The creative approach should be developed in the conceptualization of the catalog, well planned for in advance of the actual shooting, and consistently applied throughout the realization or execution of the project. In considering the role of the art director, we must also address the “place” (or position) of that person on the set during shooting. The art director is normally found standing behind the photographer, close enough to communicate in a normal tone of voice, but not so close as to be in the way of the shooter. Before the actual shooting begins, the art director has several checkpoints to go through:
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a critical look at the set; scrutiny of the merchandise for appearance and angle; a check against the approved layout to ensure that enough background is allowed; a look at makeup under set lights if models are being used; and finally, a camera check through the view-finders and then a careful study of a test Polaroid shot. Finite adjustments are usually made at each of the art director’s checkpoints; small moves that improve the interpretation and assure better product photography. Major changes should be avoided, like a change of mind requiring a complete change of background, because they are upsetting to the shooting crew, and are inefficient as
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they slow down the production schedule. If proper creative planning has been incorporated, there should be no big surprises on the set. Every contingency will have been checked and accommodated. The art director sets the pace and the atmosphere for a shoot. A smooth, easy working relationship is vital for a catalog shooting I because of the volume of work and the required deadlines. Communications must be ongoing and clear, with no second- guessing needed. Rapport between art director, photographer, assistant, stylist and models is critical, and is accomplished by a thoroughly professional attitude and quality leadership. Of all of the people
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