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Commercial Photography – Capturing Significant Moments For Your Business

Significant occasions in our personal lives are always photographed – from weddings and christenings through to graduation ceremonies and trips of a lifetime. With businesses it’s always important to capture those important moments too and now that most people have access to good performance digital cameras the days of hiring a professional photographer may seem numbered. However the need for businesses to produce the highest quality images of events has never been stronger.

Significant occasions in our personal lives are always photographed – from weddings and christenings through to graduation ceremonies and trips of a lifetime.

With businesses it’s always important to capture those important moments too and now that most people have access to good performance digital cameras the days of hiring a professional photographer may seem numbered. However the need for businesses to produce the highest quality images of events has never been stronger.

A picture that tells a story is a picture which shows what is happening. It’s important to avoid gimmick pictures because they look contrived. Creative pictures however help tell an interesting story. For example, if a company moves offices no one is really interested what the outside of the new building looks like. But if you take a photo of the Managing Director helping to unload the removal van then the story captures more attention.

During the festive season many companies are involved in black-tie dinners and awards ceremonies. Using a commercial photographer to capture key images from the event means more than visual souvenirs of staff dressed up in their best clothes!

For businesses that are hoping to use photographs alongside a written press release, getting the picture perfect is vital, and investing in the services of a commercial photographer is the best step to take.

Any picture that is to be sent to a newspaper or magazine must be of sufficient quality to reproduce well. However the most important aspect is to make sure that the photographer creates an interesting picture in the first place. Too often, money is wasted on photographs that will never be published. It’s important for both the client and photographer to understand what photographs each newspaper or publication – particularly professional or trade magazines – like to publish. At the end of the day it’s about getting a photograph published, not mounted in an album!

Achieving the World’s Finest Imaging for Documentary Commercial Photography and Fine Art

In documentary commercial photography, the top-most tier of digital photography is becoming a closer comparative to large format camera systems – rarely known about specialist equipment that use sheet film conveying resolution, quality of imagery and colour with startling performance. Yet they lack the versatility and soulful visual rendition of large format movements and film capture. Thus, in the world of documentary commercial photography, industrial photography, and fine art photography, something is achieved beyond the digital format and formula, designed for ‘painting on a screen.’

The method for world leading imaging is:

• Technically-engineered high-tolerance large format cameras with state of the art glass lenses and custom dampening: Linhof Technika, Arca Swiss, and heavy support systems
• Highly-skilled ‘reading of light’ and compensating on camera: Pentax digispot favoured, without zone system calibration but with the meter strip – and ability to use it
• Fuji and Ilford film with Digital Post-Production – leading technology drum scans and specialist ‘clean up’ of imagery
• Latest physical media of highest quality for online, print, advertising and billboards
• Authentic, ambient light for contextual documentary photography
• Collaboration with c-suite, creative directors, technical teams, production companies and producers aligned with high technical capability and creative direction
• Resulting incomparable physical image production in fine art quality media to 120 x 96 inches

The process of leading photography requires a degree of time and process, thus it’s not suitable for fast-action applications like sports: fine art still reporting is the only time we recommend digital capture, resorting to incomparable film transparency and technical capture with Linhof Technika and sibling cameras, and lenses by Rodenstock – the S – variant, and Schneider-Kreuznach APO and HM lenses.

Leica documentaries are a hybrid of fast-response film media, chosen for capturing commercial photography images with grit and soul: two adjectives rarely used with digital capture. The Leica R 60mm has a level of soul, especially when combined with Kodak Tri-X film – the antithesis of digital media, rich in texture and grain.

Technical all-metal cameras have versatility of movement permitting in-camera correcting of verticals, such as that on the edge of buildings which can otherwise ‘bend in’ on the visual image. Whilst Adobe Photoshop can cut that out, as a professional documentary photographer minimal invasion to the final image is pivotal. Further, they lock down with integrity and don’t suffer from the minute shifts wood field cameras can elicit altering the plane of film against the camera back.

Solidity of tripod is essential with mass and broad triangular spread given more credence than carbon fibre lighweight and modern tripods. Well engineered ball heads such as those made by Arca Swiss, RRS, Kirk, and a few others are a necessity for minimizing vibration that would otherwise be transferred to the film and effect crispness of resolution.

Similarly, shooting at f16 – f22 utilizes the best of the lens, gives greater depth of field before diffraction from the aperture produces negative play on the image.

Armed with all this is the technical skill to follow the sequence large format photography requires; discipline, care, attention, and keeping in mind the heart in the process of art being made.