Professional Commercial Photography: Techniques and Images from Master Digital Photographers

129 Pages·2009·13.05 MB·English

by  Lou Jacobs, Jr.

Professional
Commercial Photography
Techniques and Images
from Master Digital Photographers
Lou Jacobs Jr.
Amherst Media
®
PUBLISHEROFPHOTOGRAPHYBOOKS

DEDICATION
TomywifeKathy,whohasbecomeaverygoodphotographer,especiallyonourvacationtravels.SheispatientwhenIseemat-
tachedtothecomputerandisapleasantmodelwhencajoledtositonarockatJoshuaTreeNationalParkorpretendshe’satourist
atoneofthemanymuseumswevisit.
ACKNOWLEDGMENTS
Ioftenworkwithprofessionalphotographerswhocontributetomybooksaboutvarioustopics,andthegroupthathelpedmewith
ProfessionalCommercialPhotographyistypicallyexpertswhoareenthusiasticabouttheirspecialty.Igreatlyappreciatetheirhelp
withwordsabouttheirexperiencesandadvice,plustheirfineimagesthatilluminatethepagesoftheirchapters.
Copyright©2010byLouJacobsJr.
FrontcoverphotographbyPeteSpringer.
BackcoverphotographsbyCassandraM.Zampini.
Allrightsreserved.
Publishedby:
AmherstMedia,Inc.
P.O.Box586
Buffalo,N.Y.14226
Fax:[phone]
www.AmherstMedia.com
Publisher:CraigAlesse
SeniorEditor/ProductionManager:MichellePerkins
AssistantEditor:BarbaraA.Lynch-Johnt
EditorialassistanceprovidedbyJohnS.Loder,CareyMaines,andSallyJarzab.
ISBN-13:978-1-58428-269-3
LibraryofCongressControlNumber:2009903895
PrintedinKorea.
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic,
mechanical,photocopied,recordedorotherwise,withoutpriorwrittenconsentfromthepublisher.
NoticeofDisclaimer:Theinformationcontainedinthisbookisbasedontheauthor’sexperienceandopinions.The
authorandpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook.
CONTENTS
.........................9 Back-upEquipment .....................33
INTRODUCTION
What’sAhead ...........................9 Assistants .............................34
ClientExpectations .......................9 PricingandFees ........................34
Specializing ...........................10 Postproduction .........................34
Qualifications ..........................10 Accounting ............................34
WorkingintheField .....................11 PromotingYourBusiness .................38
FuturePlans ...........................38
......................13 StayingintheLoop .....................38
1.PETESPRINGER
DiscoveringFashion .....................13 TheRealitiesoftheBusiness ...............38
BusinessPromotions .....................14
StudioWork ...........................15 ......................39
3.WENDYNELSON
Must-HaveItems .......................15 Background ...........................39
NoteAbouttheImages ..................15 TransitioningtoCommercialWork ..........39
WorkingwithFashionModels .............16 AbouttheStudio .......................40
PhotographingFashionShows .............16 VariedSpecialties .......................42
OtherPhotographyJobs ..................16 Products,Portraits,Events,andWorkspaces ...42
CameraEquipment ......................18
AFashionShootTeam ...................19
EducatingClientsandModels .............21
ModelPortfolios .......................21
Postproduction .........................21
ProtectingUsageRights ..................23
BusinessDetails ........................24
TimeOff .............................24
InspirationfromtheField .................24
Photographer’sPersonality ................24
...............25
2.CASSANDRAM.ZAMPINI
EarlyExperience ........................25
StartingOut ...........................25
ABusinessPlan.........................26
MyStudio ............................26
LightingEquipment .....................26
ProductPhotography ....................29
CommunicatingwithClients ..............30
Challenges ............................30
CamerasandLenses .....................33
©CigHarvey
CONTENTS 3
©ToddQuom
OurLightingSystems ....................43 StartingYourBusiness ...................59
CameraEquipment ......................43 Specialization ..........................59
DealingwithClients .....................44 MyStudio ............................60
Postproduction .........................44 CameraGear ..........................62
Pricing ...............................44 LightingEquipment .....................63
CopyrightProtection ....................44 LocationLighting .......................63
ABusinessPlan.........................45 ShootingReflectiveObjects ...............63
AFinancialSupportTeam .................45 PhotographingSmallObjects ..............64
TimeOff .............................46 UsinganAssistant ......................64
Marketing .............................46 CommunicatingwithClients ..............65
PersonalProjects .......................46 PricingPhotography .....................65
IntotheFuture .........................46 PostproductionWork ....................67
OrganizationMembership ................46 ABusinessPlan.........................67
Photographer’sPersonality ................46 UsinganAccountant ....................67
TimeOff .............................67
.....................47 ReferralsandPromotions .................68
4.DOUGEDMUNDS
TheLearningCurve .....................47 BusinessActivities .......................68
MyFourBasics .........................48 TheRoleofPersonality...................68
FirstCommercialJobs ...................48
MyCurrentStudio ......................48 ........................69
6.TODDQUOM
Gear .................................51 BecomingAirborne .....................69
Assistants .............................52 GainingWings .........................70
LightingTechniques .....................52 PhotographicGear ......................71
LocationCaseHistory ...................52 TheRightLight ........................71
DigitalWorkflow .......................53 ClientsandLocations ....................71
ClientRelationships .....................53 Ground-BasedJobs .....................72
CreativeInspiration .....................54 HowIWork ...........................74
SettingFees ...........................56 OfficeSpace ...........................75
CopyrightIssues ........................57 AerialTechniques .......................76
StockImages ..........................57 DealingwithClientsintheSky .............77
BusinessDetails ........................57 WeatherWorries ........................77
UsageRights ..........................78
.....................58 BusinessEssentials ......................78
5.GARYHARTMAN
EarlyExperience ........................58 TimeOff .............................78
4 PROFESSIONALCOMMERCIALPHOTOGRAPHY
Marketing .............................78 FinancialConcepts ......................82
IntheFuture ..........................78 Dallasheadshots.com .....................83
OrganizationMembership ................78 BusinessPromotion .....................84
Photographer’sPersonality ................78 PhotoEquipment .......................84
UsingStudioFlash ......................84
..........................79 PostproductionWork ....................84
7.SALSESSA
Background ...........................79 ChargingforEventPhotography ...........85
EarlyClients ...........................80 CopyrightPractice ......................86
EventsRecalled ........................80 CaseHistory ...........................86
ChoosingfromtheEventsMenu ...........81 VisualizingYourFuture ..................86
TheUsualApproach .....................82 YourColleagues ........................86
haffer
Sc
ke
Mi
©
.....................87 CurrentWork .........................100
8.DARRENSETLOW
EarlyExperiences .......................87 TheStudio ...........................100
BusinessDetails ........................89 Cameras .............................100
TakingPictures .........................89 LightingEquipment ....................102
LightingEquipment .....................90 OfficeandFactorySetups ................103
LightingTechniques .....................90 BuildingSets .........................103
LightingLargeAreas ....................92 ClientInvolvement .....................103
CameraSetup ..........................93 ImageAssemblyDetailed ................104
WorkingonLocation ....................94 Postproduction ........................107
HandlingPostproduction .................94 ABusinessPlan........................107
UsageandCopyright ....................96 Marketing ............................107
Pricing ...............................98 ProfessionalOrganizations ...............108
Marketing .............................98 Photographer’sPersonality ...............108
ABusinessPlan.........................98
UsinganAccountant ....................98 .......................109
10.CIGHARVEY
APhotographer’sPersonality ..............98 Background ..........................110
StartingOutinCommercialPhotography ....111
......................99 ApproachestotheWork .................112
9.MIKESCHAFFER
Background ...........................99 AHomeStudio .......................112
EarlyBusinessYears .....................99 EquipmentandProps ...................112
Locations ............................114
©
DarrenSetlow EERdxehfiltieobcrititiaivolenanSsud.bP.je.ecr.ts.so.n..al..W....o..r..k............................................111111567
CamerasandLenses ....................117
ClientsontheSet ......................118
Models ..............................120
PostproductionWork ...................120
Contracts,Pricing,andCopyrightProtection .120
ABusinessPlan........................120
WorkingwithanAccountant .............120
TimeOff ............................121
Marketing ............................121
ProfessionalOrganizations ...............122
ImportanceofPersonality ................122
Conclusion ...........................124
Index ...............................125
PhotographbyLouJacobsJr.
ABOUTTHEAUTHOR
LouJacobsJr.sayshe’sanindustrialdesigner(Carnegie-Mellon UnitedStatesandCanadafourtimes.TheywinteredinFlorida,
University),turnedphotographer(ArtCenterCollegeofDesign), and after returning to the West Coast they settled in Palm
turned writer (the school of occasional rejections).He lived in Springs,CA,whereLoubuiltanotherdarkroomthat’snowcon-
Pittsburgh,PA,andeventuallymovedtoLosAngeles,CA,where venientforstorage.
hetookroot.Formanyyearsheshotformagazinesandwentto Louandhiscurrentwifeoftwentyyears,Kathy,spentmany
NewYorkfrequentlytovisiteditors.HewasontheASMPboard vacationstowingatrailertovisitnationalparksandphotogenic
formanyyearsandisaLifeMember.Hetooksixmonthsoffto placesfromMaine,toUtah,totheNorthwest.Theytoldfriends
travelinEuropewhereheshot35mmanduseda4x5viewcam- andrelatives,“Webringourhousetoyourhouse.”Thecouple
eraforfineartwork. visitedmanyEuropeancountriesinrentalcarsinfourdifferent
Afterwritingforvariousphotographicmagazines,Louwas years. They loved many areas such as France and Venice and
askedtoauthorhisfirstbook—aboutvariablecontrastpapers. Salema,avillageatthesoutherntipofPortugalontheMediter-
Morebooksfollowedonnumerousphotographicsubjects,plus raneanwhereironoreintherockcliffscolorsthembrightor-
sixteen other books for young readers on jumbo jets, trans- ange.NowtheyoftenvisitJoshuaTreeNationalPark,whichisan
portation,theWattsTowers(storywrittenbyJonMadian),ma- hourorsofromhome.“Thereisnolimittorockformationsto
rinemammals,spaceexploration,andAmericanlandscapes.In photograph,”Lousays.
variousyearshetaughtphotojournalismatUCLAExtensionand Louhaswrittenandillustratedthirty-sevenbooksonphoto-
BrooksInstituteinSantaBarbara.Fortwoyearsheandhislate graphicsubjectsandcontinuestowriteforRangefinderandfor
wife(Barbara)livedandtraveledinamotorhomecrossingthe hisfavoritepublisher,CraigAlesseatAmherstMedia.
ABOUTTHEAUTHOR 7
©PeteSpringer
INTRODUCTION
Thegreatesttoolatourcommandistheverythingthat All contributors explain how they approach imaging
isphotography.Light.Lightisourpaintbrush,anditis and how their business operates. They describe get-
amostwillingtoolinthehandsoftheonewhostudiesit ting started. They tell you how they attract clients,
withsufficientcare.—LauraGilpin whatequipmenttheyuse,andwhattheirtastesarein
commercial work. Here are a few examples of what’s
ahead: Doug Edmunds and a large crew spent days
WHAT’SAHEAD
Commercialphotographerscreateimagestosellprod- shootinghomeinteriorsforacompanythatmakescar-
ucts,services,politicalcandidates,organizations,cor- peting. Mike Schaffer built a set in his studio to re-
porations, etc. This book contains a compilation of semble part of a barn, creating an environment for a
stories, strategies, and striking images from commer- clothing company catalog shoot. Cig Harvey once
cial photographers at the top of their fields. Though photographedatruckinasnowstormfromatenther
many concentrate on one or two specialties, every crew built for her. Todd Quom shoots buildings and
contributor is versatile. Here are tidbits about the landscapes,mostlyinWesternstates,fromaplanewith
photographers who will be sharing their advice and aspaceinthefloorforhiscamera.SalSessahasanad-
experiencesinthechaptersthatfollow: junctbusinessthatdoesindividualheadshotsatgroup
gatherings.
•DougEdmundshasalargestudiowhereheshoots
avarietyofproducts,andhe’salsoalocation
CLIENTEXPECTATIONS
expert. Among client categories that need commercial pho-
•GaryHartmanphotographsarchitecture, tographyare:adagencies,manufacturers,retailstores,
advertisingsubjects,andannualreports. hotelsandresorts—andthelistgoeson.Businessesin-
•CigHarveydoesadvertisingillustrations,usually volved with consumer products often employ free-
onlocation. lance shooters who may work from a studio, with a
•CassandraM.Zampiniphotographsmanytypes separate office, or improvise a studio at home or as
ofstilllifeandproducts,mainlyforadvertising. part of an office. Some large companies have studios
•WendyNelsonoperatesastudiocalledBlueFox thatemploylotsofshooters.Examplesaredepartment
Photographyandshootsbusinessactivitiesand stores, manufacturers, and other types of business. A
familygatherings. friend of mine made a satisfying twenty-five-year ca-
•ToddQuomdoesimpressiveaerialphotography. reer shooting for Bethlehem Steel until the company
•MikeSchafferphotographsavarietyofproducts folded.
andbuildssetsforsome. All contributors to this book run their own busi-
•SalSessacoverseventssuchasconventions, nesses.Sincephotographerscandisplayworksocon-
meetings,andVIPsgivingoutawards. veniently on their web sites, it’s easier for clients to
•DarrenSetlowshootsarchitecturalinteriorsin discover them today than it was when portfolios of
homesandfactories. prints and transparencies were carried or sent to
•PeteSpringerphotographsfashionshowsand clients. It is not difficult to set up a home photo stu-
models,onlocationandinhisstudio. dio with backgrounds or settings to gain experience
INTRODUCTION 9