Posted at 13:05h
I thought I'd post some more work I've recently done for London Couture. Along with doing their marketing photography, I also do their graphic design. This is an ideal situation for a photographer if they are capable graphic designers as well. It really helps marriage a complete, polished look when it comes to the final product. It's so important going into a photo shoot that I have my head wrapped around the final concept. Sure, someone can ask me to photograph a person or a situation, or... a person in a certain situation, however, unless I know what the photographs will ultimately be used for, I have no idea how to shoot it. I can shoot something that looks amazing, but could really fail to translate for a particular idea or even dimension of a graphic design. At that point, no matter how amazing your photos look, they could create a headache in the end when design comes into play. All the way down the the simple things, like knowing whether the photos will be used for a magazine ad or a website or both, which will determine whether the majority of my photographs will be a landscape or portrait layout (verticals are obviously conducive to magazine ads, and horizontals for web/digital display). So whether I'm doing the graphic design or I'm handing the photos off to another designer, you better believe I'm asking all kinds of questions so that everyone in the loop of production is very happy with what they have to work with. This make life SO much easier on the designer, and leaves my paying client with a very clean, professional product that didn't have to get hacked together with a digital chainsaw.
A lot of commercial photography is shot on either a white or black background, reason being it's VERY easy to add more space to a design canvas if needed. Ex - shooting a model on white seamless will allow a designer to plop the image onto a white canvas any where they want, and no one is the wiser. You can add or subtract designing real-estate until the cows come home. With that said, you really don't have to shoot as consciously with your composition (you don't have to worry about leaving any negative space in the image for the addition of graphics and text). You can shoot nice and close, providing maximum resolution and detail, and giving a graphic designer one more reason to love working with you. Shooting on a true solid color is ideal for this editing flexibility, however, sometimes you want something different (even in the studio), or often times commercial photogs find themselves out in the wild shooting on-location. For these situations, it's key that the final concept be well-understood. And again, it's always a great thing if you are the designer and the photographer, as the layout is floating around in your head, and you can at times improvise even while shooting, as new design ideas pop up in your head and you can then shoot and frame for those ideas on the fly. A great luxury. Of course, if you are shooting for Nike or some huge name, the concept is concrete, which has been reviewed and ok'd by corporate big wigs. But if you are a smaller operation, you can get away with some... "creative flexibility" up until you shoot the last frame of the day.