1. Why This Booklet Was Written Most marketing professionals who use product photography are not professional photographers themselves, and so are dependent upon the services of a professional to create the images they need. The photographer, in turn, is dependent upon the client to provide the kind of information necessary to create the very best, most appropriate photo for the client's use. Because product photography is charged on an hourly basis, and good commercial photography can get very expensive, it is extremely valuable to know what you need and how to ask for it before the photographer's time clock starts ticking. This booklet was written to help you determine what you need and how to convey that to your photographer for the most cost-effective shoot.
2. Who Buys Product Photography? Marketing, communications and public relations departments of companies are often the ones to hire product photographers. Product shots are often commissioned by a design company for use in creating printed and electronic collateral such as brochures, websites, presentations, etc. A company can save money by hiring a photographer directly (instead of letting the design studio do so) if, and only if, they know what they need and how to ask for it.
3. What Do You Need and How Do You Ask For It? The first step in deciding what you need is determining what the image will be used for. A professional marketing or advertising agency or your art director should be consulted to define what types of marketing collateral you will be creating. Once your marketing strategy and collateral elements have been determined, you must decide the goal of each element and outline the images needed to meet that goal.
How Will The Image Be Used? Keep in mind that the photographic requirements for a brochure, advertisement, data sheet or press release may be quite different. When a photographer takes a picture, he or she takes into account reproduction size, cropping, positioning, the feeling being communicated, and the medium used for the end result (i.e., is the piece being printed, and if so, what type of printer? Is the image being produced for the web, or computer presentation?) It is often difficult to use a single photograph for all types of collateral without proper planning.
Defining A Goal In advertising photography, communicating something more than just the physical attributes of the product is usually the goal. Positioning and company image are created and carefully planned out. If you are uncertain as to what message you are trying to convey, the advertisement is unlikely to be meaningful or have impact on the reader. Successful advertising involves a well thought out and orchestrated performance by the marketing director, creative director, copy writer and photographer.
Choosing Your Images Before you ever schedule a photo shoot, you should make a list of exactly which products will be photographed, what aspects of the product you would like to focus on or highlight, what types of backgrounds you are looking for, and what sorts of extraneous things must accompany the product.
For example, are you photographing a piece of machinery that requires an operator in the picture? If so, will you supply the operator from your staff, or will a model need to be hired? What image is the model conveying? What colors and types of clothing should be worn? Alternatively, are you photographing a vehicle of some sort that needs a particular backdrop, such as a skyline, a seascape, or a grassy meadow? Do you have a location in mind to shoot from? Do you need a permit to photograph there? (Some government or state owned properties such as college campuses require a special permit when used in commercial photography.) All of these things should be thought about before the first meeting with the photographer.
So now that you have determined what images you want, what additional elements will be included beyond the actual products, and how the image will be used, it is time to meet with the photographer and ask for what you need. There are a number of terms unique to the photography industry; understanding them will help you communicate with your photographer to get exactly what you want. Definitions to the most common follow.
4. Definitions of Film Types You should always tell the photographer in advance what type of film you would like him or her to shoot. The film used depends on the needs you have. Film types include color negatives, chromes, and black and white negatives.
Color negatives are used to create color prints. The negative appears with colors opposite to the true colors. Negative film is only used by a professional studio when the image is to be reproduced as single color photos, instead of being placed into a printed piece. This is often the case when including photos with press releases or media kits.
Color prints can also be made from chromes. Chromes are color transparencies. They are viewed directly on a light box or by holding them up to some other source of light. They look "normal" since they are positive images (i.e., the colors show true, opposite from negatives). Chromes generally have more brilliance and image clarity than color prints. In the 35mm film size, chromes or transparencies are called color slides.
Transparency film is used most often in the professional studio because the images can be used to make high quality color separations for 4-color printing. Color separations are necessary for creating advertisements, brochures, and other printed matter. They can be made from prints, but the best quality is achieved with chromes. If your photographer knows you are creating an image to go into a printed piece, he or she will automatically use transparency film.
Black and white negatives are used for making black and white prints. Black and white prints are popular for press releases since they can be printed quickly and easily without the need for color separations or more expensive 4-color presses. Black and white film can also be used if you are creating images for a 1-color printed piece.
Film Sizes/Camera Formats Different film formats are chosen depending upon the reproduction size of the photographic image, convenience, image control, and cost considerations. Camera and film formats are divided into three categories: small format, medium format, and large format.
Small format generally means the use of a 35mm camera. The film width measures 35 millimeters or 3.5 centimeters (see graphic). 35mm cameras are chosen for their portability, convenience, and number of images that can be quickly shot (36 per roll). The disadvantage is that the relatively small image size cannot be enlarged beyond an 8" x 10" without a noticeable drop in quality. Small format is the least expensive to shoot, but is also the most limited in reproduction size.
Medium format means 2-1/4" x 2-1/4", 6 x 6 cm, or 6 x 7 cm, depending upon the make of the camera. Medium format cameras are a good compromise between the convenience of the small format camera and the ultra high quality of the large format cameras. They are used a great deal in portraiture, and can create images up to several feet in size. They use special roll film that gives 12 shots per roll.
Large format means either 4" x 5" or 8" x 10". The cameras are called "four by five" or "eight by ten." Film comes in sheets and must be loaded into film holders manually. A major advantage of large format is the ability to control perspective and depth of field. Large format is commonly used for full page shots appearing in advertisements and brochures. 4" x 5" is mostly used. 8" x 10" is somewhat rare -- reserved for situations requiring the ultimate in image quality.
Other Definitions
Background -- the backdrop setting chosen for the product. There are four basic types of settings in tabletop photography:
Color separations -- the result of taking original color photographs or artwork and separating them into the primary printing colors; for 4-color printing these colors are called CMYK, Cyan (blue), Magenta (red), Yellow, and black (K).
Contrast -- difference in brightness vs. darkness in a given area
Cropping -- trimming a photograph or printing only a portion of an image to improve the composition or to change its proportions.
Depth of Field -- the apparent camera-to-subject distance in photographs. Depth of field can be controlled to a large extent by the photographer.
Diffused Light -- light coming from a large light source relative to the subject. The light is "soft" and tends to wrap around objects, minimizing shadows.
Key Light or Main Light -- the primary light source
"Pull a Polaroid" -- take a shot using Polaroid film to see what the camera is seeing. Polaroid's are normally shot before shooting final film to check lighting and composition.
Seamless Paper -- large paper on rolls used as backdrops. Comes in many colors and in 53", 9' or 12' lengths.
Soft Box -- a box usually made of nylon material and internal supports containing a light. The soft box creates a "soft" light, meaning that it is diffused and reduces shadows.
Specular Light -- light coming from a small light source relative to the subject, such as a bare light bulb, the sun, a spotlight, etc. Specular light is harsh because it creates an intense highlight on the subject and casts harsh shadows.
Strobes -- stroboscopic lights are often used because they have a large light output, freeze motion, and produce less heat than other lights.
5. Before The Photo Session Contact your photographer as far in advance as possible before the scheduled session. The photo session is like a performance.
The better prepared you both are, the better the session will be. Determine exactly what you need in advance. Communicate those needs to the photographer. Discuss color scheme, background, props, how the shot is to be used, how the shot is to be cropped, what angle best suits your product, features to highlight, features to minimize, what type of film to shoot, etc. Consider hiring an art director for the duration of the shoot to help manage these elements. An art director can also be very helpful when models are used; they can manage what models are in each photo to ensure variety, as well as determine what they wear, how the hair is done, etc. to create the image you want.
These things need to be discussed in advance so that the photographer can be prepared. He or she may have to purchase or rent backdrops, build props, rent additional equipment, etc. We suggest you fill out a pre-photo shoot checksheet prior to your discussion to help you answer the photographer's questions. A sample checksheet is included at the back of this booklet.
Plan to leave the product in the studio for 24 hours, if possible. It is advisable to leave the setup intact until the film is developed to ensure that the desired results have been achieved.
6.During The Photo Session If the shot is a simple one and everything has been well planned, you may elect to drop off the product and not stay for the session. If the shot is more complex and there are decisions left to be made, attend the session. It is best to have at least one representative from the company present who has the authority to approve the shot, should a question arise.
Start the session reviewing the goals for the shot. Keep it simple. Don't expect to take more than a few shots in a day unless the shots are extremely simple, such as a product with no reflective surfaces taken on a white background with diffused lighting.
Don't change agendas in the middle of the shoot. Changing a background or positioning of a product, especially one with reflective surfaces, can change everything. The photographer may have spent hours fine tuning reflections, shadows, and highlights, and now has to start over again. Additional shots may require additional preparation, which may not fit into the planned schedule. Remember, time equals money, and indecision wastes both!
If the photographer is shooting Polaroid test prints, be prepared to approve the final one before film is used. When you do this, you are taking responsibility for the final results.
7. After The Photo Session In most cases, your chromes or negatives can be ready within 24 to 48 hours. Prints usually take several days. Review the results of the shoot with the photographer. Tell him or her what you like and anything you don't.
If there is a minor problem, digitally imaging the photograph can usually solve it. Digital imaging can take out such things as blemishes to the backdrop, changes to a computer screen, an unsightly telephone wire in the background image, etc. In the unlikely event that there is a serious problem with the image, see if there are ways to work around it. If not, don't compromise your integrity, reshoot it. Remember, however, that the reason a photographer will request your presence at the shoot is to approve lighting and composition before the final shot is taken.
8.Pre-Photo Shoot Checklist The following is a list of questions that should be answered prior to your photo shoot. Please take a few minutes to read through them, talking to your marketing or advertising agency or art director as necessary. Answering these questions before the shoot will ensure a smoother, better, and much more cost-effective photo session.
1. What types of marketing collateral are you creating?
-- Press releases -- Media kits -- Brochure -- Data sheets/sell sheets -- Direct mail piece -- Catalogs -- Printed advertisements -- Website -- Trade show booth -- Other ____________________
2. Is the piece going to be black and white, 1 color, 2 color, or 4 color?
5. What images, in general, do you need to create this piece? A photograph of the company's headquarters, a sampling of products, head shots of company executives, etc.?
6. Based on the above list, what specifically will be in each photograph? List exact products, people, backgrounds, etc. for each photograph. (Attach additional paper as necessary)
9. Is this a tabletop product shot? Yes No If yes, what background would you like: table surface, horizon, floating or sweep? (See How to Make Your Photography $ Go Further)
11. If the shot will be taken in a public place (e.g., state park, college campus, downtown Boston), are you going to inquire about and obtain the necessary permits, or do you want us to? Keep in mind that it may take several weeks to obtain permits.
13. If models will be in the shot, we strongly suggest you hire an art director to manage them. Will you hire an outside art director, or let Synergy Network provide one?
