So, we are in the middle of Covid-19 lockdown. The kids are running riot, and I’m all out of duct tape. The wallpaper hasn’t changed in the last hour, and my slippers are wearing thin from all the pacing up and down. Talking of wearing thin, my Mrs.’ patience is pretty much getting the same way due to the aforementioned pacing and grinding of teeth.
Lanzet are a bespoke kitchen design and manufacturer, based in Preston. I was asked to provide updated images for their website and brochure etc., with the emphasis to be on the quality of their work, and craftsmanship.
Product photography doesn’t always need to be on white. On white images are required by a number of e-commerce platforms, such as Amazon, and unfortunately, many clients assume it’s the norm.
Fennel UK manufacture door furniture, predominantly for the leisure industry such as caravans and boats.
Mosney Mill is a company owned by artist, Emma Sutton. Her hand painted designs are the epitome of country living.
As a commercial photographer, I often find I’m switching backgrounds at a fair rate of knots. White, black and grey being the usual suspects. Not really an issue with most things, but anything that needs to be wall mounted is definitely a challenge.
In a previous post, I discussed the problems of triggering studio flash when using the E-M1 mkII in HiRes mode, and the fact the Elinchrom HS trigger actually worked fine. This image is part of the high resolution portfolio for a client, and the reason I needed to find a solution to the issue of non firing studio heads.
Yes, a product shot on white. I think this type of shot is possibly the bane of any photographer’s life. There’s no allowance for creativity, and clients ask for it because they see it on their competitors website. And of course, there’s the fact that a number of the large e-commerce sites demand white backgrounds. We could do so much more for the product,
This isn’t a headshot, or even a portrait. It’s actually a product shot. Well, kinda.
As products go, these signs had their own set of challenges. The main thing I wanted to preserve, was the three dimensional nature and depth of the acrylic. The numbering was quite pronounced within the plastic, and I wanted to make sure that was obvious to the viewer. What I didn’t want, was any glare or flaring caused by the highly polished perspex.