Cpi product images guideline by Andrew Molchanov Photography

ANDREW MOLCHANOV AM .........................................

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P H O T O G R A P H Y

AM Product Images Guideline PREPARED BY THE ANDREW MOLCHANOV PHOTOGRAPHY STANDARDS MAY - 2017

ANDREW MOLCHANOV AM ......................................... P H O T O G R A P H Y

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ANDREW MOLCHANOV AM ......................................... P H O T O G R A P H Y

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CONTENTS I nt r oducti on Introduction.....................................................................................................3

Wha t You’ r e G o i n g t o N e e d Camera...........................................................................................................4 Lens................................................................................................................4 Tripod..............................................................................................................5 White Background.......................................................................................... 5 Table...............................................................................................................5

Set Up Your Ta b l e & S w e e p Set up your table & sweet...............................................................................6 Equipment configuration..............................................................................6-9 Studio light......................................................................................................9 Synchronous your camera with studio light....................................................9

Set p Your C a m e r a Adjust the camera settings............................................................................10 Exposure settings..........................................................................................10

Con cl usi on Conclusion....................................................................................................12

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INTRODUCTION Using those Standards, API company and its branches around the world are able to photoshoot and uniquely identify products and create their pictures in the AMP standards. This is provide the connection between these physical or logical things and the information the supply chain needs about them.

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This guideline provides detailed guidance on how to apply Standards for product images to digital images associated with products of API company. This document does not specify how the images should be delivered. Image delivery is beyond the scope of this guideline.

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W h a t Yo u ’ r e G o i n g t o N e e d 1. CAMERA

You don’t need a crazy camera system. While shooting images with a Nikon D800 sporting a 105mm f1.4 lens is awesome, it’s also totally unnecessary. A product can be clicked by DSLR, SLR, Digital Camera. You should definitely go for DSLR cameras. They could have many functions by which product photography can be done beautifully.

2. LENS

AF-S DX NIKKOR 18-85 mm f/3.5-5.6G ED VR is an advanced lens designed to get the most from high-resolution Nikon D-SLRs In addition to VR image stabilization, it uses ED (Extra-low Dispersion) glass, which virtually eliminates reflections and lens flare for better contrast and Aspherical (AS) lens elements for minimizing aberration and improving image integrity and colour

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3. TRIPOD

In the studio, the tripod frees you from the camera, and allows you to concentrate on the lighting of your subjects knowing that the camera is both secure and in the right place. Tripod will allow you to set a lower ISO when taking picture under any lighting conditions because you can shoot sharp pictures at slower shutter speeds. Most digital cameras deliver optimum image quality with less “digital grain,” aliasing, artifacts, etc. when you set the ISO to 100 or 200.

4. WHITE BACKGROUND

There are lots of options for a white background and if you’re going to be shooting a lot, you may want to go to your local photography store and get a professional roll of paper for photography. If you’re not in an area with a good photography store, you can always head over to your frame shop/art store and get a 32x40 sheet of their thinnest white Mat Board.

5 . TA B L E A standard folding table works best, and a width that’s between 24 and 34 inch wide is ideal.

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S E T U P Y O U R TA B L E & S W E E P

We are using the lens AF-S DX 16-85 mm f3.5-5.6 VR lens ($649.99 CAN)

Once you have collected your gear together, it’s time to set up your shooting area. For great photos, you need to create what’s known as a ‘sweep’. This is simply a white backdrop that ‘sweeps’ from the vertical to the horizontal surface, creating a seamless transition between the two.

E Q U I P M E N T C O N F I G U R AT I O N

The photograph is shot at 45 deegres view, with the front of the product facing left or right of the camera.The rotation will vary slightly depending on the size/shape, but the foremost corner shouldline up with an almost perfectly vertical line, perpendicular with an imagiimaginary horizon line.

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When products are shown in groups, ensure that lighting comes from the same angle i.e.never put product studio photographs together that have been lit from different angles. Product to be photographed on the table at all times. Height of the shooting table from the floor - 0.74m Products to be photographed with a 16-85mm lens whenever possible. Distance from lens to the centre point ≈ 1.26m. Distance between the middle of soft boxes is ≈ 1.60m. Distance between soft boxes and the centre point is ≈ 0.64m. Height of lens from the floor ≈ 1.23m. (For the top shots).

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The camera is placed at 75° degrees angle to the tripod.

Softboxes are installed at 75° degrees angle to the light stand.

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2. STUDIO LIGHTS We are using Artificial lighting.The set-up is simple: the sweep on opposite side, two lights on the other opposite side, and your product in the middle. The ideal position for this light will depend on the product and the light itself, but placing it above will most likely look more natural.

3. SYNCHRONOUS YOUR CAMERA WITH STUDIO LIGHTS

The remote trigger for studio flashes and outdoor flash is used as the controller of synchronous trigger studio flash of cameras. It consists of a signal sender and a receiver trigger and works by means of the frequency modulation wireless remote control. The signal transmitter adopts the advanced circuit and components, and can transmit the coded FM wireless signal. The transmitter is applicable to the traditional or digital camera with hot shoe or PC controlling interface.

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S e t U p Yo u r C a m e r a 1. ADJUST THE CAMERA SETTINGS Firstly, you need to adjust your image settings. It’s easy to compress files and reduce their quality later but if your photos aren’t good enough, you’ll need to shoot again.You should always ensure that your camera is set to take the best quality images it can. • Set Your White Balance (WB) to Auto. • Turn your flash setting to off. • Image Settings – set it to the largest quality settings: Set it to the largest JPG setting you have. In Nikon there are 2 settings to look out for: Size – sometimes L (large), M- (medium) S- (small) Pick large. This setting determines the file size, and you almost always want to shoot it at its largest file size for optimal image quality. You can always shrink an image once it is take but you can’t make it larger.

Quality – S (Superfine), F (fine), N ( normal). You should always set it to Superfine. This setting determines the number of pixels that are used on the camera sensor. Not using all the available pixels will render a lower quality image

Set your ISO to 100

Set your White balance to Auto

Set your Color Space to sRGB

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2. EXPOSURE SETTINGS Set your camera to Manual (M) This is the best setting for this type of work because nothing will be moving or changing as you take the pictures. In manual, change your f/stop to the highest number, which will give you the greatest depth of field. The aperture is a hole within a camera’s lens which determines the amount of light that travels into the camera. We use f/16 The shutter speed determines the amount of time that light is let into the camera with each shot. We use 160

Exposure Tip: Don’t trust the image on the back of the camera, instead pay attention to the histogram to know if your exposure is correct. The far right hand side is white, and left is black. In the example image there is a little gap on the right hand side which means that there is no pure white. Adjust the exposure till the part of the curve representing the white background is touching the right edge without going over. In this example, you would probably need to add 1/3 of a stop, or one click for more light. his is the best setting for this type of work because nothing will be moving or changing as you take the pictures. In manual, change your f/stop to the highest number, which will give you the greatest depth of field.

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Conclusion There you have it! The simple how to take your own products on white background the easy way, without having to buy tons of gear and complicated lighting.

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