Without forktrucks, industry would grind to a halt. Since the early 20th century forktrucks have been the way things get moved around a warehouse, and trucks and railroad cars get loaded. Like everything else, technology has made them faster and safer. In my client’s case, industrial designers have made them easier to use and nicer to look at. My job is to find interesting angles and light that flatter the design. I am always interested in your thoughts and comments.
Visibility is important if you’re driving a fork truck. Vision is important in many jobs. I am generally not a fan of “straight on” shots, but in this case it’s kind of dramatic. The diagonals provided by the red forks are dynamic and the strong verticals of the mast create a sense of strength. And it all frames the eyes. Please let me know what you think.
The biggest of these little steel balls is about a millimeter in diameter, about the thickness of a dime. It’s called wire cut shot. It’s used as in industrial processes. I had to level the table so it wouldn’t all roll away. It’s challenging to get them into the shape you want and make it look natural and random. I love the little glimpses into otherwise invisible areas that commercial photography provides.
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.
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.
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.
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.