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In advertising photography, is truth telling more vital than producing beautiful images? by De Wet Erasmus
In advertising, the point is to sell a specific product, whether it’s an object, a service, a look, whether it’s ethical or not. Advertising, if executed well, is an effective tool in promoting a brand. Photography is one of the many media used to advertise. The question is: Is beautification of images in the advertising industry necessary or is the truth of what the product looks, is or does more important?
Advertising photography is often unacknowledged in the history of photography, so much so that the photographer is often not even credited. If the advertising industry had not turned to photography when it discovered the photograph's power to convey the joys and benefits of consumerism, advertising would not be as effective as it is today. No one can disagree that in modern capitalist societies, the camera has proved to be an absolutely crucial tool for the makers of consumer goods, for those involved with public relations and those who sell ideas and services because people are primarily run to be visual people (Answers: Advertising Photography 2009. Viewed 10 August 2009).
The camera and photographer are able to create perfect “realities” which seem to trick the viewers into buying that product, even though they are aware of the contrived scene.
Advertising photography is not a new genre of photography. In fact, the first advertising photography appeared in the 19th century, advertising products or businesses. By the 1890s, small informative half tone printed periodicals and catalogues appeared. Photographic journals were publishing articles on advertising photography by the 20th century (Answers: Advertising Photography 2009. Viewed 10 August 2009).
Early advisers came up with the concept that advertising photographs feature human interest subjects in an easy to understand way but in a personally
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expressive style. After World War I, the advertising industry had become rapidly professionalized, creating many jobs and positions in the advertising field such as copywriters, art directors and even psychologists. The tremendous market for advertising photography provided opportunities for photographers of different aesthetic tendencies. Modernist advertising photography, in particular, blossomed as a fitting symbol for the self-conscious modernity of the times. A modernist style was totally different and exciting at the time. It was based on close-up views, spare geometric compositions, oblique vantage points, tonal contrast, and sharpened focus that dominated advertising photography for the next two decades (Answers: Advertising Photography 2009. Viewed 10 August 2009). Advertising in the 21st century is totally different to advertising of former years. This was because advertising around the turn of the 21st century provoked new content-based controversies. Where mid-20th-century advertising photography was often criticized for promoting overly conventional visions of life or unrealistic material aspirations, criticism of today's advertising has targeted images that glamorize drug use, tobacco, anorexic bodies, or other unhealthy lifestyles. For example, the clothing manufacturer Benetton, photographer Oliviero Toscani, had used AIDS victims, prisoners, and refugees in its advertisements. Was this just a shock tactic or was it meant to make the public aware of what was happening in the world around us?(Answers: Ethics and Photography 2009) . Viewed 10 August 2009)
Ethics of photography are the principles of best practice that the photographer should adopt when practicing. This is based more on goodwill, morals and of course common sense rather than laws. But there are laws which a photographer has to abide by such as copyright, contract law and in some cases, privacy legislation. There are codes governing the use of people in advertisements. Whilst the code does not have legal standing, it provides an ethical framework designed to protect both celebrities and the general public. The code requires, for
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example, that ‘Advertisers … seek written permission in advance if they portray or refer to individuals or their identifiable possessions in any advertisement’; and that ‘Advertisers who have not obtained prior permission from entertainers, politicians, sportsmen and others whose work gives them a high profile, should ensure that they are not portrayed in an offensive or adverse way.’ Whilst the codes are especially important to the advertising industry, photographers in general should be guided by them (Answers: Ethics and Photography 2009) . Viewed 10 August 2009).
Since 1994, digital manipulation has been the main post production tool used to beautify photographs. Usually done with high-end graphic programs such as Adobe Photoshop or Paint Shop Pro, digital photo manipulation is utilized when the raw image needs change or improvement. Proper photo manipulation takes highly specialized skills and an enormous amount of time to perfect. Passing for absolute realism has become the apex for photo manipulation wizards, and the more developments in technology there are the closer to realism we become. As the depth of the programs that perform the photo manipulations grows, the skills of the designers that operate them need to as well. And what multi billion dollar industry would need such skills to enhance their products and also be able to afford these photographers and manipulators? The advertising industry of course. Photographers and retouchers have the ability to make shiny objects even shinier with modern technology. The simplest form of photo manipulation in adding in a new photographic background, the most complex being an entire 3D background to enhance the product (Dynamic Digital Photography 2009. Viewed 8 August 2009)
In light of what has been said, this essay will review four different photographers and each one’s unique way of producing advertising photographs. Each of them are top advertising photographers who are currently working all over the world for top high end clients.
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Belgian photographer, Christophe Gilbert, captures his ideas on film before even considering to look for the best way to improve them with digital software. Chrisophe’s portfolio offers a trip through the imaginary and into unknown possibilities (Wierdomatic 2009. Viewed 11 August 2009). He perfectly manipulates his works by combining them with their surroundings, transforming pictures from ordinary shots into eye-popping creations with a sense of comedy. (Wierdomatic 2009. Viewed 11 August 2009). Christophe resides in Brussels and describes himself as a self-taught photographer who specializes in the creation of visual art. He mastered the art of shooting by working as an assistant for car photographers during Fig.1.1 Amazing lighting skills used by Chrisophe
the early eighties.
Gilbert
Surrounded by cars, he
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discovered the power of light, able to bring even metal to life. His experience as a photographic assistant taught him the basic principles of photography and he discovered that taking the perfect pictures Fig.1.2
Renault advertisment by Christophe Gilbert onesmallseed.net
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is less about technical skill and knowledge and more about possessing the right kind of visual mind and eye (One Small Seed Network 2009. Viewed 14 August 2009). By working in advertising, Christophe has found the freedom to explore beyond the confines of what is visible to the human eye and into the realm of conceptual thought. “Photography isn’t about what you see,” he explains. “It’s about how you want things to be seen.” His images are an explorative journeys into fantasy, capturing the imagination with his twisted and dark imagery. His works pay particular attention to feminine beauty and sensuality. His portrayals of women tread the delicate border between empowerment and sensationalism, with several images dwelling in the murky area Fig.1.3
Christophe Gilbert
between objectification and identification. At first
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glance, his work is
brimming with chauvinism as he expertly degrades women by comparing them to bitches. However, he simultaneously paints women as having the power and capability to care for their off-springs, nourishing and protecting them. The images are highly sexual yet the attention is diverted from the erotic and towards their maternal role. (Wierdomatic 2009. Viewed 11 August 2009).
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Christophe’s magical creations begin by first envisioning the whole picture in his mind. Once he has his direction firmly cemented in his mind, the rest flows easily and naturally. He credits most of his successful work to his art director and declares, when you work with someone who thinks like you do, you will realize how far you can go. Obsessed with details, Christophe truly believes that small details can make an enormous difference to the final product. However, he’s well aware that reaching perfection Fig. 1.4 Bitch of mother protecting and nourishing her off-spring? by Cristophe Gilbert onesmallseed.net
is a futile pursuit. “You’ll probably need a few more lives
to imagine reaching even a pretense of satisfaction,” he says laughingly (One Small Seed Network 2009. Viewed 14 August 2009). Jim Fiscus is an award-winning advertising and editorial photographer whose clients include Levis, Guinness, HBO, Nike, Coca-Cola, Showtime, AnheuserBusch, and ESPN. Fiscus, who was voted International Photographer of the Year for 2006, has had work featured on two communication arts covers and named #1 on Campaigns 2008 list of top Fig.2.1 Jim Fiscus has a recognizable style (fiscusphoto.com)
photographers in the United Kingdom. His reputation for perfection is matched only by the respect with which he treats his
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subjects. Fiscus studied photography at East Texas State University and is based in New York City and Athens, Georgia. (Jim Fiscus. 2009. Viewed 10 August 2009) Jim Fiscus is a photographer who uses the human figure within an interesting composition, paying special attention to background set-ups, props, lighting and the wardrobe of the subject being photographed. Fiscus tends to stick to a soft colour palette, but here and there, one can sometimes see bright areas of colour that add to the whole atmosphere of the photograph. According to MAGAZINE 13: Fiscus has been pushing the boundaries of photography and digital imaging for more than 15 years. Famous for his highly stylized photographs, he seamlessly melds people, places and elements into provocative images for editorial and advertising purposes. Fig. 2.2 Jim Fiscus uses a subdued colour palette (fiscusphoto.com)
A pioneer in digital imaging, his technique gives him latitude to create any environment his clients envision, no matter how impossible. Fiscus’ career began with a campaign for Philip Morris and has grown to include many national and international high-profile clients. A native Texan, Jim currently lives in Athens, Georgia, with his wife, Lisa, who owns Hawthorne House Antiques and Interiors and is a member of the board of directors of the Friends of the Museum.
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Fiscus was voted International Photographer of the Year for 2006 by the International Photography Awards. His work was featured on two covers of “Communication Arts,” and he was named number 1 on “Campaigns” magazine’s 2008 list of top photographers in the United Kingdom. (Magazine 13. 2009. Viewed on 10 August 2009) Michael Muller is probably the photographer with the most images in mass media at the moment than any other photographer. Michael has worked on campaigns for Speedo, Nike, Billabong, Dita Eyewear, Range Rover, Dodge, Fig. 3.1 A portrait of Michael Muller
Fila, and Von Zipper. He also just finished an extensive Scuba
Expedition in The Galapagos Islands for the Swiss watchmaker IWC that is going to help support The Charles Darwin Foundation and UNESCO. Michael has recently documented Marvel Studios first film Ironman, as well as X-Men Origins Wolverine, Hancock, Max Payne, Entourage, 24, Crash, The Beast as well as many other film and television projects. (Michael Muller. 2009. Viewed 10 August 2009) "I try to capture the energy of a person who is being true to themselves. This I believe is the essence of a photograph," is Michael Muller’s explanation for what his photographs are. (Design Feedr. 2008. Viewed 9 August 2009) Raised in Northern California by Thomas and Janice Muller, Michael spent much of his youth traveling to more than forty five different countries due to his family’s move to Saudi Arabia where his father oversaw the building of Jubail. It was here that he was first inspired to pick up a camera after he saw the joy that his father had from taking pictures. (Rovinj Photodays 2009. Viewed 10 August 2009)
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After returning to the United States at the age of fifteen, Michael began photographing the sport of snowboarding. Within a year, he saw his first photographs published. With little documented photographic experience, he was accepted into the Otis Parsons School of Design with an advanced place. After one short semester he found himself an art school dropout. Michael then embarked on a journey of selfeducation. By the time he reached twenty-two, running on talent alone, he began photographing some of the most prestigious names in the entertainment and fashion industry. (www.MichaelMuller_Rovinj_Photodays_2009.htm) His work has graced the covers and pages of magazines including: Vanity Fair, Elle, Rolling Stone, Harper's Bazaar, Flaunt, The New York Times, ESPN, Filter, Esquire, Interview and Time Magazine. Muller uses lighting in very much the same way as Fiscus- illuminating the figure, subtly highlighting the interesting background so that the viewer can take in the entire composition. Muller, like Fiscus, at times, also makes use of known characters, but unlike Fiscus who accurately portrays them, Muller parodies them. His choice of wardrobe and props is perfect in these parodies, but he tends to turn something “innocent� like snow white into something more adult like and less naive. In these parodies, his use of bright colour in his compositions becomes quite demanding compared to his Fig. 3.2
A portrait of Kirsten Dunst for Spiderman 3 by Michael Muller mullerphotography.com
other works which tend to be rather neutral with spots of
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bright colour like Fiscus. The closest project to Michael’s heart is his new Charity called Kids Clicking Kids, which he started with the Art of Elysium. KCK brings photography into hospitals to a variety of children, many who have never taken a photograph in their life. “Watching children smile and laugh while in such pain from taking photos is an experience that Fig. 3.3
A Hitman promotional image of Timothy Olifant by Michael Muller mullerphotography.com
supersedes any that come to mind” says Muller.
After more than a decade and a half of living, traveling, and working in Los Angeles, New York, and Paris, at the age of thirty eight, Michael once again calls Los Angeles his home. Michael is married with 3 daughters. Michael's unique signature style speaks for itself. His passion for the art and commerce of photography can easily be felt by simply looking at his pictures. Michael Muller said, "When people view my work, I simply want to evoke emotion." (Rovinj Photodays.2009. Viewed 10 August 2009).
Advertising designers and photographers discovered that they could communicate with the consumer at the speed of modern information by writing the advertiser’s message right into the very fabric of the picture. The intriguing and usually amusing conceptual pictures cooked up by the art directors and designers of the new generation grabbed the viewer with an often-outlandish situation that made the viewer laugh and encouraged them to look closer, thereby giving them a reason to spend a few seconds longer reading the always-
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short copy to find out what purpose inspired the creation of the image. (Shmeild, E. Advertising Photography in the digital revolution)
Robin Broadbent is another top still life photographer who captures products in
Fig. 4.1
A Clinique advert by Robin Broadbent
Fig. 4.2
A Smirnoff advert by Robin Broadbent serlinassociates.com
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their raw form. Throughout his portfolio, one can immediately notice the minimal adjustments such as colour and sharpening that are done to his images. A master of lighting shiny metal, he strives for clean and well composed images, such as fig. 4.1 and 4.2.
His minimalist approach to his product shots has attracted many clients such as Chanel, Clinique, Smirnoff and Parker and made him a pioneer in the field of advertising photography (Serlin Associates. 2009. Viewed 10 August 2009).
In this essay a range of commercial photographers were covered, each with their unique styles and techniques. Whether images created by these photographer are true to their subject matters’ form or heavily manipulated to convey a certain message, is up to the art director and client. However, to creatively manipulate images and still maintain photographic integrity should be the top priority for all advertising/commercial photographers. Clients want the customers see enhanced, not distorted, views of their products, services and equipment.
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References: Answers: Advertising Photography (2009) http://www.answers.com/topic/advertising-photography Answers: Ethics and Photography (2009) http://www.answers.com/topic/ethics-and-photography Dynamic Digital Photography (2009) http://www.dynamicdigitalphotography.com/photo-manipulation/photographymanipulation.html
Wierdomatic (2009) http://www.weirdomatic.com/beyond-perfection-christophe-gilbert.html
One Small Seed Network (2009) www.onesmallseed.net
Jim Fiscus (2009) Fiscucphoto.com
Serlin Associates (2009) Serlinassociates.com
Shmeild, E. Advertising Photography in the digital revolution.
Magazine 13 (2009) http://www.magazine13.com/arts/jim-fiscus-photoshop-talent.html Michael Muller www.mullerphotography.com
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Design Feedr.(2008) designfeedr.com
Rovinj Photodays (2009) www.MichaelMuller_Rovinj_Photodays_2009.htm
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