Creative Advertisement Workshop - Product Photography

 Studio Lightning and Product Photogrpahy For Creative Advertising

Before you shoot you need a battery, format the memory card, ISO (lowest available) White Balance (Auto), File type (Jpeg fine/large), Exposure mode ('M'), Focus mode (Auto - AFS/ single area)

Reflectors; standard, 'Spillkill','brolly', Softbox, Snoot, Barn Door, Direct light, 'Hard' light source.

Standard Reflector; direct light, 'Hard' light source

'Spillkill' Can be used as a direct light, but not as controlled as the standard reflector , used in conjunction with 'Brolly'

Brolly silver/white, white can be used either as reflected or diffused 

Softbox; large and cumbersome to fit - take care! soft/diffused light, more controlled ta umbrellas, often first choice of reflector type

Snoot; small direct light, budget spotlight, often used as a secondary light, gets very hot in use!

Barn Door; 'Add on' to standard reflector, allows more control over direct light sources, allows the attachment of coloured gels, also prone to excesive heat in use.

Quality of light - there are basically two main catergories of lighting - 'hard' and 'soft' qualities of light. These are defined by the colour of their shadows cast.

• bare bulb = black shadow = hard light 
• brolly/ soft box = grey shadow = soft light

Studio light - Direction - where is the light coming from ? 

Creative use and direction of lighting in the studio can show the following;

• shape of the object
• the form of the object
• the texture of the object

Lightning for shape, form or texture

• Shape - the shape of an object, silhouette 2-d outline = one light 
• Form - the 3-D volume of an object is it's form created through variations of tone from light to dark = two lights of varying intensity
• Texture - the surface characteristics of an object = one light

Here are my examples below

Shape

Shape

Form

Form

Texture

Texture

Sources; http://sdcmoodle.southdowns.ac.uk/mod/folder/view.php?id=94394

Bibliography - Physcogeography

Andy Warhol - http://www.biography.com/people/andy-warhol-9523875
http://www.webexhibits.org/colorart/marilyns.html
http://www.biography.com/people/andy-warhol-9523875#death-and-legacy


Banksy - http://banksy.co.uk
http://en.wikipedia.org/wiki/Banksy
http://www.biography.com/people/banksy-20883111
http://uk.complex.com/style/2013/11/banksy-greatest-works/sorry-the-lifestyle-you-ordered-is-currently-out

Blek Le Rat - http://bleklerat.free.fr
http://en.wikipedia.org/wiki/Blek_le_Rat
http://www.artrepublic.com/biographies/10-blek-le-rat.html

Ronya Glankya
http://www.ronyagalka.com

http://www.urbandictionary.com/define.php?term=psychogeography
http://elysekennedy.com
http://www.saatchiart.com/steven.irwin3
http://www.tomato.co.uk
https://www.pinterest.com
http://sdcmoodle.southdowns.ac.uk/course/view.php?id=1616&section=5

Reproduction - How to reproduce artwork

Photographing

After photographing the original, a reproduction is often printed in a batch, or run, of 1,000 or more. Often the artist is not involved in the process. By the nature of the printing technique, all the reproductions in a run are almost identical, with no variation in the printing or paper. Reproductions usually do not match the quality of an original print.

Sometimes artists sign and number a run of reproductions in the same way as original print editions. Marketers then sell them as “limited edition fine art prints.” 

Photographing Artwork is easier with large paintings, but this requires an appropriate camera equipment (tripod, camera, sharp lens and lighting) 

How to Photograph Artwork for Reproduction 

Technique and Equipment 
Photographing artwork for reproduction requires either a copy stand or professional lighting equipment.  Techniques used are completely different to other studio-based work so there are key points that need to be followed to get good quality images. 

• Placement of the camera in relation to the artwork 
• Placement of lights in relation to the camera and artwork 
• Use of the camera to achieve the correct focus and exposure 

Symmetrical geometry is the key, correct placement of the lights to the artwork makes all the difference. Lights should be at a 45 degree angle from the artwork and illumination should be at equal intensity from both light units. 

Some problems that could occur include: 
• Colour shifts, uneven lighting, distortion of the picture plane, specular highlights (gleams), improperly exposed film resulting in overly dark or weak images 

  
 Equipment Needed to Shoot Artwork to Professional Standards 
• Studio lights (x2) on stands with light trigger and receiver.
• Light meter to measure exposure. 
• Easel or alternative hanging method to keep work vertical. 
• Camera (digital or film). The camera must be manually operable. If you can’t set the shutter speed and 
aperture manually, do not try to use it for this purpose. 
• Use a 50mm or small telephoto lens. DO NOT use a wide-angle lens, as it will distort your artwork. 
• Tripod 
• Tape measure 
• Polarising filter for camera (if reflective surfaces involved) 
If shooting at home you would need x2 work lights, typically 300watts and use a tungsten balanced film or an 
incandescent setting on your camera (white balance). 

Common Problems
There is little you can do to control this in shooting the artwork. 
Common Problems and How to Fix Them 
• Dark Corners – Your lights are too close. 
• Uneven illumination – Your artwork is skewed. 
• Bad colour – Incorrect exposure or combination of film
Blurry image? Your lens was improperly focused, or your camera moved. Try focusing on a high- contrast image, try using a cable shutter release. 

Diagram of Reproduction

Printing

Prints are hand-pulled by an artist from a printmaking surface such as block or screen. They are usually numbered and signed by the artist beneath the image after the batch, or edition, is printed. Editions are usually 200 prints or less, even as few as 10. The numbering is done in this format: 1/200, 2/200, 3/200, etc.

After the edition is complete, the printmaking surface is often destroyed, ensuring a rarity that makes the prints more valuable. Even if they are not destroyed, printing wears surfaces down, and images pulled from them begin to degrade. Because of this and the paper type used, each print is unique and signed.

Scanning 
Scanning is a very simple method of reproduction method as its easier to control the resolution of the final output, less concern with colour correction measures needed due to improper lighting most of the time the image almost always looks clear, crisp and sharp. Although if you art work is on a large scale it wont work due to sizes.

My Method

I would used the photographing method because it is most suitable 
as the prints would come out almost identical, with not a lot of difference between the variation in the printing or paper. It would save my time by not having to repeat my piece and trying to make each piece come out the same which would be impossible as I used spray paint and screen print. Photographing artwork is easier with larger artwork and my piece is A3 size therefore making it suitable but this requires  appropriate camera equipment such as a tripod, camera, sharp lens and lighting.

I wouldn't use printing because it would take to long on a large scale also if a print didn't come out right i would have to make sure the quality is brilliant on every one, and because I used spray paint to create the background I would have to do that for everyone also the white gel pen would have to be repeated on every one which would be a long lengthy process.

I wouldn't use the scanner to reproduce my artwork due to personal preference as I don't have a lot of experience using the scanner therefore I would rather use a camera.

Sources; http://mirappraisal.com/prints-reproductions-whats-the-difference-art-appraisal-painting/

https://finerworks.com/theo/blog/an-artists-guide-to-digital-printing/scanningvsphotographingartwork/

Posters throughout the years - Creative Advertisement

1930 World Cup - The organisers of the first World Cup had the foresight to commission a poster, and its designer highlighted its premier status by using lots of red. With lovely stylised graphics of a goalie making a save, and fantastic custom text, it measured 785x380mm. Original prints of this poster sell for up to £20,000. Art deco style.

1938 World Cup, This piece of art is arguably the most iconic pre-war World Cup poster and features the well-known image of a footballer with his foot on the classic T-Ball football positioned above the globe. Official World Cup replica poster. This poster was created by Henri Desmé, a little-known designer of the '20s and '30s. He used a stencil technique in an Art Deco style similar to propaganda and advertising posters of the era, settling on a composition not unlike his own logo, which appears in the top-left corner. The original was huge at 1575x1190mm

1950 World Cup -  The World Cup went into hiatus thanks to the Germans getting caught offside in Poland in 1939, but was revived in 1950 in Brazil. The post-war spirit of internationalism is represented in the improbable multi-flagged sock, and the strong type harks back to the 1934 poster a touch, although it had put on a bit of weight over the years.

1966 World Cup -   A glorious year for England, which hosted and won the tournament, 1966 was also the first tournament to have an official mascot, Willie the Lion. And the poster is firmly focused on the furry beast, who's lumping the ball into row Z. Nice use of white space maybe, but what England fans remember is that the ball crossed the line, right?

1970 World Cup -  The double in-line text was perhaps in homage to the 1968 Mexico City Olympics poster and its iconic concentric line work. The poster is simple and graphic, and that's all there is to it. The designers expanded the tournament's official logo and put it on pink for the poster, and it proved a very popular design.

1978 World Cup - An attractive poster with its ink-dot pattern and two athletes celebrating, today it's associated with Argentina's military junta. During their rule, up to 30,000 people disappeared. It's said that the pointillism-influenced poster was created by an agency called Mandatos Internacionales, and many Argentines believe the creators also worked on the dictatorship's propaganda.

1990 World Cup - The artful tradition in World Cup posters continued with the appointment of stalwart Italian artist Alberto Burri to create this. They probably didn't expect him to use a digitally elongated, photo negative image of the Colosseum, adding a football pitch, tiny flags and bold type. It links nicely to the spirit of gladiatorial Rome.

1998 World Cup - The France 1998 organising committee ran a poster design competition, which was won by Natalie le Gall, a student at the Ecole Supérieure des Beaux-Arts de Montpellier. A mixed-media piece including dabs of bright colour and nice touches like the texture on the pitch and the shadow effects, it launched her on the French illustration scene.

2010 World Cup - The poster for the 2010 World Cup in South Africa was designed by Gaby De Abreu (executive creative Director and founder of the Switch Design Group) as the conceptualiser and typographer, and Paul Dale as the illustrator. It uses very bold, literal graphics of an African gentleman about to header the ball. The ball is symbolic of hope and aspiration as well as the unknown - when heading a ball, up until the point of contact and deflection, it's anyone's game!

His head is more representative of the people of Africa, whilst the neck and chest morph more into the African continent, culminating in the South African coastline - the ultimate destination for the world cup and host country on behalf of Africa.

2014 World Cup - The official World Cup poster for this year was unveiled on January 30th 2013 in Rio de Janeiro. According to FIFA, the artwork depicts the beauty and diversity of Brazil through a colourful, emotional and vibrant design. The creative concept at the heart of the poster is 'An entire country at football's service - Brazil and football: one shared identity'. The poster was designed by Karen Haidinger at Crama and weaves Brazil's culture, flora and nature into a dynamic image - note the players' legs challenging for the ball revealing a map of Brazil. Clever, huh?

Over the years the World Cup posters have moved from traditional media such as printing techniques and collage towards more digital media techniques. 

The 'Mexico 70' Poster has an iconic font which makes it very appealing also the colours contrasting each other make it stand out even more and you wouldn't often see these colours together

Mexico. The football image has been simplified and been made

simple and easy to understand, you can see the similarities between the 1970 world cup ball and the football image also the image is going to be used on a poster which would be used around the whole world as it was the world cup so it has to be easy to understand no language makes it easier to understand. The negative space between the black and pink works well as they are contrasting colours.

You firstly pay attention to the image and then work your way down towards the font. The 1968 Olympic Games font was inspired by the use of line and pattern from traditional Mexican Culture and Op-Art (optical illusion) this then inspired the font for the 1970 Mexican World Cup poster. This poster would of been created by a more traditional media such as screen or lino printing, this would of looked very modern at the time but now it looks very retro and still seems cool no.

Where as the 'South Africa' poster looks like it has been produced using a more non traditional media such as photoshop, the poster is very bold, and bright in colours. The colours used link to the South African Flag

His head represents South Africa within the shape and  and the football represents hope and aspiration as you see him looking up to it. The use of symbolism has been used here. The font seems very modern even now in 2015 even though the poster was created 5 years ago.

Sources; http://www.creativebloq.com/posters/fifa-world-cup-61411945