Apr 10
30
Catalog Shooting Types
Studio fashion shooting gives the photographer more control in lighting. Here, dramatic contrasts of shadow and light help James Caulfield create the proper mood.
Wallpapers and wall fabrics, carpeting, painted wooden surfaces, mirrors and river rocks are just a few examples of available backgrounds. Contrasts in texture are usually desirable.
If a product is basically smooth in surface finish, a roughly textured backdrop can add dimension to the photographic depiction. Conversely, a highly textured piece of merchandise may be shown to its best advantage on a slick, reflective or smooth background. Economically, studio still lifes (or table top shots) work very well for catalogers. In the controlled environment of studio locale, where you don’t have to worry about “weather permit” or changing lighting conditions, more shots can be planned and accomplished per day.
Neither do you have to contend with the logistics of moving long distances from setting to
A studio set doesn't have to be elaborate. The simple drape of an interesting fabric can give a shot tremendous impact. Photographed by James Dee Daley.
setting, as you would on a location shoot. In addition to more shots per day, the cost of background material is reasonable, making this a preferred type of shooting for many catalogs.
A studio shoot does have limitations. The most constricting is the danger of having your catalog look very much like everyone else’s. It is more difficult to convey a distinctive image of your own in a studio shoot than it is utilizing a location shoot. It requires an image inactive art director and photographer to establish a studio “look” that becomes recognizably a visual identity for a specific catalog. Achieving this will involve experimentation with lighting, props and backgrounds.
STUDIO FASHION SHOOTINGS. A fashion catalog shoot is much more complicated than a still life shoot, whether done in a studio or otherwise. Many more elements must be dealt with by the creative team, notably the addition of models. There are more people involved in fashion shoots, including hair and makeup people, pressers, and on-camera stylists (who must watch the set for details as well as pin and fit the garments on the models.)
One stylist pins and tucks her dress. Another pulls on her hair. And through it all, a model knows that she has to look natural and glamorous.
Clients (or merchants/buyers) are usually on the scene, too, watching to see that important fashion details are shown in the poses. A supposedly simple shot of a silk blouse becomes a confusion of arrangements revolving around model selection, type and coloration of makeup, hairstyle, jewelry and belt with which to accessorize, showing the stitching on the left pocket, as well as choice of backdrop and mood (or attitude) of the shot.
Studio fashion shots offer the advantage of not having to worry about the weather, and of having a centralized location from which to rotate models. Additionally, background themes can be selected and constructed to provide a consistent look or frame to the merchandise.
Those backdrops, like with still life studio shoots, can vary tremendously. It is possible to build a set elaborate enough for a big budget movie, or to simply drape an interesting fabric in the background.
A studio set doesn’t have to be elaborate. The simple drape of an interesting fabric can give a shot tremendous impact. Photographed by James Dee Daley.
Because of the control that a photographer has in setting up studio lighting, the effect on the flesh tones of the models can be more consistent than with outside shootings. Smoother flesh tones can be obtained by adjusting the lights to eliminate harsh highlights and deep shadows (especially under the eyes.) Those highlights and shadows create “breaks” in tone on the model’s flesh, and will become magnified in color separation. When separated into dots for reproduction, the normal “modeling” or shaping of an area of flesh tends to become flattened, thus creating hard edges that, in reality, are not there. This is a result of going from a three-dimensional object to a two-dimensional medium, both in photography and in ink-on-paper printing. Studio fashion shoots are more economical than locations for the cataloger’s production budget. Because of the confined space of the studio, and taking into consideration the convenience of model’s dressing rooms, bathroom facilities and available photographic equipment, more shots can be accomplished in a full day’s shooting.
