I was photographing jewelry for a catalog with my friend Richard when he slid some small rings onto a bit of rolled up paper. It didn’t work for the catalog we were shooting, but I thought it looked pretty cool. I enjoy spontaneous moments like that one. Because Richard created the jewelry, he has ideas about what it should look like in 2 dimensions. Collaborating on projects like this one is a highlight of my job.
Photographing very small things can be challenging. The product in this photograph is an abrasive, but to be honest, I don’t know how it is used. I imagine that it’s similar to sand blasting. The largest of the stainless steel balls is about one millimeter in diameter. For comparison, a BB is about 4.5 millimeters in diameter. So these are pretty small. As always, I am interested in your thoughts and comments.
Every now and then we need to photograph large products. Fork trucks are not the largest product we’ve had in the studio. We’ve had large trucks, turf maintenance vehicles, salt spreading equipment and truck bed liners in the studio too. These fork trucks are fun to photograph because of their excellent industrial design. Please, let me know what you think!
They’re not jewelry, they’re far more functional. The only outward similarity is that they’re shiny metal. They nonetheless, feel kinda like jewelry, or at least that’s one of my goals. Despite the need for rigorous functionality they are surprisingly beautiful objects. Whatever their purpose, they’re fun to shoot. As always I am interested in your thoughts and comments.
I was recently awarded a project to photograph professional models for a medical device maker in Michigan. Stryker is a Fortune 500 company whom I’ve worked with numerous times. This particular shoot was done in studio with an emphasis on building a library of images the client could use for future marketing needs. It was an enjoyable photography session, as our talent pool was exceptionally good. Likewise, I had great art direction and a knowledgeable staff that knew the medical nuances of surgical wear. All in all, it was a great team effort.
Circles are delightful design elements. The fact that these are functional is a bonus. The trick to images like this one is to make it feel like you just grabbed a snapshot of some parts in a barrel. The reality is quite different: cleaning tiny parts, moving them around with tweezers and carefully adjusting the lighting takes hours.
Product photography is a ceaseless joy in my life. I just really enjoy doing it. You would think that photographing wine bottles would be more fun than industrial parts… It really depends on the industrial part. Still, shooting this project was fun as well as challenging and rewarding. Finessing the lighting and bringing life to all of the disparate textures and shapes. The most challenging part of the shot was the highlights – I had to play with them a little to get the contrast I wanted, but I think it turned out well. Let me know what you think.
There are thousands of parts in every car. These photographs are of parts from a major automotive supplier. The immediate use of these of photographs is to decorate their offices, but I’m sure they’ll find other uses for them too. The parts have an intrinsic beauty that is undeniable. My goal was to keep it simple, and let the lines, shapes and textures speak for themselves.
Automotive parts are really important around Detroit. Statuesque is what I was going for. Big. Important. Grand. This part is cutaway so we can see inside. I like shooting industrial parts. You can see them for their functionality or you can see them as circles, rods or trapezoids; light and shadow giving them volume and shape. My job as a commercial photographer is to transform my client’s vision into a photograph, that is visually impressive and tells a story. As always let me know what you think.
I photograph executive portraits frequently, in studio at Blue Sky Photography in Troy, along with shooting on location at client’s facilities. Although I enjoy both studio and location portraits, shooting against environmental backgrounds can often be a bigger challenge. There is more involved than just a simple portrait lighting set-up against a seamless backdrop.
In the photograph above, the client desired a very shallow depth of field which required shooting through nearly three stops of neutral density, even with the strobe lights set to their lowest settings. And to complicate matters even further, I had to deal with reflections from the conference room glass walls. But that’s why I like shooting environmentally; bigger challenge, bigger reward.