wallpapers and wall fabrics, carpeting, painted wooden surfaces, mirrors and river rocks are just a few examples of available backgrounds. Contrasts in texture are usually desirable. If a product is basically smooth in surface finish, a roughly textured backdrop can add dimension to the photographic depiction. Conversely, a highly textured piece of merchandise may be shown to its best advantage on a slick, reflective or smooth background. Economically, studio still lifes (or table top shots) work very well for catalogers. In the controlled environment of studio locale, where you don’t have to worry about “weather permit” or
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changing lighting conditions, more shots can be planned and accomplished per day. Neither do you have to contend with the logistics of moving long distances from setting to setting, as you would on a location shoot. In addition to more shots per day, the cost of background material is reasonable, making this a preferred type of shooting for many catalogs. A studio shoot does have limitations. The most constricting is the danger of having your catalog look very much like everyone else’s. It is more difficult to convey a distinctive image of your own in a studio shoot than it is utilizing a location shoot. It requires an image
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inactive art director and photographer to establish a studio “look” that becomes recognizably a visual identity for a specific catalog. Achieving this will involve experimentation with lighting, props and backgrounds.
STUDIO FASHION SHOOTINGS. A fashion catalog shoot is much more complicated than a still life shoot, whether done in a studio or otherwise. Many more elements must be dealt with by the creative team, notably the addition of models. There are more people involved in fashion shoots, including hair and makeup people, pressers, and on-camera stylists (who must watch the set for details as well as pin and fit the garments on the models.)
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