Coffee commercials

I have been doing some research on the tv medium of advertising, which leads me to coffee commercials, more commonly found on American tv, but good for ideas, and some are funny.

New Krups Nescafe Dolce Gusto Coffee Machine advertise funny commercial video en Yahoo! Video

Location Shoot 2 - Coffee

So this shoot is part of my Coffee advertising folio. I wanted the "relaxed" feel of taking a moment with a friend/loved one with a coffee in hand. I think that coffee is a good mood starter, and also an ice breaker. Just a random thought.... the typical first date is going for "coffee/drinks" that sort of relates to my cappuccino advertisement.

So this shoot is of 2 of my closest friends, all enjoying a coffee at a cafe/restaurant. I can't quite decide if i like the model engaging with the camera, perhaps it would have been more successful if both models were looking, or alternatively, choose one of the photographs where they are engaging with each other.

Down the bottom of the photograph is a typical thing you will see in a magazine article, advertising the coffee brand etc.

Shoot 3

This is my Product shots in the studio, which are all on Mobile Phones.
iPhone was the easiest to play around with first. I have been trying to source mobiles that aren't all scratched up, and are still new, just because photoshopping out the flaws is difficult. I chose easy but effective lighting.

Shoot 2

Ok, this is my first Studio shoot.

This is my first shoot of 10 portraits for the studio, which are advertising a particular product. The product chosen this time is Shoes. And awesome ones at that!! I tried going for some soft lighting using a large soft box angled towards the camera for the "wrap around" look. This changed, along with different poses, to highlight the shoes more, as they are the object being advertised.

And yes i can now see the dodgy editing down the bottom.... LOL

5 photos like/dislike

LIKE

Paul Kline

I was first drawn to this image through the lighting effects from above. It "appears" to be coming from the open window above, but it is much more from above as you can see behind the businessman the circular edge of the light. At first research I found it was a priest, but this is just a businessman, who has probably sunk so low to end up in such a place. The composition is clean.

Kline Communications 2010, Advertising, Creative Washington DC Commercial Photographer and Advertising Photographer, viewed 14th March 2010, < http://www.paulkline.com/ >

Eryk Fitkau

For starters I first noticed the lamp shade due to its contrasted model. Then the model. I love the lighting and texture on the model's shoulder, which leads the eye to the image of the AMEX card. This photo is obviously targeted to the Japanese market, (due to the text) but for marketing, this photograph can slot into any country. I think visually it has that extra quirk to it that is intriguing and something i haven't seen before. Perhaps there was a special promotion with AMEX, and the light lamp was objectifying that it was a "brilliant idea" a "lightbulb moment".

Fitkau, E 2004, American Express Campaign, sponsored by C Henry, viewed 15th March 2010, < http://www.eryk.com.au/index.php >

Eryk Fitkau

The texture of this photograph is what caught my attention. It has a raw edge and emotion running through the image. it has a natural mood towards it. Although this photograph has been post produced, (through "halo" effect) i like the edgy lighting which is softly exposed. The model is peaking through the shadow, which is exposed with low intensity, but increased lighting on the hair.

Fitkau, E 2004, Portrait, sponsored by C Henry, viewed 15th March 2010, < http://www.eryk.com.au/index.php >

Dirk Frank

I Love the lighting of this photograph. It's Post Production creates a beautiful tie between, dress, sky and sea. The Colours of all 3 are incorporated in the dress. The texture seen on the dress through some direct lighting, is as though the elements around the model are feeding off the rich earth and the sea. the "halo" seen on the model is a little annoying, however i feel that the composition, the lighting and the surroundings suffice for minor increments that can be altered. ( or rather, should not have been altered so harshly).

Frank, D 2007, Portfolio Fashion 1, Miami Fashion Photographers, Lifestyle and Advertising Photographers, viewed 14th March 2010, < http://photobusiness.com/ >

Dirk Frank

I like the overall effect on the model in this photograph. However, with a little less directional lighting, the realness of the skin textures and exposure would be more accurate. I like how the model's facial features are distinguished, the eyes and the lips. Compositionally this is quite nice using the full frame.

Frank, D 2007, Portfolio Fashion 1, Miami Fashion Photographers, Lifestyle and Advertising Photographers, viewed 14th March 2010, < http://photobusiness.com/ >

DISLIKE

Dirk Frank

I cannot stand the lighting in this photograph. The background is what draws my attention first in connection with the extremely blue and cold colour cast. The model's pose is quite different, to that what suits a quite glamourous dress.

Frank, D 2007, Portfolio Fashion 1, Miami Fashion Photographers, Lifestyle and Advertising Photographers, viewed 13th March 2010, < http://photobusiness.com/ >

Paul Kline

I am not impressed with the lighting of this photograph. It has a green/yellow colour tinge which is not appealing to my eye. At first i liked the pose, however, the hand is playing on my mind. The model's hand is not in proportion to the face. The hand looks twice as big as normal as it is in front of the face, perhaps she was about to reach for something.

Kline Communications 2010, Commercial, Creative Washington DC Commercial Photographer and Advertising Photographer, viewed 14th March 2010, < http://www.paulkline.com/ >

Paul Saxby

This photographs has a couple of things i dislike. Firstly, for a fashion shoot, the photographer or stylist should have made sure that the dress was IRONED! the lighting is effective, however too much drop off. The pose is awkward to be advertising scarves. it appears she is drying herself with it.

Saxby Photography, P 2009, A Scarf and a Half, viewed 14th March 2010, < mode="date&month=" year="2009">

Eryk Fitkau

This photograph is obviously post-produced. There are obvious "burning in" around the feet and legs. There is way too much colour saturation for my liking. The skin looks unnatural, and the pose is insinuative. The exposure is harsh and flat, loosing too much detail under the hood of the car.

Fitkau, E 2004, Fashion and Advertising, sponsored by C Henry, viewed 14th March 2010, < http://www.eryk.com.au/index.php >

First Shoot

Ok.... this shoot turned in a disaster. I couldn't work my way around the Speedlites and got frustrated quickly and easily.

My model will willingly reshoot this :)

Im tossing up between continuing with this office environment shoot, or relocating to an empty lecture theatre, with the model as the "student" asleep at his desk.

My concept of this folio is to photoshop in the right coffee type. This first shoot is my espresso shot scene. Ones to follow are; cappuccino, flat white and coffee beans.

Things to do for next time, use mobile lights with modelling lights. I feel more comfortable being able to see where the light is going.

Urs Recher Workshop

My Notes on the workshop at Sun Studios Sydney for the Urs Recher workshop.

5 of us went to the Urs Recher workshop. It was a fantastic experience which will stick with me for many years. Urs' technical skills in physically reading the light itself was astounding, being under his guidance was very awesome. His lighting is simple, but effective. Urs taught us to use 1 light at a time, and each light was there for its own purpose. therefore, being able to correct something little, wouldn't change the whole setup.

Also whilst at Sun Studios i ordered my Canon 5DmkII with 24-70mm lens :):):)

* For textured surfaces a more harsh light is used.

* Soft light is obtained through lights CLOSE to subject with softboxes, same size / bigger than object.

* Hard light is obtained through lights FAR AWAY from subject, with eg, P70

* Directional light plays no part in hard light.

* Distance in photographing an object is VERY important.

* P70 = 70 degrees.

* Always use the main light source before adding the extra lights.

* Be aware of flare in the lens.

* Control the main light!

* For portraits, be aware of reflections in eyes, background gradients, skin reflectance/luminance, colour saturation increases with hard light.

* With particular portraits, use background light first

* 15 - 240, contains printable detail (histogram)

* Angle light away from the model.

* Angled light on face is more sharp closer to face.

* Transparent glasses when light is closer.

* For groups of people, or singular, create a "wall" of light with 3 P70 lights reflected away from subject and bouncing off white walls.

* T01 (min) Multiple flashes when in long exposure do 1, as the other flashes will be the same.

* Chrome, use acrylic board. Strip light as fill.

* In portraits, turning light away = graduation, use background lit with grid.

* C Light vs. EM light. These strip lights/softboxes with or without flags

------________________-------- 180=C light

\ /

\ / Light is more gradient, and spread is further

------________-------- 90=EM light

\ /

\ / Light is less gradient, spread is less

* ISO (not camera) is for flash duration

* ISO 2827 duration

* Effective = 0.5

* Total = 0.1

* T0.5 on 1/12000 is bag (shuttertime 1/30)

*T0.1 on 1/8000 is better (clearer)

*T0.5 is about 3x faster than T0.1

* Try not to modify flash curve

* Classic Discharge Curve=T0.5 = 1/3 x T0.1

*Competitors Technique=T0.5 = 1/5 x T0.1

* Pre Flash=T0.5= 1/5 x T0.1

*Bron Cut-Off Technique is where the discharge of flash at T0.5 at 50% is almost the same as T0.1 at 10% flash output.

* Bron Pre flash is where the power pack discharges a small amount of flash before the camera is delayed, so the flash output can be shorter but have the maximum amount of flash discharged.

*The higher intensity of flash, the colder it is. The Longer the flash duration, the warmer the colour cast.

*5500K is best recommended.

*Hot flash = Cold light

*With Cut-Off technique, at power output 9= 5380K

*Power output 9.5=5600K

*Bron Scoro out Graphit only do cut-off technique.

*Low power settings put stress onto the pack.

*Power 6-10 is optimum.

*1/250 Sync cable only

*1/200 on RFS

*Defocusing the "para" light is spread to outside of the separate panels, creating 24 separate lights.

*UV lights can create awesome, night glow with simple highlighters, white fabrics.