CRE­ATE FOR A CLIENT

En­sure 100 per cent client sat­is­fac­tion in a pro­fes­sional project

Digital Photograper - - Techniques -

When shoot­ing for a client the first thing to do is to get a feel for their busi­ness and the mes­sage that they want to pur­vey. Work­ing with smaller com­pa­nies or in­di­vid­u­als of­ten means deal­ing with the owner directly. a client will nor­mally ap­proach me be­cause they have seen my work and would like some­thing in my style, but not al­ways, so it is im­por­tant to make sure that their re­quire­ments are fully un­der­stood be­fore­hand.

if they have im­ages in mind that are not your own, then it’s a good idea to put to­gether a mood board or a se­lec­tion of im­ages to ref­er­ence to. once a style is es­tab­lished a client may then leave the rest to the photographer. this en­tails a huge el­e­ment of trust on both parts, so even when a client gives you free reign it is ad­vis­able to put a plan or sketch of the fi­nal im­ages to­gether for them to ap­prove. on the other spec­trum a client can be ex­tremely con­trol­ling and may want to be in­volved with ev­ery process. they may have their own stylists or de­sign­ers, in which case you will need to be pre­pared to work with a team of peo­ple that are not your usual go-to spe­cial­ists.

the pho­to­shoot here was for an artist named humna Mustafa; she came to me be­cause she had seen my work and wanted to have im­ages of her kitchen­ware in a life­style set­ting with an arty edge. We talked ex­ten­sively about her pas­sion for her own de­signs and in turn this re­ally in­spired my own work. as a client she was very re­laxed and trusted me to cre­ate some­thing beau­ti­ful and unique for her col­lec­tion.

after any shoot i like to do my own pre-edit us­ing the star func­tion in pho­to­shop Bridge. open the folder in Bridge and do a quick one star for all im­ages, leav­ing out test shots, mul­ti­ples or other shots that just don’t meet the cus­tomer brief. then with the star fil­ter se­lected i would ei­ther let the client look through the im­ages and al­low them to select their pre­ferred im­ages by my side, or i would do that on my own on their be­half. again this comes with an el­e­ment of trust be­tween photographer and client. De­pend­ing on the shoot this could go to 3, 4 or 5 stars.

once the fi­nal im­ages have been se­lected i then open these in adobe cam­era raw for some post-pro­cess­ing and then some fi­nal ad­just­ments or re­touch­ing over in pho­to­shop.

Bot­tom FOOD CAS­CADE

i had an idea of the cas­cad­ing food with the bowls cen­tral. i wanted it to look make-be­lieve

but nat­u­ral in ar­range­ment

Right BEET­ROOT SOUP adding hid­den smoke from an in­cense cone be­hind the soup bowl gives the ef­fect of hot

food, mak­ing the shoot more ap­petis­ing

Be­low POME­GRAN­ATE WITH BOWLS us­ing props with com­ple­men­tary colours helps to bring the

shoot to­gether

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