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.
Ugly might be a little harsh. They are a long way from beautiful. Unless perhaps you are looking exclusively from a practical point of view. They do what needs to be done. I had to make them look interesting; give them a little visual flair. I put them on the board we ordinarily put under the jack to protect the floor when we jack up a car. I added a little contrast, and a little blue. What do you think?
I've driven a few miles this year, primarily on three separate assignments to New York, including a side excursion to Philadelphia. These trips required a good deal of photographic equipment, forcing me to opt out of flying, and hitting the road. Its fortunate I enjoy driving, although admittedly, the days can get somewhat long.
This particular photograph was created at a state-of-the-art manufacturing facility that produces yogurt. I was hired by The Raymond Corporation to highlight their materials-handling equipment in action. I particularly like this photo due to the sterile and nearly monochromatic setting we were in. This shot was photographed using a mix of ambient light along with my well-travelled strobe equipment.
Living and working in metropolitan Detroit, its hard to get much distance from the automotive industry. There are not many degrees of separation. Although I'm acutely aware of this phenomena, it was brought home to me once again when I was awarded a multi-day photography shoot for Pentastar Aviation. Upon entering the terminal lobby, one cannot but notice the numerous photo enlargements depicting the historical connection between the Ford Motor Company and the aviation industry. And its no wonder that they're on display, as Edsel Ford, the great-grandson of Henry Ford, is the chairman and sole owner of Pentastar Aviation.
I created the photograph shown above, a Falcon aircraft interior, showing the quality of custom work Pentastar's Interior Design division can do. Whether its automotive interiors or aircraft interiors, Blue Sky Photography is up to the task. Thanks for viewing.
As a commercial photographer, I'm often awarded a location assignment without the opportunity to do a preliminary scout prior to shoot day. In these instances we really don't know what perils may await us. We hope for spotless factories with pristine machinery and well groomed operators. However, those hopes are usually dashed moments after arrival. The facility photographed above , EPIC in suburban Detroit, was an exception to the norm. We were welcomed into an almost sterile-like environment, showcasing a meticulously clean assembly line. Not all industrial photography projects will be as clean as this one, but we can always hope.
A mysterious or fascinating quality. That's how the dictionary defines the word "intrigue". I can still readily remember how I felt working in my college photography darkroom, waiting for an image to appear on my photo paper as I gingerly sloshed developer back and forth. It was magical and suspenseful at the same time. That same feeling of intrigue kept with me over the years as I waited for my film to come back from the lab, never truly knowing the results of my photographic efforts until I held them in my hands. It added mystery to the process of photography.
Now with everything photographic being digital, we've lost some of that mystery and suspense within our chosen profession, and exchanged it for the immediacy of pixels on our computer monitors. To be fair, we did have Polaroids that removed a portion of the intrigue from our shoots. These days there is still an element of suspense in our work that keeps me engaged. In the photograph shown above, all the elements to create a quality image for my client came together, proving to me once more that photography can still carry with it a little bit of intrigue.
Brand promotion and advertising is incomplete without photographs. The reason behind this is actually related to the psychology of humans. We are more attracted to the photographs printed in the newspapers and magazines than the written commercial messages. The colorful images help in establishing brand identity and give the customers a brief overview about the product or service which is advertised. In a nutshell it can be said that photography is a very important part of the advertising world and without it, attracting customers to read a print advertisement can be extremely difficult.
If you need to create an advertisement for publishing on an online portal, newspaper or magazine, then I would suggest you to hire a product photographer. A professional photographer will make sure that the product is captured in the photograph in such a way that all the positive aspects are highlighted and the overall view is attractive. The image that the amateur clicks with a digital camera may have flaws, but professional high resolution cameras can produce flawless images when handled by a commercial photography expert. To add the perfect photograph for the advertising of your products, you should hire a professional photographer.
In case you are dealing in industrial machines and spare parts, then nothing can be better then employing an industrial photographer for creating the images of the machines and spare parts which you offer. The photographers who specialize in industrial photography have a talent for the requirements of your industry, and can capture splendid images for increasing the aesthetic value of your advertisement. A professional photographer can add life to any ordinary advertisement by creating flawless images of your products.
Once again, my business partner Tom Kirby and I have teamed up for a commercial photo assignment. I handled the location photos and Tom shot in studio for an industrial protective gear client. This scenario has worked well for us in the past and this time was no exception.
Photographing heavy industry can often take place in less than sterile environments. Noise, dirt and occasionally foul odors can be part of the occupational hazards of industrial photography, but it can also be fascinating to see how America really works behind the scenes. Truth be told, I'm always glad to be on this side of the camera.
I was recently hired to do a photo shoot at Toyota Boshoku, an interior trim facility for the automotive industry. As in nearly all photographic assignments, there were challenges that awaited me. For this particular photography project, time was limited and decisions had to be made quickly once our scouting with the client had been completed.
For this lifestyle photograph, one of several created that day, we temporarily employed one of the staff seamstresses to assist us. We set up quickly using just a key and a rim light, mixing with the ambient light of the facility. Our client was pleased with the results as we were able to help tell their story of quality automotive finishing.
I was recently hired to photograph at a multinational automotive paint laboratory in suburban Detroit. Although I've worked with this company a number of times before, it was my first gig with this particular client who flew in from Chicago for the two-day shoot. There were no layouts which gave us the flexibility to shoot anything that we felt would tell a good story. I enjoyed having to think "on-the-fly", as it differs substantially from many shoots which are much more disciplined. This particular photo opportunity forced us to change directions, move our gear and operations to a satellite building to take advantage of the work in progress. Without the flexibility our shoot strategy allowed, we couldn't have captured this paint booth image.
I was recently on a photography shoot in Atlanta at a brand new 800,000 square foot distribution center. I was photographing material handling trucks for my client Raymond. They chose this particular facility due to its "VNA" designation (very narrow aisle), three words most photographers probably don't want to hear. We tend to like space, lots of space for our lighting needs. But of course, we're always up to new challenges.
These trucks are pretty amazing and so in an attempt to capture their remarkable capabilities, I spent about fourteen hours out of a two-day photo shoot perched on top of a scissors-lift. This particular photograph was accomplished by shooting from approximately three stories high, giving an unusual perspective to the truck, the operator and the warehouse itself.
When telling a story, sometimes you need to see below the surface. It’s sometimes done with a saw, if it is going to be displayed there is little choice. A display company would be able to find someone with all the necessary skills, but it would be expensive. If it is just for photography, then it can often be considerably more affordable. This image is part of a brochure for a backup emergency lighting system. On the outside it appears to be an attractive red box. The story is inside. Shooting multiple images and assembling them in PhotoShop is how it was done. Let me know what you think.
Corporate portraits can be accomplished in a variety of ways. Most often it seems executives need head-shots photographed against a simple seamless or traditional portraiture backdrop. I photograph many executives each year this way, both in my Troy, Michigan studio and also at the subject's business headquarters. But environmental portraits, or more specifically as in the photo below, an industrial portrait, brings with it more challenges and often times a more enticing photograph.
This particular portrait was photographed inside a forging plant, which was hot, dirty and noisy. It was nearly impossible to communicate with either my photo assistant or my corporate clients by speaking, so hand signals became my primary source to convey directions. As with any corporate portrait, the subject is the star, but an environmental portrait can also help tell the client's story.
It may look like this was shot in a gritty, dimly lit industrial warehouse, but in fact, it was shot in the relative comfort of our studio. I found a floor to shoot at a factory nearby, and stripped that in under the lift truck. I love that photography can portray an alternate reality. In fact, that’s the core of our business, to make things look better than they actually do. In this case, few industrial warehouses with this lift truck would be quite so gritty. These are high-end lift trucks and more likely to be found in a modern commercial warehouse that is clean and well lit. I like the tough gritty feel though, as it does communicate that it’s a durable, well built machine. As always, I’m interested in your thoughts.
I'm sure I've said it before, but its probably worth repeating: commercial photography is a rush. I was recently in northern Michigan photographing a lumber mill for a repeat client when about three-quarters through the shoot she commented, "This was probably a dull shoot for you". "On the contrary", I replied. I had been just thinking how awesome it was to make a living at something I love to do, travel (even though its just to an out-of-town industrial site), and see and learn things we have a tendency to take for granted. Like what goes into creating a 2"x6"! It was really quite fascinating to see the entire process of giant timbers being off-loaded from logging trucks, debarked, ripped, dried, sorted, planed and bundled, before once more taking a truck ride to Home Depot or an alternative lumber yard. The automation process was a thing of beauty and I couldn't but marvel at the ingenious minds that put it all together.