COMMERCIAL PHOTOGRAPHY

THE SYMBOLIC POWER OF PHOTOGRAPHY

In order to understand the fundamental role of photography in the commercial and advertising sector, it is necessary to stop for a moment and reflect on the symbolic power of photography and its importance in the typical ways of consumption of our times.

Towards the end of the 20th century, a broad discussion developed between the United States and Europe on the indexical character of photography, and thus on its representational and existential connection to the photographed object. This consideration refers to the tripartition of signs into icons, indexes and symbols formulated by the American philosopher Charles S. Peirce. Read more about Pierce's thought.

Since the photograph is an image of something, but not the thing itself (in other words, it indicates a reality that is not there), it is both a pseudo-presence and an indication of an absence. This rise to a sense of absence in the observer. It follows that photography has the power to make one think intensely about something and to trigger emotions related to that object. This is why a good commercial photograph can succeed, through the sole representation of a product, in making people desire it.

THE POWER OF PHOTOGRAPHY IN THE AGE OF CONSUMER SOCIETY

Photography represents an extremely effective weapon in the postmodern or consumer society, in which consumption occupies a central position and the main objective of companies and corporations operating in the most diverse sectors is to interest and attract the consumer in order to face competition. The most current studies give as outdated the idea of an alienated consumer, victim of a pressing globalised system, overwhelmed by an infinite amount of stimulation, to be attracted by producing needs rather than goods. Needs have been replaced by desires which, in turn, have made way for experiences. Consumption first took on a symbolic value (objects are invested with meanings depending on the contexts in which they are placed and the references the subject uses to attribute meaning to them) and, later, an experiential value (because they represent an experience). Attracting today's consumer requires creating experience, involving him emotionally and sensorially in a global mobilisation of the senses. In the so-called 'experiential area of the consumer', emotions and feelings act alongside the reason.

In a society in which hurry rules and the dominant imperative is "carpe diem", photography helps to capture the fleeting moment, to possess it and hold it at will. Not only that, it also allows you to represent reality as you wish, enhancing and idealising it. Photography succeeds in working on emotions, making desires arise and enticing one to live the experience it proposes. If studied and executed by a professional who not only has a great mastery of technique but also knows these mechanisms of persuasion well, photography can be truly effective.

A PICTURE IS WORTH A THOUSAND WORDS

It is often said that a picture is worth a thousand words and this concept is certainly confirmed by our daily experience (just think of how much television, since its beginnings, has revolutionised our way of living), but it is also supported by scientific studies. First of all, an image is more immediate than a text. Man processes visual information 60,000 times faster than written information. A person retains 80% of what he sees, 20% of what he reads and 10% of what he hears.

A study by Victoria University, Wellington, New Zealand, and Kwantlen Polytechnic University, Canada, published in 2012 in Le Scienze, showed that the perception of credibility of a statement increases in the presence of images or additional information, even if these do not provide any proof of the statement's veracity. The researchers tested a number of statements announcing the death of a famous person and observed that if the text was accompanied by a photo of the celebrity in question, the subjects perceived the message as more credible, even though the photo showed the celebrity still alive and therefore provided no evidence that the text was true. In another experiment, the phrase 'turtles cannot hear' was considered to be true more often if it was accompanied by a photo of a turtle, although the photo did not demonstrate the animal's hearing disability at all. In conclusion, information can be made more credible by the presence of images, even if these are irrelevant. Clearly, if the pictures really support the content, that is even better. A press campaign could not exist, and especially not work (except in some particularly creative cases), if not accompanied by a photograph.

Photographic images have the power to make us feel sensations and to bind us to them: a food photograph makes us taste a certain meal, an architectural photograph takes us to an unknown place, a fashion photograph makes us imagine ourselves wearing that outfit, the still life of a piece of jewellery makes us feel adorned by that item, the image of a perfume gives us the sense of smelling it. The power of images is that, as opposed to words, they are immediate and do not require translation. They speak a universal language, comprehensible to everyone, regardless of language, age or level of education. It is no coincidence that photography has been called the eighth art. Read the post on the debate on whether photography is an art.

Image is necessary to present a product or service, it is the first and most important business card. No-one these days would buy a product or service that does not look good. This explains the need for professional commercial photographs for printed communication (creation of a catalogue, brochure, etc.), for printed and web advertising (adv campaigns), for one's own website, for e-commerce, for social networks. In the world of social media, a post accompanied by an image has 94% more views than a simple text and is shared 40 times more.

Commercial photography is essential to sell a product, on a descriptive level and on an emotional level. On a descriptive level, commercial photography allows you to show it in detail, to present it in its context, to make its use clear. On an emotional level, commercial photography succeeds in arousing interest in that product by exciting it, expressing its uniqueness or extraordinariness. It has the ability to awaken desire, to arouse the desire to have it or to experience it.

A fundamental aspect of a commercial photographer's work is the photo shoot.  Let's take a look at how it is done, if done by a professional.

PHASE 1: QUOTATION AND ARRANGEMENT

HOW DO WE REACH THE ESTIMATE?

Initially there is a dialogue between the commercial photographer and the client, which may take place by telephone or vis-à-vis. In this first phase, the client's requests are listened to, the deadlines are defined, the work phases are determined, the professionals to be involved are assessed ( potential art buyers, home economists, stylists, make-up artists), the potential need for models is considered, potential locations are suggested when the shoot does not take place in the photographic studio, and any on-site visits are arranged.

To organise the most complex shoots, several meetings with the client and numerous site visits can be helpful. Everything must be planned in good time. Details are very important, especially when the protagonists of the shoot are out of the ordinary. Read the story of the shoot held at Studio Urnato that featured four horses as models. Nothing can be left to chance, especially when the location is "alternative". When shooting in a meadow, for example, it is necessary to have electricity available and to request the collaboration of an electrician in advance. Read the story about the shooting in the open countryside. You also have to think about the unpredictable. Thinking of everything in advance helps to optimise time and is a guarantee of a successful outcome. It also saves a lot of money compared to having to intervene to deal with the emergency.

A professional photographer, in order to handle everything without surprises, also includes in the quotation possible elements that cannot be budgeted for. It may be necessary to provide a separate cost estimate for post-production. When planning the number of shots required, it is essential to understand when it is appropriate to take a shoot and when it is more appropriate to opt for a render. In some cases it is possible to photograph everything from life during the shoot, in other cases it is better to add elements in post-production. See how post-production works.

A PRACTICAL EXAMPLE

At Studio Urnato, the division of tasks is as follows: the photographer's assistant establishes and maintains contact with the client, draws up a detailed quotation including post-production and specifying any deadlines, manages the research phases (i.e. identifying the location of the shoot, external collaborators and suppliers, possible models) and the logistics in full (any on-site inspections and further meetings with the client). The professional photographer takes care exclusively and completely of the creative part. A detailed quote, with deadlines put down in black and white, is the basic requirement for a perfectly executed job that satisfies both the photographer and the client.  "For us, the given word is law, it seems natural to us but in this industry it is not so obvious. When formulating the quote, we include exactly what the client asks for and we don't take shortcuts”' explains Oscar, Studio Urnato's assistant photographer.

This attitude is very useful to avoid misunderstandings. But sometimes it happens that the client asks for something and then has it done by another studio in a different way that saves him money.  "If the client asks for a product to be photographed on the moon, we work out an estimate considering the costs involved in a trip to the moon, in order to realise exactly what he has asked for. If the client then goes to another photographer who photographs the object in question in another location, it is normal that he spends less. But this does not mean saving money, it means getting a different result from the one requested. Of course we can also change the quote if the request changes! But we work seriously, we do not use such strategies to grab the customer. But we work seriously, we do not use such strategies to hook the customer. This is what has allowed us to have loyal customers for almost 30 years. Some of them now trust us so much that they don't even ask us for an offer.”

Once the quote has been approved and an agreement has been reached with the client on the planning of the photo shooting, we move on to the actual shooting.

PHASE 2: SHOOTING

Whether the shoot takes place indoors or outdoors, the client is always free to visit the set and be present during the photo shoot. In fact, his participation in the shooting is desirable so that he understands what kind of work is behind a good photograph, discusses with the photographer any problems that may arise during the shoot and evaluates the shots during the shoot rather than afterwards. Following is one case where the client's involvement on set made all the difference.

WHO IS THERE ON SET?

The photographer and photographer's assistant are always on set. Possible collaborators are chosen from time to time depending on the type of photo shoot. In fashion photography, in addition to one or more models, there are usually also stylists, make-up artists and hair stylists, who take care of the choice of clothes and accessories, make-up and hairstyling. During the fashion shoot, in order to achieve excellent results, the photographer must be able to establish a relaxed atmosphere and create a feeling with the models, so that they act naturally.

If it is food photography (food photography), very frequently the art buyer and food stylist (also known as home economist) are present on the set for the selection and preparation of the food. The first takes care of providing the food and any materials. The second makes sure that the product or meal looks its best and remains perfect for the duration of the photo shoot. If you cook directly on the set, a cook also participates in the service. These contributors are crucial to the success of the shoot as they allow the photographer to concentrate on his work and achieve the best possible photographic output. Read the story of a food photo shoot.

WHAT MAKES IT POSSIBLE TO TAKE A QUALITY COMMERCIAL PHOTOGRAPH?

Leaving for granted the skills, knowledge and experience that a professional photographer has to have, there is another crucial requirement needed to produce a good commercial photograph: having the right equipment. It is indeed true that photography is not about equipment, but about the photographer's eye, and that a photograph without content will never be a good photograph. However, it is also a fact that for a professional commercial photographer, delivering excellent quality photographs is a must, and therefore equipment does matter.

How to choose a camera: DSLR, medium format or view camera?Which camera to choose? There is no one answer for everyone. The choice depends on many factors: affordability, ability to use it, knowledge of what the market offers, and intended use. It is therefore preferable to evaluate on a case-by-case basis.

For outdoor shooting or for non-static indoor shooting (i.e. with people present, e.g. in suits) DSLRs or professional mirrorless are ideal. DSLRs and mirrorless are the most versatile cameras and are mainly used outdoors or indoors for wearables and portraits of people. At Studio Urnato we work with Nikon-branded mirrorless that reach a resolution of 46 million pixels and are used with about fifteen lenses.

For still life shooting in the studio, the best tool is definitely the view camera with digital back. Although it is complex to operate and can only be used on a tripod stand or column, the excellent results it offers justify its use. In still life photography, the view camera has no limits. It allows greater control of the focusing planes (it is possible to vary the axis of focus diagonally or on a sloping line, or to focus on the whole field), making it possible to obtain multiple focusing planes and a whole series of off-centring and tilting that cannot be achieved with SLR cameras. Not many people use it. In the case of Studio Urnato, much of the work inside is done with the Swiss brand Sinar's view camera, the top one on the market. Before the rise of digital, it worked on film, now the view camera with a digital back is used instead. Studio Urnato uses one with fifty million pixels from the Danish brand Phase One, considered the best on the market. Find out how the view camera works.

Between DSLRs/MILC and view cameras are medium format cameras. The medium format with an internal sensor or digital back (if desired, this can be attached using a specific adapter) achieves excellent results, comparable to those obtainable with the view camera in terms of file quality, even if with more limited functions. Medium format cameras, however, compared to DSLRs, are less manoeuvrable and have a more limited set of optics. This is why, when the DSLRs available on the market improved in resolution, Studio Urnato abandoned medium format: by offering a larger lens set, DSLRs allow for greater freedom of expression.

Lighting on set: flash light or constant halogen?In photography, light is the key variable. When shooting a product, lighting affects not only details, but also the emotions that the product can communicate. Especially in the case of a person: to capture them in their best (or desired) expression, the right light is the starting point for a good photo.

When choosing the type of lighting, the first consideration is whether the photo shoot will take place outdoors or indoors. In the first case the choice will certainly fall on flash light. In the second, on the other hand, you can choose to use flash light or constant halogen light.

Continuous halogen is only used indoors because it is not compatible with sunlight. The reason is quite simple: the colour temperature of light is measured in degrees Kelvin. On average, daylight, classified as 'natural light', is 5000 - 5500 K, like flash; continuous light, on the other hand, works on 3200 K.

These two types of lighting have different functions. Flash light allows you to work well with people while avoiding the effects of blur. Continuous halogen, on the other hand, is not suitable for portraying people, but is good when you want to get a path of motion.

Generally speaking, we can say that flash light is more versatile and is suitable for both indoor and outdoor use, with subjects either static or moving. It does, however, require a higher investment and is more difficult to control as it produces bursts of light and not, indeed, continuous light. In the studio, however, tricks can be taken to make working with the flash easier, such as the 'pilot light' that indicates the direction of the flash.

Studio Urnato uses almost exclusively flash light, both in the studio and in locations, companies or environments, from the industry-leading Broncolor brand. It has a complete range of advanced equipment, with generators, flashes and various accessories such as banks, spots, honeycombs and light satellites.

What are aerial banks?If the shoot takes place in the studio, aerial banks can be used, a lighting system that runs on an overhead crane and allows you to work in the studio as a whole. No other light source can achieve what aerial banks offer. All lights are programmable and managed tenth by tenth.

At Studio Urnato there are two of them mounted on overhead cranes. They measure three metres by one and a half metres each and can be combined to create a single light source measuring six metres by one and a half metres with a dual light system (continuous halogen light and flash). The lights are fully controlled by computer or remote control. The two banks reach 16000 watts as a maximum constant light point, while the flash light works with 6400 watts. Very few in Italy have such an instrument. Studio Urnato uses a Sinar view camera with Phase One back and dedicated digital optics.

One of the main reasons for choosing a photographer with modern equipment is to achieve the highest quality by optimising processing time. A properly taken photograph shortens the time needed for post-production, which is usually a rather expensive process. Studio Urnato has advanced equipment, and the photographer and assistant photographer routinely travel to major trade fairs to keep up to date with the latest developments.

PHASE 3: POST PRODUCTION

In commercial photography ( whether it is industrial photography, food photography, fashion photography, still life of jewellery or accessories), the post-production phase is essential to achieve good results. It is also thanks to it that one can distinguish a professional commercial photographer from an amateur one. Nowadays everyone tries to do post-production, thanks to the easy programmes that can be used even from a mobile phone, but the results are immediately recognisable.

HOW DOES POST-PRODUCTION WORK?

When shooting, a professional commercial photographer obtains a raw digital file in RAW format that refers to a special storage format used to collect data that is considered raw and allows for better work in post-production. The RAW file must necessarily be processed in post-production and requires the use of complex software, generally for professional use.

The post-production of a commercial photograph consists of two phases. The first stage involves optimising the file: first the file is analysed and checked to ensure that it is correct, then colour, brightness and contrast are checked. The second phase involves optimising the subject and then possible retouching (very often the products photographed are prototypes and therefore need to be optimised), its refinement, and its possible inclusion in a certain background or context.

A professional commercial photographer is well aware of post-production programmes and therefore already knows what is preferable to take during the shooting phase and what should be done in post-production in order to optimise the work time and the quality of the result. Of course, the professional commercial photographer also needs to know how far the post-production and retouching programmes he uses can go.

Good post-production can take even longer than the shoot. Rather than photographing a single subject and then having to intervene heavily to perfect it, it is sometimes preferable to photograph several subjects and combine them together later.

Sometimes there are very complicated set-ups and it is more laborious to do everything on the shoot than in post-production.

THE 'PUSHED' POST-PRODUCTION

A professional commercial photographer always relies exclusively on photographic reality. Blurring, for example, must necessarily correspond to the photographic principle. Studio Urnato relies solely and exclusively on photographic reality. Fake is not part of our professional way of working.

A professional commercial photographer avoids exaggerated post-production. One often hears, 'I want the model to be perfect', but a professional does not please a client to such an extent. In people, the most delicate aspect is the treatment of the skin, which must not look plastic. Reality can be improved, not distorted.

THE WARRANTY OF PRIVACY

A very important, often underestimated issue is the issue of privacy. A professional commercial photographer must guarantee the client complete confidentiality. In the case of Studio Urnato, everything is designed to guarantee privacy, starting with the spaces. The structure itself makes it possible to work even for several competitors at the same time, guaranteeing each one the maximum confidentiality. When the client visits the studio, he notices immediately.

Every job has to be handled from the inside by professionals. Nowadays, people often send work to be done or completed in Asian regions because the costs are much lower there, but by doing so, they completely lose control of their media: they cannot monitor how a photograph is used or where it goes. In the case of commercial photography, when prototypes of products in the making are often represented, you cannot risk a photograph of an object ending up in the wrong hands. At Studio Urnato nothing is given to be done externally: even the most trivial contouring is done in-house by trained and qualified staff.

A FEW TRICKS FOR RECOGNISING GOOD COMMERCIAL PHOTOGRAPHY

HOW CAN YOU RECOGNISE GOOD COMMERCIAL PHOTOGRAPHY?

Before shooting, a professional commercial photographer makes an assessment of the object to be photographed and puts it in context. He asks himself where to place it, what light to use, what crop to give, what point of view to choose. He ponders what values and emotions it should convey. When he shoots, the light, composition and context must be perfect. One often hears: 'The product looks better in photos than in person'. When this happens, the goal of commercial photography has certainly been achieved.

WHAT CHARACTERISTICS SHOULD A GOOD COMMERCIAL PHOTOGRAPH HAVE?

• Let us see what the main characteristics of commercial photography by a professional are.

• From a technical point of view, it is a quality image: light, point of view, focus, contrast, context insertion are impeccable.

• The file is perfect, chromatically correct and in the required format.

• It fulfils the purpose for which it was created.

• It represents the subject very closely to reality, the rendering of materials and light is extremely close to the original.

• Details (when needed) are highlighted and clearly visible.

• It is perfect for its final purpose: it represents the object realistically or in a way that best conveys a certain concept or idea or emotion.