NOT be shining through any windows that are in or just out of shot. Therefore, shoot at a time of day when sun is on the other side of the house! Not so vital that you are working on a fine day with these images as nothing is moving. Finally, as with the hero images, the backgrounds are generally a little blown out deliberately so the style is in keeping with the afore mentioned. Retouching: Very little retouching occurs here, only maybe a little colour correction to “slide the colour” to wards that which the “hero” image is seeking to convey. PLEASE SEE FOLLOWING FOR COMMERCIAL / ADVERTISING REFERENCES: DULUX: (Point of sale collateral) Colour Cards: Interior / Exterior / Traditional / Whites Colour Perfection Series / Fandeck guide www.dulux.com.au FEAST WATSON: Wood finishing systems (Point of sale collateral) Homepage (+contents) http://www.feastwatson.com.au/ INTERGRAIN: (Timber finishes) Home page / “Colour card - Product guide” http://www.intergrain.com.au/ MAB - CONDER APPARMENTS Conder Tower Waterfront Apartments at New Quay (Interactive tour) http://www.condertower.com.au/