SD Warren Catalog of Catalog Photography

THE S. D.
WARREN
CATALOG OF CATALOG
PHOTOGRAPHY
A PHOTOGRAPHIC MEDIUM. Dramatic p h o t o g r a p h y can elicit an emotional response from the consumer. It starts a chain reaction that triggers the m o t i v a t i o n to make a purchase.
FOCUS ON PRODUCTS. Think of the camera lens as the eyes of the consumer. The catalog m e d i u m allows a photographer to direct attention to important aspects of the merchandise.
Dear Catalog Marketer: We are pleased to present the S. D. Warren Catalog of Catalog Photography as the second in our series of informational reference pieces. As paper manufacturers, S. D. Warren understands the needs and special interests of the catalog industry. Addressing those needs has resulted in the publication of this series of educational booklets. The first issue was devoted to the subject of catalog design, one of the major elements of this medium of direct marketing. While each of the important elements of catalog production must function effectively in overall communications to the consumer, photography carries the role of gaining the customers attention. In order for the merchandise to sell, it must be depicted well. We invite you to sharpen your focus on the finer points of catalog photography. At the heart of this creative medium lies the key to more persuasive catalogs. Designed and written by catalog consultant ]o-Von Tucker, The S. D. Warren Catalog of Catalog Photography is dedicated to those talented people charged with the responsibility of capturing product image. With our best wishes,
TO P R O PO R NOT TO PROP Props and accessories can personalize a shot, s h o w a product in use or give it proportion. But they must be chosen with the upmost of care.
SPECIAL REQUIREMENTS. Creating an illusion can be difficult work. Precious jewels, t e m p t i n g f o o d and h i g h energy kids are some of the subjects that challenge a photographer and crew.
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S.D. Warren Company A Subsidiary of Scott Paper Company R S . ((The premiere issue in the series, The S. D. Warren Catalog of Catalog Design, is available. Simply check the appropriate box on the order form provided in this book and mail it to us."
TYPES OF CATALOG SHOOTINGS. A studio setting or an exotic locale are just two of the places from which you can project your image to the audience. Your product will help to determine which is best for you.
LIGHTING TECHNIQUES. Bending, bouncing and refracti n g . . . a skilled photographer can make light travel in any number of ways, helping to give a product added richness and depth.
COMPOSITION OF PHOTOGRAPHY. Creative balancing and positioning of merchandise and props within a shot will encourage a consumer's eyes to ling e r . . . a n d give the product a better chance to sell.
THE ROLE OF THE ART DIRECTOR. On the set, this i n d i v i d u a l becomes a pacesetter, a scrutinizer and a primary decision maker. But behind the scenes, an art director works to interpret your merchandising philosophy.
FIDELITY OF REPRODUCTION.
Top-notch photography and talent should not be wasted on poor quality separations and printing. Today, new technological advances can help to preserve the integrity of your original film.
A P E R SELECTION. THE P Make sure the finished catalog lives up to its potential. Deciding upon the right paper for your project is just as important as choosing your photographer and designer.
fflOTOGRA
CHAPTER 1
1. While catalog photography must create excitement, its primary responsibility is to explain the product to the customer. This Togashi still life accomplishes both objectives, capturing texture and fluidity with a burst of kaleidoscopic color.
CATALOGS... A PHOTOGRAPHIC
he environment of the mailbox (the catalog's distribution channel) is a highly competitive one. More often than not, several catalogs will arrive at the same time, with each catalog d e m a n d i n g the consumer's attention. The presentation of the catalog has to establish positioning and credibility with the prospective cus-
tomers... it is the "voice" that speaks to the readers and invites them to browse through the pages and to consider this catalog over another. The creative combination of all of the visual elements of the medium results in the look and communicated personality of an individual catalog. The visual elements consist of design, typography,
photography, use of color, and quality reproduction (separations and printing.) A consumer looks at a catalog briefly before deciding on further interest. The perception of the catalog is d e t e r m i n e d , to a large degree, on the presentation of these marketing elements. Of all of the visual elem e n t s of p r e s e n t a t i o n ,
S.D. Warren Catalog of Catalog Photography
photography is the most crucial, because it must clearly depict the products as well as serve to excite the senses of the reader. Catalogs (also referred to in the industry as "paper stores") are essentially a photographic medium of presenting merchandise for direct sales responses from customers. D e s c r i p t i v e c o p y is important, because it must f u n c t i o n to i n f o r m the reader about the products and to close the sale. Design format serves as the cohesive element that holds the other diverse elements of p r e s e n t a t i o n together, resulting in a unified "spread" (or two facing pages) concept. The use of color in a catalog can create a positive receptivity
in the consumer's mind. tions is to accept that cataGood quality reproduction log photography differs in helps to establish cred- objectives and usage from ibility; it helps establish general advertising phot r u s t - w o r t h i n e s s a n d tography. Editorial and believability about the cat- a d v e r t i s i n g p h o t o s are alog company and their e x e c u t e d to create an merchandise offerings. impression and an image, All of the elements of cat- for later recognition and alog marketing are impor- subsequent sales. Catalog t a n t , but p h o t o g r a p h y photography must also lends contributions to each create the image, but is priof the others, and presents marily charged with fully a potential that is unique explaining the products at and necessary for suc- a glance, and with generatcess. . .photography can ing an immediate sales elicit an emotional response. response from the conIn order to accomplish sumer. It can provide the these objectives, catalog reaction or "hot b u t t o n " p h o t o g r a p h y m u s t be thattriggersthe motivation planned and executed with to make a purchase. many considerations and Achieving the best cata- marketing judgment calls. log photography is not as Intended use of the mersimple as it might appear. chandise should be porOne of the first considera- trayed, or at least inferred.
2 . The dress could have been shot on a simple studio set. But Kip Meyer chose a sweeping landscape to give itand the entire cataloga unique personality. 3 . A shift in the weather has to be expected when you re on location. This ambitious photographer turns a dreary morning rain into an opportunity to shoot an unusual setting.
Chapter One
1. Photography can play on the sense of touch as well as the sense of sight. Here, Denes Petoe uses a collage of fabrics and textures to counterpoint the suppleness of beautifully grained leather.
Backgrounds and backdrops need to be carefully thought out and chosen. Color and texture should be used considerately and psychologically. Props and accessories need to be l o g i c a l l y p l a n n e d and strategically placed. The p r o d u c t s m u s t be w e l l composed within the frame of the designated space allocation. Lighting should be dramatic, defining and well placed. These are all creative and artistic judgment calls that are i m p e r a t i v e in accomplishing effective catalog photography, but they should be directed by c o m m o n sense and by s o u n d m a r k e t i n g principles. Given its proper respect and creative g u i d a n c e ,
photography will "speak" clearly and persuasively to its prospective audience. The camera will capture the essence of the merchandise and go further to define it to the viewer's sati s f a c t i o n . But the lens needs help. Like a computer, it will only do what it is told. The photographer, the art director and the stylist share responsibility for directing the camera in its o b j e c t i v e of d i s p l a y i n g products. Their combined strategy, as in any marketing project, is what guides the attainment of the photography objective. Their primary concern should always be that of the consumer's u n d e r s t a n d i n g and p e r c e p t i o n of t h e depictions.
As a creative decision maker on the set of a catalog shoot, you are not expected to have an extensive technical knowledge of cameras, lenses, formats, films and film proce s s i n g . You s h o u l d , however, have a working knowledge of each of these areas, particularly if you plan to dictate specific d i r e c t i o n to the photographer. Art directors and designers should conduct their own ongoing research on photography, and should try to stay as up to date as possible on new d e v e l o p m e n t s in t h e medium. A basic course in photography, offered through university curriculum, continuing education departments or technical schools, will provide a cat-
6 S.D. Warren Catalog of Catalog Photography
'
alog art director with a foundation of knowledge and useful background. Basic camera body formats used in catalog photography relate to the film size. View camera bodies include 4"x5", 5"x7" and 8"x10" respectively, with each of the sizes quoted indicating the actual size of the film accommodated. 4"x5" e q u i p m e n t w i l l provide more of a range of depth of f i e l d than the other t w o v i e w camera sizes. This means that a tighter focus can be held on items placed deeper and further into the frame from products shown in the foreground. Hand held camera formats used in catalog phot o g r a p h y are p r i m a r i l y used for fashion shootings
in order to stop action and movement. They are single lens reflex cameras (or SLR's) and utilize either 35MM f i l m or 2V*!'x2V*!' film. Stop action capability allows the fashion models to move and sway to turn and change pose, which can show the garments being w o r n to a better advantage. Shooting 35MM or 21/4" f i l m also gives the opportunity to expose more film, so that the art director has from one to three rolls of 36 e x p o s u r e s each f r o m which to select the shot for r e p r o d u c t i o n . There is more grain inherent in these f i l m s than in the large format films, and an oversized enlargement will tend to show that grain in reproduction.
In Chapter Four we cover the basics of lighting techniques for catalog photography. It is necessary for designers and art directors to have some knowledge of what can be done w i t h lighting, so that their concepts as presented to the photographer are realistic and attainable. Recognizing the contribution of photography to catalog marketing is one step toward achieving the finest display for merchandise. Better display translates to more dollar sales and to m o r e e f f i c i e n t shooting schedules.
2. Rosemary Howard selects a background that adds insight to the merchandise. The Central Park setting has a nonchalance that's perfect for sophisticated sportswear.
3. Even minute details can play significant visual and psycholog ical roles in well planned photography. The border of these wicker chairs suggest the pattern of the model's jacket; the pearls and French wine are trappings of a cosmopolitan lifestyle. Photograph by Rosemary Howard,
Chapter One 7
CHAPTER 2
1. Seth Roth gives added dimension to housewares through the use of consumer considerate photography. The presentation is clear, understandable and visually pleasing. 2 . Without a doubt, the merchandise is the star. But a cluster of soft pillows helps to "humanize" the fashion in this Rosemary Howard photograph.
FOCUS ON PRODUCT
ne of the most exciting opportunities presented t h r o u g h the medium of photography for catalogers is FOCUS... the ability to literally and figuratively focus attention on merchandise. In any catalog shot, the product should be the star! Not the background, not the models, not the props and accessories, but the items being o f f e r e d f o r sale. Everything else is there to sustain, support, explain or enhance. The lens of the camera should be regarded as the eye of the consumer. Once the creative team accepts t h i s p o i n t of v i e w , it becomes easier to interpret the products through the
medium. Thinking about photographic depictions from the customer's perspective is a way of ensuring that a "considerate" marketing presentation is being utilized. It involves knowing your customer's likes and dislikes as well as you know your products, and striving to present the merchandise in a way that
will be pleasing to the consumer...addressing their needs, in a thoughtful and visually courteous manner. This consumer perspective is more a mind set than a technique, requiring discipline and self-training from the art director and the photographer. Considerate marketing adds a dimension to catalog photography beyond just showing products to their best advantage. It contributes the little touches that better explain an item; the use of a hand to "scale" a product for size; the decision to show something in the background that makes an item more relatable or perhaps more " h u m a n ized." Consumer considerate photography means depictions that are clear,
understandable, pleasing, use-illustrated and believable. In short, it means catalog photography that is thoughtfully presented. This kind of p r o d u c t focus should be planned for up-front, from design concept and layout. Notations regarding specific depictions can be made on the layouts in the form of explanations for the photographer and stylist. A "layout qualification" meeting should be held p r i o r to s h o o t i n g , and would include the art director, stylist, photographer and p h o t o g r a p h e r ' s assistant. The purpose of this meeting is to go over each spread in order to communicate the desired effects of the photography. It is a planning meeting for
the entire catalog shoot, and will help to avoid any surprises on the set (like the need for specific props, or the degree of complication of a required set.) The c h e c k p o i n t f o r ensuring that the photograph of a given product will meet the consumerconsiderate marketing objective is the viewing of the set f r o m behind the camera. At this stage, the art director should make the final decisions regarding the photographic interpretation of the merchandise. A polaroid shot of the on-camera set will reassure both the photographer and the art director that the lighting technique highlights the item and defines detail. It is also a good way to check
3 . Tabletop shooting is the fastest and most economical type of catalog photography. The background sweep and overhead lighting help the photographer to maintain a consistency in his shots.
Chapter Two 9
1. Concentrating on important features of a product can create surprising results. Here, the primitive appeal of a luxurious living room is brought into prominence by the look of an African plain. Photographed by Amazeen for Spiegel. 2 . Varying the size of the shots, as we've done on this page, helps to add impact. Photographed by Amazeen for Spiegel.
the c o m p o s i t i o n (or arrangement of the subject within the space) for maxi m u m display p o t e n t i a l . Polaroid shots taken prior to the exposures of reproduction film can be utilized to scrutinize the set for all details, i.e. checking angle, clarity of lighting, product definition, contrast, composition, and accompanying props. Photography provides an opportunity to make a visual request for attention. Products can be presented with impact and with creative flair. Spotlighting the merchandise in a p l e a s a n t s e t t i n g accomplishes the kind of
focus needed in order to communicate instantly that the items offered are important. Photography can ensure that position of merchandising authority. And customers will take your lead. Naturally, the merchandise must live up to the promises that are made in the printed depiction. Catalog customers tend to have a trust factor in photography, essentially believing that they will receive the merchandise looking very much as it was shown in the catalog. Care should be taken to never abuse the trust of photography, by not attempting to make the
merchandise look better than it really is. Photo retouching should only be used to correct a flaw or chip in the sample, not to enhance the look or to cover up an undesirable detail of the product. A disappointed mail order customer is usually a lost customer. Use the medium of photography to focus on the merchandise and show it to its best a d v a n t a g e . Allow it to speak for itself. If the item is outstanding because of its design lines, shoot it from an angle that reflects that design. If performance is the major benefit, try to show the product
1 0 S.D. Warren Catalog of Catalog Photography
in use. Concentrate on determining the finest features of each item of merc h a n d i s e , and t h e n on focusing the interpretation through the camera lens. Through design of the spread (making sure that nothing gets overpowered or lost,) and through the photographic display, it can be assured that each product gets its fair share of attention from the prospective customer. This does not mean that all of the merchandise must be treated democratically in size allocation. Equal size depictions can be boring to look at, and may lose the potential of impact. Vary-
ing the size of the subjects is visually more interesting to the reader. For example, focus group studies have provided qualitative research on catalog consumer behavior. When presented with two different spreads to look at (one with 10 equal size photographic depictions, and one with 10 shots that varied in size allocation from small to quite large), the time the consumer spent observing the variable photo size spread was three times longer. The n u m b e r of items on both spreads was exactly the same, and the merchandise was the same. This technique of
display is simply favored by catalog readers, and gives the products more of a chance to be fairly seen. It a l s o p r o v i d e s an opportunity to strengthen your authority positioning as experts on the kind of merchandise that you are o f f e r i n g . By a l l o c a t i n g some large space depictions on every spread in the book you are implying that products selected for this treatment are important. Customers expect something important on each spread. They may give a spread short attent i o n if t h a t m e s s a g e doesn't come through.
3 . An antique bench manages to give this stack of towels a sense of authority. Photographed by Marcus Tullis. 4* The merchandise must live up to the promises made in the catalog. Here, James Caulfield allows the fabric of this dress to ripple, billow and foldjust the way it would in real life.
Chapter Two
11
CHAPTER 3
1. The possibilities for a studio still life are virtually limitless. Here, a satin draped torso becomes powerful enough to showcase a treasure trove of accessories and jewels. Photographed by Lynn Sugar man.
here are four basic kinds of catalog photography required for this specialized one-onone marketing channel. They are: 1) Studio still lifes (table top shots;) 2) Location fashion shots; 3) Studio fashion shootings; and 4) Location still lifes. Each has its built-in advantages and disadvantages. Each
TYPES OF CATALOG SHOOTINGS

type of shooting can deliver remarkable catalog sales results. The choice of which types of shootings are right for your catalog should be determined by the types and categories of merchandise represented, by your production budget, and of course, by the audience you are trying to reach.
TUDIO STILL LIFES. The most popular type of catalog shoot, especially for hard goods including gift and decor items (as well as business to business products) is a studio setting. Usually referred to in the industry as a table top shooting, this kind of photography is executed in a studio under
controlled l i g h t i n g . The use of small sweeps (a table-like face that curves gradually up at the back to form a 90 degree vertical angle from the horizontal area) gives a photographer an atmosphere backdrop without a horizon line to detract from the merchandise. A sweep also allows flexibility of lighting, making it possible to darken the background behind a product for added richness of color and drama. It is also possible to blast light on the foreground of a sweep, which will measurably lighten the depth of tone in this area. This technique is favored for surprinting (or overprinting) black type over the background of a photograph. A sweep is a frame that is
c o n s t r u c t e d to a l l o w attaching a backdrop material to it. Plexiglass is frequently used, and comes in many d i f f e r e n t c o l o r s , including black, frosted grey and white, red, green, blue, etc. The surface is shiny, and will be reflective of the p r o d u c t t h a t is placed on it, resulting in a shadow-like effect. Underlighting can be used with frosted white or grey plexiglass sweep backgrounds. Using lights beamed up at the m e r c h a n d i s e f r o m underneath the sweep will give a softer definition of the items. Backgrounds for table top shots can vary as far as the imagination will allow. Seamless papers (or noseams) are available in large rolls and in a multi-
tude of colors and shades. Both seamless papers and rolled Formica work well on sweeps. They present a smooth c o n t i n u a t i o n of color for a product setting, and are relatively inexpensive backdrops. No-seam paper backgrounds are limited as to the number of times they can be used because of the fragility of the paper material. It must be handled very carefully to avoid creases, f o l d s , scuff marks and fingerprints. Other background considerations for table top still lifes are practically endless. Such things as driftwood, bleached barn wood, textured fabrics like silks, velvets and coarse weaves, brushed aluminum, industrial f l o o r i n g ,
2 . Iggy Ruggieri relies on controlled lighting and a reflective surface to accentuate the symmetry of opalescent glassware. The effect is simple, yet startling.
Chapter Three 1 3
1. Studio fashion shooting gives the photographer more control in lighting. Here, dramatic contrasts of shadow and light help James Caulfield create the proper mood. 2 . A studio set doesnt have to be elaborate. The simple drape of an interesting fabric can give a shot tremendous impact. Photographed by James Dee
Daley*
wallpapers and wall fabrics, c a r p e t i n g , 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 d i m e n s i o n 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 e n v i r o n m e n t of s t u d i o locale, where you don't have to w o r r y a b o u t " w e a t h e r p e r m i t " 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 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 s h o o t i n g f o r m a n y 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 r e q u i r e s an i m a g -
inative art director and photographer to establish a studio " l o o k " that becomes recognizably a visual identity for a specific catalog. Achieving this will involve experimentation with lighting, props and backgrounds.
TUDIO 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 s t y l i s t s (who must watch the set for details as well as pin
and fit the garments on the models.) 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, t y p e and c o l o r a t i o n of makeup, hairstyle, jewelry and belt w i t h w h i c h to accessorize, showing the stitching on the left pocket, as well as choice of backd r o p and m o o d (or attitude) of the shot. S t u d i o f a s h i o n 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. 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 a n d d e e p sh a d o w s (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 f l a t t e n e d , thus creating hard edges that, in reality, are not there. This is a result of going from a three-dimensional object to a t w o - d i m e n s i o n a l medium, both in photography and in ink-on-paper printing. Studio fashion shoots are more economical than l o c a t i o n s f o r t h e catal o g e d 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 pho-
3. 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.
Chapter Three 15
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1. Production schedules dictate that bathing suits are usually shot in winter. Here, Ritchie Williamson camouflages the seasons by using an indoor spa as the location. 2. A location shooting can take place in a foreign country as well as a local park. This brisk autumn walk was captured by Sharon Schuster.
...
concept w i t h t h a t of a only to realize that somem a g a z i n e ) ; i n t e r e s t i n g one forgot to bring the belt backgrounds may be con- or the hat! The problem of s i d e r e d n e c e s s a r y in logistics can be alleviated achieving the desired posi- by the use of these check OCATION FASHION SHOOT- tioning of these books. lists, with the photographer INGS. Fashion catalog Any shooting done out- and photographer's asshots done on location side of a studio is a location sistant being responsible can add an entire dimen- shoot, whether it takes for all of the equipment, sion of entertainment to place in the apartment of a and the stylist and art the visual appeal and per- friend, or in an elegant res- director thoroughly checksonality of a book. The taurant. A location shooting the merchandise and e n t e r t a i n m e n t e l e m e n t ing can be as exotic as a accessories. becomes important to cat- trek in the Himalayas or as Weather then becomes an item of concern on locaa l o g e r s as c o n s u m e r s accessible as a local park. place higher expectations The difficulties of a location shoots. On local sites, on these " w i s h books." tion fashion shoot have to models can be booked with With the appearance and do with the logistics of a ' ' w e a t h e r p e r m i t " acceptance of "specialogs" m o v i n g people, camera proviso. But if the shooting (special interest catalogs of equipment and merchan- is taking place half way narrow appeal and subject dise from site to site. Care- around the world, the modmatter); and "magalogs" ful checklists must be els are present whether or (catalogs containing a high prepared, so that nothing not the sun shines and content of editorial matter is left behind. It is frustrat- allows a shoot. It is a good and general advertising ing (and costly) to be at the idea to combine a certain which combine a catalog site, all set up to shoot, number of indoor shoots
tographic equipment, more shots can be accomp l i s h e d in a f u l l day's shooting.
into the plan, and to leave them loose in the schedule so that they can be quickly substituted in case of rain. Since production lead time for catalogs is lengthy (averaging 120 days for creative production and color separations), seasonality may present a problem for outdoor shoots. Mailing schedules dictate that fashion merchandise should be offered well in advance of the need for such items. Therefore, the combined time requirements of production and mailing will result in having to shoot fur jackets in July, and bathing suits in December. Imaginative art directors have found ways to camouflage the seasonality problem, but it u s u a l l y i n v o l v e s extensive travel plans. For
example, a foggy morning shoot on the rocky coast of M a i n e can l o o k c o l d enough for furs, even in summer months. The sunlit d e s e r t s of A r i z o n a p r o v i d e a b a t h i n g suit atmosphere even in winter. A n d t h e r e are a l w a y s choices like indoor pools, spas a n d r e s o r t s , ski lodges and cruise ships. Any location shooting must be planned well in advance, with great attention to detail and budget. A p p r o v a Is m u s t be obtained for specific locales. If fees or credit lines are required for use of the premises, these agreem e n t s s h o u l d be prearranged and budgeted. Better known catalogs will have little trouble getting hotels, restaurants and
resorts to accept a promotional credit line in lieu of a u s a g e f e e ; i.e. " P h o tographed on location at the b e a u t i f u l Famous Name Restaurant." Foreign location fashion s h o o t i n g s can p r o d u c e e x t r a o r d i n a ry p h o tographic depictions, resulting in an ambience for the catalog. Models shown in front of interesting architectural or cultural landmarks of a f o r e i g n country will hold the reader's attention longer. A cruise or vacation fashion book is more entertaining when photographed on a beach or around a pool than simply shot in studio in front of a blue no-seam. It is also easier to capture the models having fun and looking natural in such a
3. The architectural details of this beach setting will help to hold the customer's attention on the sportcoat longer. Photographed by Ritchie Williamson.
Chapter Three 17
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1. Location settings work particularly well when an editorial slant is desired. This very sophisticated gathering is the vision of Qiorgio Lari for Spiegel. 2 . Models are quick to respond to the mood of the location. The dreamy attitude of this Sharon Schuster photograph was undoubtedly inspired by the fairy tale castle.
setting. Most models will tend to strike a typical fashion pose when placed in front of a seamless paper b a c k g r o u n d . This may result in a stiff, formal type of presentation, when you might be more effective with a show of spirit and vivacity in your depictions. Foreign location shootings must be approached in a different way than local sites. They are more complicated because of the required travel and vast a m o u n t of c o m m u n i c a tions. Arrangements should be made months in advance with the Tourist Organization of the country to be visited. Approvals and clearances should be obtained, in writing, and with appropriate signatures of authorization.
Details like a p p r o v e d Customs clearance for all of the photographic equipment and merchandise must be dealt with, necessitating the submission of accurate lists of t h o s e items to both U.S. Customs (for re-entry) and customs officials within the chosen foreign country. All correspondence for this kind of trip takes many months; r e p l i e s and a p p r o v a l s should be requested in duplicate, with one set carried by the art director, and the duplicate set carried by someone else in the entourage. Even with advance clearances, papers have been known to be confiscated at border checkpoints, along with film and/ or merchandise. The extra set of papers can ensure an
opportunity to take your case to a higher authority within the clearance procedure. These procedures vary widely from country to country, with some of the most restrictive ones being fpund in Africa and Thailand, as well as in most of t h e " I r o n C u r t a i n " countries. Economically, this kind of trip may sound unfeasible, but fortunately, that is not the case. An exchange of promotional services can be arranged, with the cataloger offering advertising space and c r e d i t s within their book, and with the a i r l i n e and Tourist Organization p r o v i d i n g specified free services to the traveling photographic crew or creative team. A typical exchange of
promotional services is as follows: in exchange for the equivalent of one page of advertising, the Tourist Organization will provide free hotel rooms and food for the d u r a t i o n of the shoot, along with a translator (if r e q u i r e d ) , and ground transportation like vans. The airline will typically provide free air travel for the group to the site, and m o s t i m p o r t a n t l y , w a i v e any o v e r w e i g h t charges for luggage. (Photographic equipment and merchandise should accompany the crew on the actual flights, rather than be shipped ahead of time. This plan helps the customs clearance procedure, and discourages theft in airports under the w a t c h f u l e y e s of t h e
entourage.) An a m p l e a m o u n t of research on the country should be done in advance by the art director. We rarely have the luxury of an advance scouting trip to f o r e i g n c o u n t r i e s to arrange and select locations, so the research will be helpful and will save time in setting up shootings. Public libraries are the best source for this research, providing lots of i n f o r m a t i o n a n d p h o t o g r a p h s of l a n d marks, special sites, t e r r a i n , weather conditions, customs and traditions, transportation, language, foods, exchange rates, etc. Public health offices in all major U.S. cities will provide information regarding any neces-
sary i n o c u l a t i o n s , and Passport Offices w i l l i n f o r m you if visas are required. Approved budgets for location shoots should be carefully monitored. Allowances for unexpected expenses incurred during travel need to be included as a contingency fee. Budget "surprises" are usually not pleasant ones. Coming in over budget may eliminate the possibility of subsequent l o c a t i o n t r i p s . Careful planning and execution of details will assure the catalog company and p a r t i c i p a t i n g organizations that the shoot w i l l go w e l l . . . o n schedule, on budget and w i t h the desired end results.
3. Catalogs continue to experiment with magazine techniques. Here, a sepia tonedfinishgives the fashion and the setting an heirloom quality. Photographed by Alexa Qarbarino.
Chapter Three 19
1. Location still lifes are often the product of spur-of-themoment creativity. Here, Lynn Sugarman drapes a roughly hewn shovel handle with luxurious leather gloves. 2 . While the selection of a still life location might be a spontaneous decision, the photography technique involved is extremely precise.
OCATION STILL LIFE SHOOTINGS. ing the personality of the In the event that a fash- book.
ion catalog is being photographed on location, it makes sense for all (or a portion) of the still life s h o t s t o be s i m i l a r l y treated. This helps to tie the look of a book together, so that the stills (accessory s h o t s ) look as if t h e y belong to the catalog as.a whole. A theme can be a continuous statement in this way, providing a flow to the catalog and enhanc-
Shooting stills on location does present the problem of t r a n s p o r t i n g the merchandise to the site. Since table top items can be larger and bulkier than fashion goods, most catalogers will carefully consider which products need to be shown in a location setting and edit according to size and portability. If many airports and train stations will be involved in
the course of the trip, it s h o u l d d i s c o u r a g e you f r o m taking along very heavy items or products that are fragile. S t u d i o shots can be planned and conceptualized to blend in with a location shoot. A creative selection of backgrounds and props, including compatible colors, will blend into the look of the location site, even though they are photographed "back home in the studio." For exam-
pie, the fashion goods have been shot on location on a beach; remaining to be ph o t o g ra p h ed are accessory still lifes, including such items as a beach hat, beach shoes, a picnic hamper, sunglasses, etc. These products can be shot in the studio using sand and d r i f t w o o d backgrounds, and can simulate the same atmosphere as the fashion photographs t h a t w e r e g o i n g on location.
If you do choose to take a l o n g s o m e of y o u r accessory merchandise, y o u ' l l f i n d that opportunities abound on location to select interesting backgrounds. Search for the right setting to frame the product...one that will blend visually with the rest of the depictions planned for the spread, and that will not compete for attention with the actual merchandise that is being offered for sale. For e x a m p l e ,
imagination will guide you t o w a r d a moss-covered rock or an intricate spider web on which to lay the gold earrings. Unusual backgrounds are interesting for consumers to look at, and add that all-important element of entertainment to the pages of the catalog.
3. Unexpected situationslike these "drip/dry" shoesattract the eye of the consumer and add entertainment value to the catalog. Photographed by Amazeen for Spiegel. 4. Break a few rules. Let your imagination guide you to the perfect setting for the accessories you bring on location. Photographed by Lynn Sugar man*
Chapter Three 21
CHAPTER 4
1. Simulated daylight in James Caulfield's studio allows the photographer to fine tune the mood of a high fashion shot.
LIGHTING TECHNIQUES P
hotographers must have control over their medium. They choose a f i l m because it does something special. They select a particular lens because it magnifies or gets more of the subject into the picture, or to hold a deeper focus. They also determine a viewpoint from which to shoot, and they decide the instant of exposure. A n o t h e r t e c h n iq ue within the control of the photographer is lighting. Illuminating details of the product involves control of the light source; bending it, bouncing and refracting it to bring out definition of shape and features. Photographers achieve this by
augmenting the light source with tools that can re-direct the beams of l i g h t , s u c h as t e n t s , umbrellas, reflector cards and scrims. The choice of applied light for a photograph can deliver drama with density of color, definition with pinpointed spots, and an illusion of depth and dimension with
shadows and reflections. Photographers become a unique combination of artist and technician when applying their knowledge to the lighting of a set. Studio shooting provides a closed artificial situation where a photographer can fine tune color, intensity, direction and quality of light. Beautifully lighted catalog photography can be dramatic and mysterious while def i n i n g the product w i t h richness of d e t a i l and depth. Strobes are most often used to create studio set lighting, because they are efficient to operate and because of their consistency. Strobe units are powerful enough to carry a heavy intensity of light concentration, and yet are
quick to recycle power for repeated exposures. Strobe lighting has generally replaced t u n g s t e n lighting in most studios. Reflectors, tents and scrims will catch the light and bounce it back toward the subject, softening the lighting effect and avoiding glare by deflection. The photographer can adjust them with finite moves in order to re-direct light and better capture the image. The biggest advantage of a studio setting is the available control over light. Outdoor lighting is most often " f o u n d " lighting ... you use it when you see it. It can be controlled to some degree w i t h the use of reflector cards and fill-screens, but not as closely as in a s t u d i o
environment. Rarely does a photographer know exactly what the light outside will be at any given time of day, even in a very familiar spot. It is not possible to look at a scene and predict w h e n the l i g h t would be perfect, and then return to photograph it at that time. The light w i l l vary (even at the same hour) f r o m day to day, depending on cloud cover, atmospheric c o n d i t i o n s and temperature. Catalog shooting schedules are complicated and demanding, and would not allow that kind of planning luxury anyway. Utilizing outdoor light does present some ideal " w i n d o w s " of t i m e in which to shoot. Weather permitting, of course, you
2. The subtle shadow play in this studio photograph by Ritchie Williamson creates the illusion of a dramatic sunset 3. James Caulfield skillfully uses dark, mysterious shadows to draw attention to the details of this expertly tailored suit.
Chapter Four 23
1. Soft simulated sunlight streams through a charming country kitchen, photographed by Dennis Qottlieb. 2 . A typical studio set with white backdrops and various light sources. 3. Brian Kraus heightens textured impact with a shard of intense light. Although the effect looks natural, it's a studio technique that must be carefully directed and planned.
can generally plan to shoot from early morning until just before noontime, to break for lunch and a rest between 12:00 noon and 2:00 (when the sun is d i r e c t l y o v e r h e a d and creating harsh glare and deep shadows), and to resume f r o m 2:00 until sundown. Dusk is often an excellent t i m e to shoot because of the softness of the available light. Midday sun is not the most sympathetic light for flesh tones. It is unforgiving light in its harshness, and will reveal any blemish r e g a r d l e s s of m a k e u p a p p l i c a t i o n . Because of scheduling or previously encountered weather problems, catalogers may be f o r c e d to c o n t i n u e shooting during this time.
If so, the technique of light subtract/on may be appropriate. You can subtract the light instead of adding to it, using screens, scrims and even an available raincoat to block out or soften the direct sunlight from the m o d e l . Dark s h a d o w s under the eyes may be caused by the overhead sun, but can be eliminated by positioning an opaque or translucent cloth above the subject's head. Even slanting sunlight can ruin otherwise faultless complexions; placing a diffusion material between sun and subject creates a glowing, skylight effect and can help the m o d e l not to squint. Subtractive lighting can also pay off on cloudy days, when there's not
enough natural contrast. A black cloth near one side of the model's face gives a better contrast ratio. Cloudy day lighting will tend to flatten the subject because of the lack of contrast. Experimenting with lightfiltering or light-blocking material will help to develop skills in subtractive lighting. Photographers know that the color of the diffuser or reflector will color the picture, so they usually select white (or black) material, unless they are looking for a special effect. For both indoor shots and outdoor scenes, the lighting and details (including composition) should be checked by looking at a Polaroid exposure as previously mentioned.
CHAPTER 5
4 . A rule of thumb for catalog photography is to fill the frame with the product. But artistic license helped to shift the emphasis in this shot to the right, creating a more dramatic visual. Photographed by Sharon Schuster,
COMPOSITION OF PHOTOGRAPHY
omposing items within the designated photography frame is a creative endeavor that usually involves the art director, the photographer and the stylist. If it is left to the stylist alone, it should be d o n e a c c o r d i n g to the approved layout. But sometimes a change should be made to i m prove the overall depiction
of product. That adjustment may not be apparent until the actual merchandise is placed on the set in front of the camera. Artistic license should be exercised in order to capture a better shot. The angle of the item may need to change s l i g h t l y , or the placement of props may be disconcerting as originally planned.
A rule of thumb for catalog photography is to simply fill the frame with the product. The closer you are to the object, the better for visual impact and merchandise focus. Layouts indicate the planned size and shape of the photographic depiction. This space allocation is the guide for setting up the shot. The photographer,
Chapter Five 2 5
1. Poufs and ruffles envelop the model, then glide diagonally across this photograph by James Dee Daley. It's a fine example of composition that makes the most of available space. 2. A classic composition for classic accessories is given editorial impact by the overhead angle taken by Lynn Sugarman.
who should be shooting to actual reproduction size, will use a tracing on acetate of the dimensions of the shot. The acetate tracing is placed over the view finder of the camera to indicate the live area that is available for merchandise display. Within this space, the products are placed on the set at the desired angle. Sometimes it is more dramatic to show the item off-center in the frame. In this case, the merchandise is m o v e d t o t h e s i d e slightly, allowing for some breathing room or space in the shot. This kind of creative judgment call should be made by the art director, and should be directed by
the best display of the product and by the desired effect of the photograph. L o c a t i o n s h o t s ca n provide great opportunities for interesting compositions. If the background creates a desired mood without interfering w i t h the m e r c h a n d i s e , showing some of the background will add ambience and atmosphere to the book. Many catalog companies lose the effect of location shootings because of a tendency to crop out all of the background. Since the objective of a location shooting is to capture the right backdrop and general feeling for the merchandise, it doesn't
make sense to eliminate that element from the end result. Location shoots are complex, time-consuming, and difficult to accomp l i s h . . . i f space doesn't allow the use of the object i v e ( i n t e r e s t i n g backgrounds), then it would be more expeditious to shoot in a studio. Composition is also an important element of table top shooting. The arrangement of product and props on or in front of the backdrop can accomplish more visual interest and emotional involvement from the consumer. This leads to a longer perusal of the product, giving it a better chance to sell.
C o m p o s i t i o n is particularly effective in showing multiples of the same item, as when depicting depth of color selection. It is possible to compose six colors of sweaters to show the color choices in a visually interesting way. This is generally more pleasing to the consumer's eyes than the traditional method of using individual color swatch boxes at the bottom of the depiction. Catalogs o f t e n s h o w more than one item of merchandise in a single shot. Composition of different multiple products will help to show each item to its best advantage, and to create a pleasing arrange-
ment. If this technique is used, it is advisable to select products of the same relative size to appear in one shot, so that one item doesn't overpower another because of scale. It usually works best if the chosen items to appear in a single shot work well together logically, by design or by intended use. And an odd n u m b e r of p r o d u c t s is easier to compose into a pleasing arrangementthan an even number. One or three pieces of merchandise will often arrange better than two or four pieces. As much time and effort should be spent on creative composition in catalog photography as on
cleaning and preparing the products, styling the shots with props, and in testing the lighting technique. The physical relationship of m e r c h a n d i s e to background is as important to the look and identity of the catalog as the selection of c o l o r s , backdrops and textures.
3. Diverse elements can be composed into a striking arrangement. Here, Togashi uses direction and angles to guide the consumer's eye from one item to the next.
Chapter Five 27
CHAPTER 6
1. Pearls, antique gems and a touch of lace help to soften the presentation of these very feminine pumps. Photographed by Denes Petoe. 2. Colored gels are often placed over lights in the studio to create sophisticated backgrounds.
TO PROP on MOTTO PROP

he decision whether or not to utilize props and/or accessories in catalog photography should be made according to need. Is the merchandise instantly understandable as to its size, or is a prop needed to scale and proportion it? Will the addit i o n of a p r o p help to explain the item's use, or to
point out a special benefit? Does the use of a selected prop tie the depiction in better within a theme? Will it help the flow and continuity of the book? Accessories are usually needed to enhance the presentation of fashion items and other soft goods. It is more flattering, as well as logical, to show a silk
blouse accessorized with a belt and skirt when shown on a figure. You may wish to add a necklace or a pair of earrings to complete the fashion look. An umbrella might be just the right touch for a raincoat shot, as a scarf tied to the handle of a handbag can add style to this kind of depiction. These types of accessories
are logical extensions of the products being shown. It is a g o o d i d e a t o accessorize from w i t h i n your own product lines if p o s s i b l e , so t h a t t h e accessories can be listed for sale. Props and accessories can serve another purpose on the page of a catalog. Their inclusion can soften the presentation, and may add t h e p e r c e p t i o n of " h u m a n i z i n g " the book. Making the products easily relatable to the consumer's lifestyle is a desired marketing technique attainable in p h o t o g r a p h y . For instance, a desk shot is warmer and more believable if it is propped with a picture frame showing a photograph of children. Nearly everyone has a pic-
ture or some other personal item on their desk. The same thing is true of items like pens, pencils, a desk clock, a note pad with an appointment written on it. Personalizing a shot helps the c o n s u m e r to accept the photograph and to place it within their own frame of reference. Sometimes people (and animals!) make the best props as they relate to the products. Children shown throughout a toy book add a touch of humanity and constantly remind the reader of children in their lives. Small animals like puppies and kittens are a m u s i n g and can help scale m e r c h a n d i s e f o r u n d e r s t a n d i n g of size. Jewelry is usually best shown on beautiful skin. A
pool f l o a t looks better w h e n s h o w n w i t h an attractive model either on it or beside it (in a pool, of course.) The selection of props and a c c e s s o r i e s is as important as the choice of appropriate models. They should be chosen tastefully and with care. Real fresh flowers or vegetables may be a better investment for your prop budget because of the "dewy" look that can be accomplished with their use. Silk flowers can be very elegant, and may be used many times, but they generally do come off as silk in the shots. It is expensive to photograph real caviar as opposed to tiny s i l v e r b a l l s , but g o o d quality photography will reveal t h e d i f f e r e n c e .
3. There s nothing new about using jewelry to accessorize fashion photography. But when a necklace is used as a belt, the accessory reinforces the avant garde attitude established here by James Caulfield.
4. In still lifes, fresh flowers dont always rest in a vase. Here, the stylist has curved the stem slightly to echo the lines of a serving platter. Photographed by Seth Roth, Qottlieb Associates.
Chapter Six 29
1. Not many people could resist this dinner, photographed by Dennis Qottlieb. It's expertly propped with various elements that dont distract from the merchandise, but rather, make it more appealing to the consumer. 2. Champagne can be an extravagance, but not on the set. Those tiny bubbles ignite the beauty of fine crystal with a dazzling display of light. Photographed by Seth Roth, Qottlieb Associates*
When shooting a champagne glass or flute, the c h a m p a g n e s h o u l d be r e p l a c e d as t h e p h o t o g r a p h e r brackets t h e shot, as the bubbles will add freshness and appeal.
Business - to - Business catalogs should utilize props just as the consumer books do. Many business products are hard-edged goods which need the soften i n g o f p r o p s a n d
accessories. A n d many producers of businesstype catalogs neglect the subtle touches which can humanize their selling approach.
We wish to thank the following people for their contribution to this book. Amazeen, NY, NY Albano Ballerini, NY, NY Janet Beller, NY, NY James Caulfield, NY, NY Bill Cottrell, NY, NY Reid Combs, NY, NY James Dee Daley, NY, NY Alexa Garbarino, NY, NY Dennis Gottlieb, NY, NY Brent Herridge, Salt Lake City, Utah Hing/Norton, NY, NY Rosemary Howard, NY, NY Brian Kraus, NY, NY Giorgio Lari, Milan, Italy Kip Meyer, NY, NY Studio Minh, NY, NY Denes Petoe, NY, NY Ted Pobiner Studio, NY, NY Seth Roth, NY, NY Iggy Ruggieri, Fairfield, N.J. Sharon Schuster, NY, NY Lynn Sugarman, NY, NY Togashi, NY, NY Marcus Tullis, NY, NY Ritchie Williamson, NY, NY
Front & Back Cover Photography: Togashi Layout: Shiela Kwiatek Photo Editor: Smiljana Peros
CHAPTER 7
3. Ted Pobiner Studios capture the elusive quality of a magnificent necklace. The setting is highly artistic, the lightingsuperb.
SPECIAL REQUIREMENTS
ertain categories of catalog products pose special problems in photography. There are specific items t h a t are m o r e d i f f i c u l t to p h o tograph than others. Some merchandise has special requirements in order to get the best depictions. We've chosen to focus on five different categories of tant because the items are most often quite expensive. Generally, the more expensive the item shown, the more persuasive the photography and presenE W E L R Y One of the most tation must be. Facets need challenging of catalog to show on cut stones; texphotography subjects is ture is important and may jewelry, particularly pre- be small and difficult to cious jewels. Color, clarity capture in the image. Shiny and detail are vitally impor- metal surfaces like gold
Chapter Seven 31
interest to catalog marketers, each one of which represents a need for spec i a l a t t e n t i o n in t h e medium of photography.
1. The decision to shoot jewelry on a model or not is always a dilemma. Diamonds are a girVs best friend, but it's hard to imagine them in a more perfect or unlikelysetting than these pea pods. Courtesy of Ted Pobiner Studios*
and silver are highly reflective, and present problems like having the camera lens (and sometimes the photographer) show in the product. If it is a tiny reflect i o n , it can e i t h e r be retouched out on the transparency or etched out of the color separations. If, however, the surface showing the reflection is a large area, the p h o t o g r a p h e r should try to disguise the camera by setting up a white paper tent around the equipment. Only the lens of the camera w i l l sbMN through a hole cut in the paper. The resulting reflection of the camera lens will be quite small, and easily corrected with photo retouching. The shape of a ring is obviously round, meaning
that the sides of the ring w i l l reflect any images f o u n d there, much like peripheral vision in the eye. The use of reflector cards to block out these distracting images is helpful. The cards of white, gold, silver or grey are placed to the sides of the set at angles t h a t are caught by theshiny surface of the ring. Chains of n e c k l a c e s must be laid out much like an engineer's d r a w i n g . Every link should be properly aligned and laying flat. This is usually done with a long pin or with a very fine pick, either by a patient and accomplished stylist or by a h i g h l y u n u s u a l photographer. A knotted or twisted link in a chain shows up glaringly. It may
give a customer the impression that someone just didn't care enough to take the time to fix it, or even worse, convey a message that the chain will knot easily when worn. Jewelry is normally photographed actual size in a catalog, but occasionally it should be shown larger than life. This decision might be called for if there is a lot of intricate, detailed design work that would only show up if the item is enlarged. In this event, a copy line that states that t h e m e r c h a n d i s e is enlarged to show detail should always be added. A dilemma aI ways comes up in s h o o t i n g jewelry as to whether to photograph it on a model or not. The decision should
depend on the merchandise; some items will look better shown on a figure; others will not need the model as a background, and will be fine shown flat on a fabric or other textured backdrop. Certain earrings, for example, would not be clearly understood unless they were shown on an ear because of the way that they hang. But be cautioned that a close, tightly cropped shot of a portion of ear and side of face may reveal imperfections and blemishes... even on the best s k i n . Retouching will be necessary (and that adds an extra cost) to remove the imperfections and tiny facial hairs that will be captured on film. A ring might be shown
f r o m a more attractive angle when photographed held between manicured fingertips. The traditional ring shot on a finger can look flat and unappealing, especially if knuckles are s h o w i n g . (Even a hand model has wrinkles in this area.) Some necklaces will display better when shown a r o u n d t h e neck of a model, rather than flat. The disadvantage here is that you are unable to show the clasp in the back. Since most customers will want to know what kind of closure a necklace has, be sure to cover that detail in the descriptive copy block. Colored gels (or strips of color on transparent film) may be used to help catch gleams of color in gems
like diamonds. They can be placed to the side and even hung up above the product (out of live camera area) to reflect color into the cut facets of the stones. Strategically placed reflector cards will accomplish the same thing, adding color in the facet areas which will lend definition and shape to the jewelry. The placement of the cards or gels will determine where the reflections will appear in the products. The photographer will set them up and make finite adjustment m o v e s to c a p t u r e t h e desired effect. B l a c k is a p o p u l a r background color for photographing jewelry, particularly gold and silver items. It lends a rich frame without contamination of
2, Black is a popular background color for photographing jewelry. Here it adds to the mysterious allure of a twisted pearl necklace. Photographed by Ted Pobiner Studios. 3 . Necklaces usually display better when they're around the neck, rather than lying flat. Ted Pobiner Studios provides a wonderful alternative, entwining a priceless pearl necklace with a robins nest.
Chapter Seven
33
1. A perception of dimension makes jewelry photography much more interesting. This ingenious approach was taken by HingFNorton. 2. Food photography is often a complex art. The subjects need intense light to be shot properly, but have to be replaced or refreshed to withstand the high temperature.
its color in the merchandise. Since metal jewelry is light in coloration, a black background provides maximum contrast. Black lucite or plexiglass is especially effective, because of the added perception of depth that can be attained with the r e s u l t i n g s h a d o w s . Lucite is highly reflective material for a table top s h o t . A p e r c e p t i o n of dimension makes a photograph of jewelry much more interesting. A "high key" effect can be obtained with the use of w h i t e or f r o s t e d w h i t e backgrounds for jewelry shots. It provides a backdrop for the items that are lighter than the merchandise in color density. The same kind of shadows can be accomplished on white
l u c i t e as p r e v i o u s l y pointed out for black. The use of highly textured backgrounds is also effective for jewelry photography. This choice will add contrast between the backdrop and the shiny items. Roughly textured wood bark, deep pile carpeting, woven fabrics like tapestries, heavily embossed papers...these are just a few of the available backgrounds that are appropriate for j e w e l r y shots. The lighting of jewelry photography is difficult and t i m e - c o n s u m i n g . Many times a photographer will elect to use pin spots (very small individual lights that throw a concentrated and narrow beam of illumination) on a
j e w e l r y set. These pin spots can be tightly controlled in placement, and can add important definit i o n w h e r e needed on rings, bracelets, watches, neckl aces and p i n s . Jewelry depictions need shape and modeling to be the most effective. This means that a full range of deep shadows, mid-tones and highlights is necessary, and must be accomp l i s h e d in t h e c h o s e n lighting technique. 00D PRODUCTS. P h o tographing food items for a catalog requires a real s p e c i a l i s t . Photographers who become known as food specialists u n d e r s t a n d the i m p o r tance of the visual appeal and have developed the
style and flair needed to p h o t o g r a p h f o o d most effectively. These people usually do a lot of food shootings, working for magazines as well as for catalogs. Their studio facilities w i l l include a wellequipped kitchen in which to prepare the food dishes. A poorly photographed and reproduced food shot will not be appetizing, and t h e r e f o r e w i l l not s e l l . Color is important in making the shots appealing and credible, and food styling helps to make a savorylooking presentation. Food must be carefully prepared for photography and must look fresh. The presentation of the dishes and courses in a fine restaurant have a psychological impact on how the food
tastes. In catalog photography, presentation is equally psychological, and contribu t e s h e a v i ly t o w a r d motivating a customer to buy. A food stylist (or home economist) is a necessary member of the food photography team. This person shops for the required fresh ingredients, prepares the food and arranges it in the serving dishes. They also provide the subtle decorations to "dress up" the food, touches like bows made of orange rind, mint leaves or sugar-frosted grapes, real or candied violets, and stemmed maraschino cherries. The food stylist sets the table (if a setting is needed), and even folds the napkins. Their knowledge of food
preparation and food service is reflected in the photography, and helps to e s t a b l i s h the catalog's credibility. Your shooting budget should include the money to retain a t o p notch food stylist for the shots that will require this special attention. Fresh fruit and produce s h o u l d be s p r i t z e d (or sprinkled) with water and glycerine for a dewy, freshf r o m - t h e - g a r d e n look. B r o w n edges on leafy foods can be clipped off, and spotty leaves should be r e p l a c e d . M e a t s , if shown raw or uncooked, need to be the right color, never allowing the edges to change color or darken because t h e y ' v e been under the lights too long. It is important for cooked
3 . Food photography must look appetizing to be successful. The tempting arrangement shown here was photographed by Dennis Qottlieb. 4. A food stylist shops for fresh produce and herbs, simmers the soup and even breaks the croissants. A stylist's efforts helped Dennis Qottlieb to catch the activity in this French kitchen.
Chapter Seven
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1. Presentation is everything in food photography, just as it is in a restaurant. This spectacular dessert buffet was photographed
by Dennis Qottlieb.
2 . The photographer, art director and food stylist work together to give the photograph personality. Lighting, composition and careful propping all contribute to the overall effect. Photographed by Dennis
Qottlieb.
meats and vegetables to look moist and properly prepared. Cooked steaks are most appealing when shown rare or m e d i u m rare. Foods do have the tendency to dry out on the set, so p h o t o g r a p h e r s must work quickly once the food has been placed in front of the camera. Most photographers will do their preliminary set ups with stand-in serving dishes without the food. Lighting and composition can be fully set up in advance of placing the actual food in the shot. In this way, everything (including a Polaroid test) is ready by the time the food is brought out, requiring only minor a d j u s t m e n t s and t h e n bracketed exposures. Hot food will look steaming
and moist; cold food will be frosty and fresh. Many art directors and photographers are purists when it comes to the irse of real food as opposed to fake props. It is a matter of choice and philosophy. For those purists, only real frozen ice cubes will do; real whipped cream has a slightly smoother texture (and a slightly warmer color) than shaving cream; real fresh fruit is a little softer-looking than wax copies. But occasionally even the purists will have to resort to an artificial prop. A required fruit may be out of season, or if Fall leaves are planned as backg r o u n d or props f o r a Spring or Summer setting, obviously the use of silk ones or air brushed real
ones will be necessary. Catalog products like serving dishes and cooking i t e m s are f r e q u e n t l y accessorized w i t h f o o d . The a t m o s p h e r e and appeal is as important in shots of this type as those in which the food itself is for sale. The main difference, though, is that the prop food must not overpower the actual items of m e r c h a n d i s e t h a t are b e i n g o f f e r e d . If t h e p r o p p e d f o o d is overpowering, commanding too much attention, then the bowl, tray, casserole dish or cooking pan will get lost, resulting in lost sales. A good rule is to use less (rather than more) food props. A slice of quiche will show the use of the quiche dish while not taking over
3 6 S. D. Warren Catalog of Catalog Photography
the visual attention from the hard goods product. In showing a set of six champagne glasses, filling only one of them with the bubbly champagne is more interesting than filling all six. HILDREN'S FASHION. Phot o g r a p h i n g clothing for children for catalog pages presents another set of special requirements. Such clothing shown on a figure will sell better than when shown flat, or off-figure. The children, as mode l s , a re e m o t i o n a I ly appealing and relatable. The very best results can be obtained by allowing the children to be themselves, to act like kids do. Shots that accomplish this objective can be t o t a l l y
charming. But it necessitates working with children, and (even if they are professional models), they are less controllable and will require a longer shooting time. Children's natural antics can be captured on film for very special depictions. The shooting crew w i l l probably be called upon to display a great degree of patience. Lots of film will be wasted, and time will be lost. And such factors as naps, hunger, tiredness, and short attention span must be dealt with. Acco m p l i s h i n g the desired natural behavior on the set involves establishing a rapport between the art director and photographer and the children, and in helping the kids to
become oblivious of the activity going on behind the camera. It is a good idea to plan for plenty of distraction elements; keep a big box handy with small toys and stuffed animals, and a good supply of fruit, cookies, lollipops and balloons. When a child becomes tired, or fidgets on a set, send in one of the distractors and you'll probably extend the shooting. You've not only given the child something to physically hold onto, you've also diverted their attention from staring into the camera. Busy sets are confusing enough; try to minimize the effects by having only one person give instructions and directions to the child. It can be the art direc-
3 . In this Rosemary Howard photograph, the children relate to each other as well as to the set. Note how positioning of models and props help to give the scene a sense of momentum.
Chapter Seven 3 7
1& 2 . Photographing children demands patience, but it can produce extraordinary results. Case in point: Janet Beller's sensitive portraits of two youngsters. 3 . A friendly crew can persuade children to perform as requested. These boys, photographed by Rosemary Howard, appear to be perfectly comfortable putting on gentlemanly airs.
tor or the photographer, but should not be both. Plan to provide a place for the m o t h e r s to w a i t . . . away from the sets. Mothers will have a tendency to chime in with their instructions, which will add to the confusion. A w a r m and f r i e n d l y art director can establish a rapport with the child and get them to perform as requested. If multiple figures are needed in a single shot, it is a good idea to select siblings to appear together whenever you can. Children relate better to their brothers and sisters or to familiar playmates. You'll be able to capture their natural and comfortable react i o n s in y o u r r e s u l t i n g photography.
The really small children (one year to 24 months), have a tendency to crawl or toddle off of the set about the time you are ready to shoot. This usually calls for some entertaining a t t e m p t s by t h e p h o tographer in order to hold their attention. Sounds (like whistling or singing) will work, as will the use of a hand puppet or stuffed animal peeking at them from behind the camera. Photographing childrens' fashion is one of the most challenging of all the catalog shoots. While it requires patience, it can produce extraordinary results. You may have to c o m p r o m i s e and a l l o w some wrinkles in the garments to show, but this reality is not harmful to the
overall effect. People know that children are active and their clothing won't remain pristine in real life. And you may end up with a shot of the child seated, rather than standing as planned. But w i t h t h e e x t r a exposures that you'll take, you'll have plenty of good choices. Screening for the model selection is one of the hardest parts of planning a children's fashion shoot. Because children's looks change so quickly, you'll need to schedule a " g o see," or an actual look at the models. They may have submitted a composite or head sheet that was produced six m o n t h s previously, and they might look very different today. Through the model agency
3 8 S<D. Warren Catalog of Catalog Photography
you can request that the child be brought in for you to see them in person. A word of advice about children's go-sees... be sure t h a t y o u have a l a r g e enough waiting room (and available bathroom facilities) to a c c o m m o d a t e mothers, children, toys, diaper bags, and lots of noise. OSMETICS. Photography of cosmetic items for catalogs present a different set of p r o b l e m s . Cosmetics include skin care p r o d u c t s ( u s u a l l y lotions and creams), cleansing items, make-up and c o l o r i t e m s ( l i k e b l u s h e r s , l i p s t i c k s , eye shadows, pencils, etc.) And most cosmetic lines offer fragrance products, like
perfumes and colognes. A lot of these items can look very much alike, except for the product packaging. In fact, most advertising done for cosmetic companies involves photographing an attractive model's face, and the ads look as much alike as the products do. The only difference from one brand of c o s m e t i c s to another in their ads is simply a different choice of models. You have to look hard to find a unique way of shooting cosmetics. One suggestion is to photograph from very dramatic angles. This might include an overhead view of the products, w i t h the camera aimed directly down on the merchandise. Or even a tilted angle, allowing for fore-
shortening and more of a super-graphic look. The use of models is not always necessary to convey the image of the line. Graphic swashes and streaks of the actual products can show color and texture, and can be more attention-getting than the usual kinds of cosmetic depictions. Another p h o t o g r a p h y approach would involve a different kind of setting than is usually provided for cosmetics shots. Such a setting might be on a vanity, with an array of products shown as they would appear on a customers' dressing table. Showing some of the lids off of the jars will allow the texture of the creams to be evident, and will also imply usage. This touch makes the pho-
4 . Spontaneity is the key to unleashing a child's high energy potential. Rosemary Howard coaxed reactions here with handfuls of confetti and toys. 5 . Often the only difference between one brand of cosmetics and another is the photographic approach. Togashi uses an overhead angle and a child's hand to make this lipstick stand out from the rest.
Chapter Seven 3 9
1. A cosmetic collage by Togashi. Opening lids of products and showing dabs of color imply usage and make the photograph more relatable to the customer. 2 . Rough textures of terry and sand help HingfNorton to make the product more pronounced and also suggest its purpose.
t o g r a p h more relatable and, at the same t i m e , more interesting visually. Perfume and fragrance shots are more difficult to interpret. The visual has to imply what the product smells like, unless it is an extremely well known brand name. (Then it hasto remind the customer what the scent is like.) Props might be the answer here; if a fragrance is made up of p r i m a r i l y one f l o w e r essence, like Joy is mostly essence of roses, then the use of roses in the foreground or background can make t h a t s t a t e m e n t . Nearly all perfumes are special blends of the oils made f r o m different flowers, but usually one type of flower dominates in usage. It is very effective to
show fresh jasmine b l o s s o m s , f r a g i l e gardenias, and many of the other exotic blooms as props in a fragrance depiction. Some perfumes contain a high content of citrus o i l s , and p r o v i d e the opportunity of propping with those specific fruits or leaves. Exact color match is critical in cosmetic photog r a p h y because of the subtleties of differences between shades. Color choice is an important factor in the purchase decision, so it must be shown accurately, p a r t i c u l a r l y when the purchase is being made by mail. In a catalog, the consumer can't touch and feel the product, so c r e d i bi l i t y a n d p e r suasiveness must be pre-
sented through the medium of photography. (An exception to this is the availability and use of cosmetic samples on order f o r m s . Actual swatches and demonstration samples of products are now reproduced on the boundin order blanks. Cosmetics like blushers, eye shadows and even l i p s t i c k s are provided in small quantity swatches for a customer to actually use. Fragrancescented order forms are also frequently used in catalogs.) USINESS TO BUSINESS P H O T O G R A P H Y It is hard to generalize regarding business to business catalog photography because of the diversity of product categories and services.
The wide range of merchandise going via catalogs to business people can i n c l u d e e v e r y t h i n g from executive planners to heavy e q u i p m e n t . The common element is the channel of distribution (the postal system) and the direct method of selling. This is an area of direct marketing that generally needs i m p r o v e m e n t in presentation... traditionally, t h e s a m e a m o u n t of creativity called for in consumer catalogs has not been developed or invested in business catalogs. And yet, the techniques and graphic applications that work w e l l for consumer catalogs also work for the business to business mailer. Customers are people and respond essen-
tially the same way to per- the trade for business to suasive p r e s e n t a t i o n s , b u s i n e s s c a t a l o g marw h e t h e r in t h e h o m e keters, just as they are for e n v i r o n m e n t or in the gift and fashion books. office. The decision makers Many business catalogs w h o a r e t h e t a r g e t offer product lines that are, audience of business cata- by their nature, high tech logs are human beings, not and hard edged. Without computers. Therefore cata- special care and attention, log marketing should be p h o t o g r a p h y of t h e s e well designed and pho- items can be equally hard tographed in order to be in look and in feeling. It is effective. advisable to try to soften Photographs of products the presentation of hard should reach out to the line merchandise when business audience in the planning and executing the same persuasive manner d e s i r e d p h o t o g r a p h i c as in consumer books. i m a g e . J o h n N a i s b i t t D e p i c t i o n s need to be pointed out in his book, the theory clearly understandable, Megatrends, dramatic and pleasing in that our society today is their presentation. Light- high tech driven, and therei n g , t h e use of c o l o r fore needs an antithesis selection of props and approach for advertising accessories, and clean and marketing. He believes design should be tools of that today's consumers are
3 . A unique angle and provocative lighting lend authority and power to this cosmetic shot, photographed by HingFNorton. 4. A 4x5 view camera, commonly used for studio still life photography. 5 . The techniques and graphics that work for consumer catalogs also work for business to business mailers. The 2001-style atmosphere here was captured by Togashi.
Chapter Seven 4 1
1. Albano Bailerini relies on a bright spotlight to soften the hard edges of electronics. It's all part of a high touch effect. 2. The use ofrelatable props adds a bit of humanity and wit to this business oriented photograph by Togashi.
conducting their own search for relief from high technology, as illustrated by consumer marketing studies of the use of leisure time. People are pursuing self-improvement courses, like f o r e i g n l a n g u a g e study, cooking classes and art appreciation. They seek relief from stress and tension by studying yoga and meditation, and they learn about bio-feedback and other related stress cont r o l s . A n d the b i g g e s t c h a n g e in A m e r i c a n b e h a v i o r a l p a t t e r n s is
reflected in the burgeoning health and fitness interests, with millions of people dedicated to running, jogging, aerobic dancing and exercise classes, and in concerns for diet, quitting smoking and in consuming less alcoholic beverages. Mr. Naisbitt defines these activity and interest changes as "high touch/' the antithesis of high tech. He advocates the use of high touch in marketing a p p l i c a t i o n s as a w e l come relief for today's consumers.
High touch can present an added dimension to business p r o d u c t photography. It can be used in many different ways, but the overall objective is to soften the look and sell of the hard line merchandise. The use of warm colors (such as reds, browns, golds, yellows) as backgrounds w i l l soften an impression of a product w i t h hard edges. And though colors like black are not as soft, it is possible to add a color spotlight in a black background shot,
thus accomplishing high touch. Color gels used over l i g h t s w i l l c a p t u r e the desired technique. Textured backgrounds can also soften the look of business products. Backdrops for shots that show merchandise that is sleek, s h i n y and g l o s s y can provide interest with a high d e g r e e of c o n t r a s t . . . heavily t e x t u r e d backgrounds that appear soft and deeply d i m e n sioned. The use of r e l a t a b l e props in photography will
add a touch of humanity to the business catalog. A d e s k t o p s h o t of an appointment book is more believable with a steaming cup of coffee shown in the background. A depiction of computer supplies can be softened with props like pencils, note pads, a telephone message slip, or even a telephone. A nice touch on a woman's desk is a bud vase with a flower. It is also possible to humanize a business catalog through the selection of people to appear in the
shots. A conference boardroom shot can show " r e a l " business-types, rather than models. A photograph of ten (professional) models around a conference table is less believable because the people are too perfectlooking. Attractive business people are easily found for such shots, and with their less-than-perfect features, add credibility and h u m a n i t y t o t h e photograph.
3 . The visual: a camera cradled by human hands. The message: the product becomes user friendly and gains a sense of scale. Photographed by HingFNorton. 4 Light bounces off the umbrella and is reflected by the card to enhance the background of this typical studio set. 5 . B;y zooming in on the merchandise, Brian Kraus picks up every minute detail and transforms a standard business tool into a work of art.
Chapter Seven
43
CHAPTER 8
1. A simple spring shower requires a special effect, diffused lighting, well thought out styling and a bit of luck if it's going to be captured on film.
THE ROLE OF THE ART DIRECTOR

hiIe creative responsibility for i m p r e s s i v e and effective catalog photography belongs to the art director, it is shared with every member of the photography team, including the photographer and stylist. But the primary decision maker on the set is the art director. This is the individual w h o must attain approval for the shooting from the client (or the merchants), or from the head of the company. The art director is basically responsible for interpreting the merchandise t h r o u g h the medium of photography. This interpretation must be done creatively, with cons i d e r a t i o n of the c o n sumer's needs, and ultimately w i t h sales in mind. The art director must approach the entire philosophy of product with the customer in mind. The major concern should be deciding w h i c h way to most effectively reach the p r o s p e c t . The v i s u a l impact of the photography
is one of the most important factors in a catalog. The c r e a t i v e a p p r o a c h should be developed in the conceptualization of the catalog, well planned for in a d v a n c e of t h e a c t u a l shooting, and consistently applied t h r o u g h o u t the realization or execution of the project. In considering the role of the art director, we must also address the "place" (or position) of that person on the set during shooting. The art director is normally found standing behind the photographer, close enough to communicate in a normal tone of voice, but not so close as to be in the way of the shooter. Before the actual shooting begins, the art director has several checkpoints to go through:
a critical look at the set; they slow down the proscrutiny of the merchan- duction schedule. If proper dise for appearance and creative planning has been angle; a check against the incorporated, there should approved layout to ensure be no big surprises on the that enough background is set. Every contingency will allowed; a look at makeup have been checked and under set lights if models accommodated. are being used; and finally, The art director sets the a camera check through pace and the atmosphere the view-finders and then a for a shoot. A smooth, easy ca ref u I st u dy of a test Po I a r- working relationship is oid shot. vital for a catalog shooting Finite adjustments are because of the volume of usually made at each of the w o r k and t h e r e q u i r e d art director's checkpoints; deadlines. Communicasmall moves that improve tions must be ongoing and t h e i n t e r p r e t a t i o n and clear, w i t h no s e c o n d assure better product pho- guessing needed. Rapport tography. Major changes between art director, phoshould be avoided, like a tographer, assistant, stylist change of mind requiring a and models is critical, and complete change of back- is accomplished by a thorground, because they are o u g h l y p r o f e s s i o n a l upsetting to the shooting attitude and quality leadcrew, and are inefficient as ership. Of all of the people
2 . The art director sets the pace and the atmosphere for the shoot A free-spirited photograph like this one by Qiorgio Lari for Spiegel can only come about when the entire crew feels comfortable enough to contribute ideas. 3 . The art director is the primary decision maker on the set In a shot like this, he would be the one who double checked the background and the lighting, then tossed his keys on the featured coat for extra pizzazzPhotographed by Brent Herridge.
Chapter Eight 4 5
1. An art director scrutinizes each shot for the depiction of details. In this photograph by Qiorgio Lari for Spiegel, note how the flowers on the dress are as clear as the chimes on the clock. 2. The sleeves roll up, the pants are cuffed and the fabrics drape beautifully. The props and background may enhance the shot, but it's the details of the clothes that grab our attention. Photographed by Amazeen for Spiegel. 3 . Good reproduction is key to translating the photographers vision to the printed page. This tranquil setting was captured by
involved in a catalog shoot, the art director will be the most familiar with the merchandise. This knowledge of product will be called upon again and again during the course of the shoot. During a catalog phot o g r a p h y shoot, the art director should review film daily, checking the previous day's results. This will help assure the consistency of the photography, tracking the application of the creative approach as you proceed. Since a typical c a t a l o g s h o o t w i l l
require 20 to 30 days, it is important to maintain a constant vigil over photographic results. A large light box will enable the art director to look first at groupings of shots, i.e. all of the shots appearing on a single spread. This check is for color balance, allowing a check f o r any c o l o r swings that might have occurred in lighting, distance from camera, or in processing. After the grouping check has been done, each transparency should then be
scrutinized individually for details of the depiction. As basic as it may seem, focus should always be checked. The p h o t o g r a p h e r w i l l have bracketed each of the shots, exposing film at the decided reading on the l i g h t meter, and t h e n exposing again a half stop up and a half stop down. This will provide the art director with a choice of densities to select f r o m , c h o o s i n g the one best exposure for the color separator to work w i t h for reproduction.
Brian Kraus.
CHAPTER 9
4. Top-notch photography should not be wasted on poor quality separations and printing. This stylistic interpretation by Iggy Ruggieri clearly deservesfirstclass treatment.
HDEUTYOF REPR0DUC110N
ith all of the care and dedication to detail that goes into capturing the image and making the merchandise the star of the production, reproduction of these images becomes the next crucial quality check. High quality reproduction ensures that the photography will be translated to the consumer through the pages of the catalog as effectively as it can be. The two steps of reproduction are color separations and printing. There are as many levels of quality of color separations available as there are numbers of shots in a catalog. Your choice should be determined by the overall quality of the photography and by the desired positioning and image of the book. Top notch photography should not be wasted on poor quality separations and printing. The reverse is also true; you should never expect to make up in separations and printing for something that was not captured in
Chapter Nine 47
1. Imagine if the moon in Reid Combs' futuristic still life was grey. A color shift like that can occur in even perfect photography, so fidelity checkpoints become crucial in the color separation process. 2 . The photographer and model were ready to shoot hours ago. But they waited for this precise moment, when the morning sun would give the shot the atmosphere they felt it needed.
the original film. Technology in color separations has advanced rapidly, and now provides the opportunity to color separate film in groups, either electronically or photographically, which is less expensive than individually shot separations. The equipment used is computer-driven and capable of picking up very fine detail from the photography. Electronic systems are frequently utilized for catalog separation work. These are state-of-the-art scanning systems that will do much more than just separations. They can be used to prepare the mechanical art boards, whereby the operator electronically moves type, four-color artwork, and design elements
around on the spread to the desired position. They can also be used to take the place of extensive retouching and of transparency duplication. However, these electronic systems should not be used as a crutch to help save poor quality photography. They are expensive to operate, resulting in a cost to correct film that can be much higher than simply contracting for good photography for your catalog. Color proofing is the checkpoint for fidelity in separations. Ideally, transparencies should be turned over to the separator with " M a t c h the c h r o m e " instructions. This means that you are happy with the transparency, and that the separator's objective is to
match it. However, for several reasons, photographed merchandise will frequently show up in film in a different color than the actual sample. It may be an effect that happens under the shooting lights because of luminous dyes in the fabrics or substance of the product. This happens in makeup, leathers, vinyls and in many kinds of cloth material. So color shifts may occur in photography in spite of careful lighting and other controls. If change or balance is needed in order to color correct the products and/or the backgrounds, the request should be made to the separator when the transparencies are being released. Most catalog companies utilize
48
S. D. Warren Catalog of Catalog Fhotography
contact color proofs, as opposed to press proofs, because of cost efficiency and time. These proofs are a photographic process of showing what has been defined in color separation. They are processed much like a color print, with the layers of the four color separations (cyan, magenta, yellow and black) superimposed upon one another to create the full color look. As pointed out, they are cheaper to use than ink-on-paper press proofs. Contact c o l o r p r o o f s s h o u l d be v i e w e d and checked by a knowledgeable p r o d u c t i o n person who understands that they are a photographic process, and that these kinds of proofs will not show pre-
cisely what will happen when you go to press with the j o b . Because these proofs are photographic, t h e y are g e n e r a l l y s m o o t h e r l o o k i n g than printing. But, they are less expensive than press proofs, and with knowledgeable production, they will serve the cataloger well in checking color. Photography must be screened into dots f o r r e p r o d u c t i o n . The color separation process that results provides you with four sets of film, one each for cyan, magenta, yellow and black. Each color film sheet will be made into printing plates for sheetfed and web offset printing, and into cylinders for gravure printing. Some separators
provide film that uses the cyan plate heavily to capture drawing and detail of products. This technique of separation will result in the black plate being very light in density (called a skelatal black.) Another technique is to use the black film for most of the detail and shape, with the cyan in balance to the magenta and y e l l o w . This p r o c e d u r e results in a "long black," and may be p r e f e r r e d because it is less contaminating of the other colors than a full blue plate. This latter technique is preferred by many purists in reproduction, but should be specified to the separator in advance of the r e l e a s e of t h e t r a nsparencies. Only small ink adjust-
3. Whirr! Theflyingcolors are part of the fun in this photograph by Minh, but they present some intricate challenges to the color separator. 4. Like this photograph by Brent Herridge, Christmas catalogs arefilledto the brim with the joys of the season. State of the art separation can assure that none of the individuality is lost, however, picking up evenfinedetails like the lace hem on this dolVs dress.
Chapter Nine 49
^3o"V
merits should be made at press make-ready, balancing the sheet for color that can be maintained during the run of the job. In addition to the f i n i t e color adjustments, the person charged w i t h approving the sheet should watch for crisp reproduction of the dot structure to assure clean printing. And a check of the inks on the sheet will reveal if the ink " t a c k " (thickness or density) is high enough to achieve the desired ink gloss on the paper. Too low an ink tack will result in a washed-out look. However, if the ink tack is too high, the ink might not dry fast enough to give the proper gloss. Longer ovens, which allow more drying time, are now available on newer web presses thus minimizing this potential problem.
1. The brightness of the paper you choose for printing would help to improve the contrast range necessary for an intricate still life, like this one by Brent Herridge. 2. Top quality paper is used for image making projects like annual reports. This desktop scenario by Brent Herridge is typical of the shots that might be found in that type of publication.
CHAPTER 10
3. Catalogs are often referred to as "paper stores" because of their immense marketing potentied. And just like a dramatic store window, Seth Roth's evocative still life invites a customer to stop, to admire, to linger
THE PAPER SELECTION

catalog can be well designed, beautifully p h o t o g r a p h e d , and c o l o r - s e p a r a t e d and printed with skill and care, but the overall effect will be lost if the paper is inappropriate. A t t a i n i n g the best reproduction of the merchandise means selecting the right paper for the project, just as it does in the choice of the p h o t o g r a p h e r and t h e designer. Many c h a r a c t e r i s t i c s s h o u l d be c o n s i d e r e d when deciding on the right paper for your catalog. Brightness of the sheet reflects more light and improves the contrast range of the photography. Basis weight is important
because of postage weight requirements and budget; most catalogs are produced on 50 to 80-pound text paper, with separate covers usually run on 80 to 100-pound text w e i g h t . Opacity (or show-through) can be a problem because of the light weight papers generally used in catalog work. Surface of the paper
Chapter Ten 51
1. The photographer sets up an exterior location shot of a couple enjoying a picnic while the stylist waits for last minute instructions. 2, The creative team made every effort to heighten textural impact in this still life. The choice of paper for printing the catalog can enhance the effector dilute it. Photograph by Bill Cottrell.
should be considered for the desired effect of the printing. Smooth, coated paper is generally selected for full color catalog jobs because of the potential for printing sharp, clean dots and for a rich lay of ink. A rough-surfaced, toothy paper will absorb more ink and result in f l a t , less intense printing. Coating of the paper is achieved by mixing pigments with water and adhesives to form a substance resembling latex house paint. When applied to paper they impart a smoother surface. Most coated papers are then calendered (or polished) to obtain varying degrees of gloss.
Choices of quality of paper grades are designated by ratings ranging from Premium to No. 5. These designations indicate degree of brightness, superiority of print quality and pricein descending order. But within each of these ratings, there are noticeable differences in print quality. The m o s t e x p e n s i v e papers are used for the finest quality printing such as annual reports and topof-the-line catalogs. Although No. 3 and No. 4 papers are less b r i g h t w h i c h makes them less expensive, they s t i l l , in some cases, provide fine printing surfaces. These
grades are popular for catalogs where maximizing long press runs and other cost considerations make them practical choices. The finish of the paper most often used for catalogs is usually a choice of gloss, dull or matte sheets. A gloss paper has a shiny, polished look to it, while dull and matte sheets have a matte-like appearance. Any of these finishes can provide exceptional printing results for catal o g s . . . t h e g l o s s paper resulting in sharp clarity and definition of dots and images, and a rich, glossy look; the dull and matte papers presenting a softer look, less glare for easy
readability and more of a contrast from the highgloss lay of ink to the sheet itself. The tactile sensation of a catalog is another important consideration. The choice of paper has an impact on the catalog customer, as interpreted in the "touch and feel" of the book. A perception of high quality can be achieved by the feeling of the catalog in the hands of the consumer and this image contributes to the creditability of the company and its merchandise. The Warren Paper Merchants, as listed on page 55, will be pleased to help in meeting your customiz-
ed catalog requirements. They will provide samples and paper dummies, as well as guidance and information. D E A EXCHANGE The S.D. Warren Idea Exchange maintains a large Library of Pri n t e d S a m p i e s . Approximately 15,000 different commercially printed samples are filed in more than 150 industry and graphic categories. One of the categories is Catalogs. If you would like "catalog ideas", write to the Idea Exchange & Promotional Services, S.D. Warren Company, A Subsidiary of Scott Paper Company, 225 Franklin Street, Boston,
Massachusetts 02110. We welcome your interest and inquiries. The S.D. Warren Catalog of Catalog Photography is printed on Somerset Gloss 60 pound, with the cover on Warrenflo Cover 7pt. and the order form on Somerset Matte 50 pound.
3 . The proper chemistry is crucial between the photographer and a model. It's essential for each to understand the difficulties of being on either side of the camera. 4. Furniture catalogs usually are large books with big circulations. This makes them suited for printing on No. 3 and No. 4 papers, which help to maximize long press runs. Photograph by Brent Herridge. 5. Ritchie Williamson used soft lighting and ruffled pillows to convey a feeling of luxury in this shot. The touch and feel of paper can send signals too, helping to shape the consumers perception of your company.
Chapter Ten 5 3
ACCESSORIES: additional merchandise used to enhance the main product; may be used as a prop or offered for sale
GLOSSARY
COMPOSITE: sheet containing a series of model shots used by modelling agencies as a photographic resume CONSIDERATE MARKETING: merchandising philosophy which always keeps the customer's needs in mind CONTINGENCY FEE: b u d g e t allowance for covering unexpected events on a shoot COPY: concise information that accurately describes a product or service; the text in a catalog CREATIVE PRODUCTION: the making of a catalog, from concept stage through release to a separator/ printer CREDITS: barter system that exchanges creative services for promotional acknowledgement CROP: framing of artwork for best emphasis or focus DEPTH OF FIELD: range of available focus in a camera DIFFUSION MATERIAL: object placed over a light sourceusually fabric or gauzeto create a soft lighting effect EDITORIAL: copy or art from a particular point of view ELECTRONIC PAGINATION SYSTEM: advanced color s e p a r a t i o n process which enables complicated stripping and alterations to be made quickly EXPOSURE: a variation in lighting for a particular film shot FILL SCREEN: surface used to add or subtract light from the subject in a photography shoot FOCUS: the center of interest within a photograph FOCUS GROUP: demographic selection of people which represents the target audience FOOD STYLIST: person who adds the finishing touches to a phot o g r a p h of f o o d ; m a y be involved in food preparation FOUND LIGHTING: shooting in available light to give film a more natural appearance FRAME: single exposure on a roll of film; also the outer edges of a photograph GRADE: level of paper quality GRAIN: the relative particle size that forms the photographic image
HEAD SHEET: a page or poster of close-up shots that features all the models an agency represents
SCAN: a laser process that breaks down artwork into component elements during color separation
A C E T A T E TRACING: clear film placed over the viewfinder of a camera to indicate the area available for merchandise display in studio still life ART DIRECTOR: person who supervises the artistic quality and character of a catalog; responsible for selecting and purchasing visual work and production talent ARTISTIC LICENSE: creative judgement that adds impact to a product BACKDROP: painted background used on the set that simulates an outdoor location or adds textural and visual interest BASIS WEIGHT: the w e i g h t in pounds of a ream (500 sheets) of paper, cut to a given standard size for that grade BRACKETS: lighter and darker exposures that establish a range of lighting choices surrounding normal exposure BUSINESS-TO-BUSINESS: product or service offered directly to a business rather than a consumer CAMERA BODY FORMATS: 8x10, 4x5, 5x7 and 35mm; the 4 basics which refer to film size CHROMAUN PROOFS: photosensitized clear plastic sheet used for checking register and color of assembled piece COATING: the surface of the paper COLOR BALANCE: art checkpoint which insures that all the film is similar in tone and background COLORED GEL: a tinted covering placed over a lighting unit to enhance the background C O L O R MATCH: a process in which the printed catalog is checked against the colors of the actual merchandise COLOR SEPARATION: process by which the original artwork is broken down into the four component process printing colors C O L O R SWATCH: a set of boxes or merchandise shot which show a range of colors
HIGH K E Y PICTURE: a continous tone SHEET-FED: a printing press which takes paper previously cut into photo made up of predomisheets rather than a continuous nantly white areas roll; usually used for smaller LIGHT BOX: a 5000K light source runs used for viewing transparenSINGLE LENS R E F L E X CAMERA: camera cies that can accommodate interMAGALOG: a c a t a l o g f o r m a t changeable lenses such as a inspired by a magazine wide angle ortelephoto device MATTE: dull paper finish without SPACE ALLOCATION: a m o u n t of gloss or luster space devoted to an item or merchandise category in a cataMECHANICAL ART BOARD: cameraready assembly of all type and log design elements that is accomSPREAD: two facing pages of a panied by instructions for the catalog or brochure platemaker STRIP-IN: a negative which must MID TONE: t h e t o n a l r a n g e be combined with another to between highlights and shadcreate a single page negative ows STYLIST: person who adds to the NO-SEAM: b a c k g r o u n d paper m o o d of a p h o t o g r a p h by used in studio shooting enhancing the product and adding props or accessories OFF-FIGURE: apparel or accessories that are not worn by the SURPRINT: an additional printing model over the design areas of preOPACITY: the density of a sheet of viously printed matter; usually paper; determines the degree used for type emphasis to which ink show-through will TACK: the pulling power or sepaoccur ration force of ink P A P E R DUMMY: prototype book cut TRANSPARENCY: a full-color transto correct page size on actual or lucent p h o t o g r a p h i c film equivalent paper stock positive PHOTO RETOUCHING: addition or VIEW CAMERA: camera body that subtraction of details in a phocan be used with 4x5, 5x7 and tograph 8x10 film PRESS PROOF: actual press sheet W E A T H E R PERMIT: booking a crew obtained while the press is runwith the understanding that corning to check image, tone value rect weather conditions must and color exist PRODUCTION LEAD TIME: the amount WEB OFFSET: a press in which of time from concept to delivery paper is fed from a roll and of catalog in customer's home printed on both sides; used for catalogs with larger circulations PROP: item used as a finishing touch in a photograph. The term prop is generally used in still life photography while the term accessory is more frequently used with fashion photography RUNNABILITY: the description of a paper that performs well on the press SCALE: adding an item to a photograph to serve as a point of reference and indicator of size
54
WARREN PAPER MERCHANTS

ALABAMA Birmingham Huntsville Mobile Montgomery ALASKA Anchorage ARIZONA Phoenix Tucson ARKANSAS Little Rock CALIFORNIA Fresno Los Angeles Dillard Paper Co. Sloan Paper Co. Athens Paper Sloan Paper Co. Strickland Paper Co. Unijax, Inc. Weaver Paper Co. Zellerbach Paper Co. Zellerbach Paper Co. Zellerbach Paper Co. Western Paper Co. Zellerbach Paper Co. LaSalle Paper Co. Zellerbach Paper Co. Zellerbach Paper Co. Zellerbach Paper Co. Zellerbach Paper Co. MAINE Portland . MARYLAND Baltimore Savage . C M . Rice Paper Co. C.H. Robinson Co. Baltimore-Warner Paper Co. Butler Paper Wilcox Walter Furlong Paper Co. OKLAHOMA Oklahoma City Tulsa OREGON Portland PENNSYLVANIA Allentown Erie Harrisburg Lancaster Philadelphia Pittsburgh Scranton RHODE ISLAND Pawtucket Rumford Western Paper Co. Mead Merchants Western Paper Co. Zellerbach Paper Co. Ailing and Cory Ailing and Cory Ailing and Cory Lindenmeyr Paper Corp. Ailing and Cory Lindenmeyr Paper Corp. Ailing and Cory Ailing and Cory Carter Rice The Rourke-Eno Paper Co., Inc.
Sacramento San Diego San Francisco COLORADO Colorado Springs... Dixon Paper Co. Denver Carpenter Paper Co. Dixon Paper Co. Zellerbach Paper Co. Grand Junction Dixon Paper Co. Pueblo Dixon Paper Co. CONNECTICUT Hartford Carter Rice Lindenmeyr Paper Corp. New Haven Carter Rice DISTRICT OF COLUMBIA Washington Stanford Paper Co. Virginia Paper Co. FLORIDA Jacksonville Palmer Paper Co. Virginia Paper Co. Miami Palmer Paper Co. Virginia Paper Co. Orlando Palmer Paper Co. Virginia Paper Co. Tampa Palmer Paper Co. Virginia Paper Co. GEORGIA Atlanta Dillard Paper Co. Sloan Paper Co. Virginia Paper Co. Augusta Dillard Paper Co. Columbus Sloan Paper Co. Macon Dillard Paper Co. Rome Dillard Paper Co. HAWAII Honolulu HOPACO Zellerbach Paper Co. IDAHO Boise Dixon Paper Co. Zellerbach Paper Co. ILLINOIS Champaign Crescent Paper Co. Chicago Bradner Smith & Co. Chicago Paper Co. Hobart/Mclntosh Paper Co. LaSalle Messinger Paper Co. Marquette/Jim Walter Papers Midland Paper Co. Peoria Tobey Peoria Paper Co. Rock Island Leslie Paper INDIANA Fort Wayne Taylor Martin Papers Indianapolis Crescent Paper Co. Ris Paper Co., Inc. South Bend Ris Paper Co., Inc. IOWA Cedar Rapids Midwestern Paper Co. Des Moines Leslie Paper Midwestern Paper Co. Sioux City Midwestern Paper Co. KANSAS Topeka Midwestern Paper Co. Wichita Western Paper Co. KENTUCKY Lexington Southern Paper Co. Louisville Louisville/Southeastern Paper Co. LOUISIANA Baton Rouge Butler Paper Lafayette Butler Paper New Orleans Palmer Paper Co. Unijax, Inc. Shreveport Butler Paper Western Paper Co.
MASSACHUSETTS Boston Carter Rice The Century Paper Co., Inc. Lindenmeyr Paper Corp. Springfield Carter Rice Woburn C.H. Robinson Co. Worcester Carter Rice MICHIGAN Detroit Chope-Stevens Paper Co. Seaman-Patrick Paper Co. Grand Rapids Carpenter Paper Co. Quimby-Walstrom Paper Co. Lansing Copco Papers/Dudley Division Saginaw Copco Papers/Dudley Division MINNESOTA Minneapolis Inter-City Paper Co. Leslie Paper MISSISSIPPI Jackson Sloan Paper Co. MISSOURI Kansas City Midwestern Paper Co. Tobey Fine Papers St. Louis Shaughnessy-Kniep-Hawe Paper Co. Tobey Fine Papers Springfield Midwestern Paper Co. MONTANA Billings Dixon Paper Co. Great Falls Zellerbach Paper Co. NEBRASKA Lincoln Carpenter Paper Co. Western Paper Co. Omaha Carpenter Paper Co. Western Paper Co. NEVADA Las Vegas LaSalle Paper Co. Zellerbach Paper Co. Reno Zellerbach Paper Co. NEW HAMPSHIRE Concord C M . Rice Paper Co. NEW JERSEY East Rutherford Bulkley Dunton Newark Central Paper Co. Rutherford Lindenmeyr Paper Corp. Trenton Central Paper Co. NEW MEXICO Albuquerque Dixon Paper Co. NEW YORK Albany Hudson Valley Paper Co. Binghamton Hudson Valley Paper Co. Seneca Paper Co. Buffalo Ailing and Cory Seneca Paper Co. New York City Ailing and Cory Baldwin Paper Co. Bulkley Dunton Lindenmeyr Paper Corp. Marquardt & Co., Inc. Rochester Ailing and Cory Seneca Paper Co. Syracuse Ailing and Cory Seneca Paper Co. Utica Ailing and Cory NORTH CAROLINA Charlotte Caskie Paper Co., Inc. Dillard Paper Co. Virginia Paper Co. Fayetteville Caskie Paper Co., Inc. Greensboro Dillard Paper Co. Virginia Paper Co. Raleigh Dillard Paper Co. Virginia Paper Co. Wilmington Dillard Paper Co. Winston-Salem Dillard Paper Co. OHIO Cincinnati Nationwide Papers Ris Paper Co., Inc. Cleveland Ailing and Cory Millcraft Paper Co. Columbus Cordage Papers/Columbus Division Cuyahoga Falls Millcraft Paper Co. Dayton Ris Paper Co., Inc. Toledo Commerce Paper Co.
SOUTH CAROLINA Charleston Dillard Paper Co. Columbia Dillard Paper Co. Virginia Paper Co. Greenville Caskie Paper Co., Inc. Dillard Paper Co. TENNESSEE Chattanooga Sloan Paper Co. Southern Paper Co. Knoxville Dillard Paper Co. Southern Paper Co. Memphis Western Paper Co. Nashville Athens Paper TEXAS Amarillo Dixon Paper Co. Austin Monarch Paper Co. Olmsted-Kirk Paper Co. Dallas Monarch Paper Co. Olmsted-Kirk Paper Co. El Paso Dixon Paper Co. Fort Worth Monarch Paper Co. Olmsted-Kirk Paper Co. Houston Monarch Paper Co. Olmsted-Kirk Paper Co. Lubbock Dixon Paper Co. San Antonio Monarch Paper Co. Waco Olmsted-Kirk Paper Co. UTAH Salt Lake City Dixon Paper Co. Zellerbach Paper Co. VERMONT Burlington Hudson Valley Paper Co. VIRGINIA Bristol Dillard Paper Co. Lynchburg Caskie Paper Co., Inc. Dillard Paper Co. Norfolk Dillard Paper Co. Richmond Dillard Paper Co. Virginia Paper Co. Roanoke Dillard Paper Co. Virginia Beach Virginia Paper Co. WASHINGTON Seattle Zellerbach Paper Co. Spokane Zellerbach Paper Co. WEST VIRGINIA Huntington Cordage Papers/ Huntington Division WISCONSIN Appleton Universal Paper Corp. Madison Universal Paper Corp. Milwaukee Hobart/Mclntosh-Bouer Div. Reliable Paper Co. New Berlin Universal Paper Co. EXPORT AND FOREIGN New York, N.Y Moller & Rothe, Inc. Canada Calgary Barber-Ellis Edmonton Barber-Ellis Montreal Les papiers graphiques Lauzier Little, Inc. Ottawa Buntin Reid Paper Regina Barber-Ellis Saskatoon Barber-Ellis Toronto Buntin Reid Paper Graphic Papers Vancouver Barber-Ellis Winnipeg Barber-Ellis Australia Edwards Dunlap and B.J. Ball New Zealand B.J. Ball (N.Z.) Ltd.
55
S.D. Warren Company x A Subsidiary of Scott Paper Company 225 Franklin Street Boston, Massachusetts 0 2 1 1 0
BULK RATE U.S. POSTAGE PAID S.D. WARREN COMPANY
THE S.D. WARREN CATALOG OF
GATALO
1987, S.D. Warren Company, A Subsidiary of Scott Paper Company. Printed in U.S.A. on Warrenflo Cover-7 Pt., Somerset Gloss-60 lb. and Somerset Matte-50 lb. 87-7
A. CATALOG OF CATALOG DESIGN. Covers the basic elements of catalog design such as headline and copy pointers, use of white space and many more topical subjects.
B. SOMERSET GLOSS BROCHURE. A colorful sixteen page brochure that demonstrates the print quality of Somerset Gloss compared to low and medium brightness groundwood papers.
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A SUBSIDIARY OF SCOTT PAPER COMPANY
ORDER FORM
225 FRANKLIN STREET BOSTON, MASSACHUSETTS 02110 PLEASE CHARGE TO MY CONTINUING INTEREST IN CATALOG MARKETING.
Signature:
Dear S.D. Warren Company: Please send me the following informational pieces on the fascinating subjects of paper and printing... (See opposite side of this order form.)
A. Catalog of Catalog Design
B. Somerset Gloss Brochure
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DIRECT CATALOG PAPER INQUIRIES TO YOUR LOCAL S.D. WARREN PAPER MERCHANT.
I enjoyed receiving the S.D. Warren Catalog of Catalog Photography. Please keep me on your mailing list for subsequent issues specifically directed to the interest of catalog marketing. I would like to suggest the following subjects as considerations for follow-up issues:
Please send a copy of the S.D. Warren Catalog of Catalog Photography to my friends listed below. They will enjoy it, too!
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THE S. D.

S.D. Warren Catalog of Catalog Photography

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TYPES OF CATALOG SHOOTINGS

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tographic equipment, more shots can be accomp l i s h e d in a f u l l day's shooting.

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TO PROP on MOTTO PROP

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THE ROLE OF THE ART DIRECTOR

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THE PAPER SELECTION

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WARREN PAPER MERCHANTS

BULK RATE U.S. POSTAGE PAID S.D. WARREN COMPANY

THE S.D. WARREN CATALOG OF

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A. Catalog of Catalog Design

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