arti st photo guide · 9/5/2020 · top tips 10 general tips 10 artwork tips 11 camera mode 13...
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P H O T OG U I D E
A R T IST
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A R T I S T A S S E T S G U I D E - R I S E A R T 2
THIS GUIDE TAKES YOU THROUGH ALL THE
IMAGES THAT WE USE AND GIVE YOU TIPS
ON HOW TO CREATE HIGH-QUALITY IMAGES
2A R T I S T A S S E T S G U I D E - R I S E A R T
TABLE OF CONTENT
KEY SHOTS 3
SETTING UP 4Styl ing 4Approach 4Lighting 5
EQUIPMENT & SETTINGS 6Camera 6Lenses | Focal Length 6Tripod 8Resolution 8Fi le Format 8White Balance | Colour Temperature 9
TOP TIPS 10General Tips 10Artwork Tips 11
CAMERA MODE 13Aperture Prior ity Mode 14Shutter Prior ity Mode 16ISO 18
EXAMPLE IMAGES 19
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A R T I S T A S S E T S G U I D E - R I S E A R T 3
KEY SHOTS
1. PORTRAIT**
Mid-shot of yourself
surrounded by artworks or
the studio environment
2. IN SITU**
Wide shot of yourself
surrounded by artworks or
the studio environment
3. ACTION SHOT**
Mid-shot of yourself working
and close-up of hands
4. STUDIO DETAILS
Close-up of brushes,
scattered sketches, colour
palettes , interest ing
decorat ions, etc
5. WIDE ANGLE SHOT OF
STUDIO
6. WIDE CROP OF ARTWORKS
A number of artworks
displayed on the wall , or
stacked together on the side
(showing quantity)
7. ARTWORK
A straight frontal shot of
the ar twork
8. ARTWORK DETAILS
Interesting detai ls from
various angles
9. ARTWORK INSTALLATION
Shot of the Artwork hanged
in an interior or a gal lery
(Can also be a well done
photo-montage).
10. OTHER
Here you can have fun,
experiment, why not. . .
** P lease take these in Landscape and Portrait Orientation (we use
them for di f ferent purposes) .
You can f ind examples on page 19.
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A R T I S T A S S E T S G U I D E - R I S E A R T 4
SETTING UP
A P P R O A C H
S T Y L I N GYOU MIGHT NEED TO STYLE THE SPACE BEFORE TAKING THE
PHOTOS.
• Take an int imate and
informal approach, gett ing
close to the subject whi le
lett ing i t speak for i tself .
• Take pictures in a mixture
of por trait and landscape
or ientat ion. I f i t ’s a shot you
real ly l ike , take i t in both
orientat ions.
• Keep things that are
essent ia l to your pract ice ,
c lear away empty bott les/
clutter/trash bags, etc.
• Think about the narrat ive—
what ’s the re lat ionship
between the foreground and
the background?
• Feel f ree to re-arrange any
equipment or props for the
narrat ive whi le keeping a
sense of authent ic i ty.
• Stay true to your sty le
and transmit that in your
photos.
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A R T I S T A S S E T S G U I D E - R I S E A R T 5
2700KWarm white
3000KSoft white
4000KNeutral white
5000KCool White
L I G H T I N G
• Aim for br ight and sharp
images.
• Natural l ight f rom a window,
balcony or rooftop is the
best when you don’t have
professional photography
l ights , so take advantage of
good weather.
• I f you need to re ly on indoor
l ight ing, avoid coloured l ight
bulbs, i f possible , st ick with
neutral or cool white.
• When composing the shot ,
move your l ights or your
subject so the key l ight is
h i t t ing the subject from a
45° angle , and from a height
s l ight ly above the subject ’s
head. Think Rembrandt !
• Some l ight ing issues can
be sor ted by adjust ing the
Aper ture (p.13) , Shutter
Speed (p.15) or the ISO
(p.17 ) .
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A R T I S T A S S E T S G U I D E - R I S E A R T 6
EQUIPMENT & SETTINGS
C A M E R ADSLR cameras are preferred, but you can also use a POINT-AND-
SHOT camera or i f you don’t have one, use your SMART PHONE .
L E N S E S | F O C A L L E N G T H
YOUR LENSES CHOICE HAVE A BIG IMPACT ON THE IMAGE THAT
YOU WOULD LIKE TO ACHIEVE.
A WIDE-ANGLE LENS has a
shor ter focal length (e .g. , 20
mm), which you can include
more scenery in your image.
But i t a lso expands the space
v isual ly, so everything looks
far ther apar t . This is why
people use wide angle lenses
for proper ty photos.
A LONG LENS , or te lephoto,
has a longer focal length (e .g. ,
200 mm), which lets you get
a c lose-up shot whi le being
far away from your subject .
I t compresses the space,
making background objects
look bigger and closer to the
foreground objects than they
physical ly are. I t a lso produces
a shal lower depth of f ie ld
despite your aper ture sett ing,
which is good i f you want to
put more emphasis on your
foreground subject and blur
out a bor ing background. Or to
frame out undesired objects in
the background.
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A R T I S T A S S E T S G U I D E - R I S E A R T 7
A NORMAL LENS (e .g. , 35
mm or 50 mm, depending on
your camera sensor) has the
perspect ive most s imi lar to
human vis ion. This is why i t
is commonly used for por trait
shots , prof i le p ictures or
interviews.
When choosing the focal
length, i t is important to
decide based on your v is ion
(composit ion) and also the
environment ’s l imits. For
example , with a long lens, i t
might be dif f icult to move
your camera so far back in a
t ight studio space. And though
a super wide-angle lens can
include more of the studio , i t
may miniatur ise your pr imary
subject and diminish i ts
s ignif icance in the image.
Wide-angle lens
Normal lens Long lens
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A R T I S T A S S E T S G U I D E - R I S E A R T 8
• Ideal minimum width is
2880 pixels (s ize of our
banners) , the higher the
better.
• I f you have previous images
in smal ler s ize , do send
them over as we can use
them for our blog.
• Where possible , take your
photos in RAW . This type
of f i le contains more colour
data , so you can edit them
better.
• JPG are also welcome,
note that these f i les are
compressed, so there are
less colour data contained
in the f i le for touch-ups.
• Make sure you select the
format you are comfor table
to work with so you can edit
your photos with ease.
R E S O L U T I O N
F I L E F O R M A T
• Use a tr ipod to compose
your shot , and to avoid
gett ing blurry images under
a low l ight condit ion.
• I f you don’t have one, set
up your camera upr ight on
a f lat surface using tape or
support i t with objects on
your desk.
• I f you need to hand-hold
your camera, keep this in
mind: I f you are using a
100mm lens on a ful l f rame
camera, the s lowest shutter
speed we recommend is
1/100. I f you are using a
400mm lens, the minimum
shutter speed recommended
is 1/400.
T R I P O D
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A R T I S T A S S E T S G U I D E - R I S E A R T 9
LIGHTS HAVE COLOURS WHICH AFFECT THE COLOUR OF
OBJECTS IN YOUR PHOTO. WHITE BALANCE IS A WAY FOR YOUR
CAMERA TO ADJUST ITSELF AND COMPENSATE FOR THAT
COLOUR DIFFERENCE.
Use Custom White Balance for perfect colours:
W H I T E B A L A N C E | C O L O U R T E M P E R A T U R E
Hold up a piece of white
paper r ight in front of your
main subject/object , say
the ar t ist ’s face or a bucket
of paint brushes, so al l the
l ights that were hitt ing your
subject/object , are now
hitt ing the white paper.
Move your camera closer
and take a photo of the
white paper, and make sure
the white paper covers the
ent i re image.
Act ivate your camera’s
custom white balance
feature.
Select this image, and your
camera should update
one of your custom white
balance colour prof i les.
Don’t forget to select the
updated white balance
colour prof i le before
you star t shoot ing. This
par t icular white balance
colour prof i le is only
suitable under this specif ic
and consistent l ight ing
condit ion. I f you change
locat ion, or the l ight ing
condit ion changes, you
wi l l have to go through the
whole process again.
For detailed instructions to do this, search online for “Custom White Balance” with your camera’s model number (e.g., “Custom White Balance Canon 70D”).
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5.
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A R T I S T A S S E T S G U I D E - R I S E A R T 10
• Wipe the lens before
shooting.
• Take some test shots and
f l ip between images to
see i f there are any last ing
stains. I f there are , i t means
your sensor is d ir ty and you
may need to get i t c leaned
before shoot ing.
• Don’t use f lash, unless you
are a professional . Try to
sor t out l ight ing issues with
other resources pointed out
in this guide.
• Use the self - t imer for
sharper photos.
• Make use of the rule
of thirds. This involves
mental ly d iv id ing up your
image using 2 hor izontal
l ines and 2 ver t ical l ines.
You then posit ion the
important e lements in your
scene along those l ines, or
at the points where they
meet. Your phone or camera
usual ly have a default gr id
(or turn i t on in the sett ings)
to use as a guidel ine when
shoot ing. This is i l lustrated
on the next page.
• Use leading l ines. This is a
technique of composit ion
where the v iewer of your
photos attent ion is drawn
to l ines that lead to the
main subject of the image.
A leading l ine paves an easy
path for the eye to fol low
through different e lements
of a photo. Find an example
on the next page.
TOP TIPS
G E N E R A L T I P S
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A R T I S T A S S E T S G U I D E - R I S E A R T 11
A R T W O R K T I P S
• Set up a s ingle , consistent
place to photograph your
work.
• Make sure i t ’s wel l l i t ,
preferably with indirect
natural l ight ing. Do not use
f lash.
• Avoid deep shadows,
tonal inconsistencies and
dappl ing effects.
• A tr ipod is a must.
• Camera should be at the
same height as the centre
of your ar twork.
• I f your ar twork leans at an
angle , the angle of your lens
should be paral le l to the
ar twork.
• Set the ISO to 200 and make
sure you custom white
balance your image, so the
colour inf luence on your
ar tworks are minimal .
• Frame in the ar twork with
at least 10% margin in a l l
d i rect ions. Make sure you
crop this in post-product ion.
• I f you’ve framed your
ar twork , photograph i t and
crop i t to look at how i t wi l l
be when i t ’s shipped i .e .
with the frame in the shot.
Crop the image to the outer
edges of the frame.
Use of the rule of thirds grid Use of leading lines for composition
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A R T I S T A S S E T S G U I D E - R I S E A R T 12
• I t ’s good pract ice to take
as many detai l photographs
as possible. We would
recommend taking at least 3
to 4 detai led c lose-up
• Take an instal lat ion shot
(perhaps in a gal lery, your
studio or instal led in an
inter ior) . I f you can’t do this ,
a wel l photomontage with
the r ight scale is a good
opt ion.
Artwork Image
Artwork Installation
Artwork Detail Artwork Detail
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A R T I S T A S S E T S G U I D E - R I S E A R T 13
CAMERA MODE
When your camera is in
AUTOMATIC MODE (Auto
on the dial ) , you have no
creat ive control as the camera
determines everything based
on what i t sees.
In MANUAL MODE (M) , you
can adjust each control based
on your creat ive v is ion. I f you
are conf ident in this mode,
you might want to skip this
sect ion.
I f you are not ready to go
ful l manual yet , there are
APERTURE PRIORITY MODE (A
or Av) and SHUTTER PRIORITY
MODE (S or Tv) , which give you
a degree of creat ive freedom
with assistance from your
camera.
Here are some basic things
you need to know:
When taking a photograph,
there are 3 e lements that work
together to control how br ight
or dark your photo is (known
as exposure) , as wel l as
change the overal l look of the
image.
• APERTURE – the s ize of the
opening in the lens which
controls the amount of l ight
that enters the camera body.
• SHUTTER SPEED – the
amount of t ime that the
shutter stays open to let the
l ight in .
• ISO – determines a digita l
camera sensor ’s sensit iv i ty
to l ight .
IF YOU’RE NOT AN EXPERT WITH YOUR CAMERA BUT STILL
WANT TO GET PHOTOGRAPHS THAT LOOK PROFESSIONAL,
THERE ARE WAYS TO ACHIEVE THIS.
WAYS TO ACHIEVE A PROFESSIONAL LOOK BY MAKING THE
MOST OF YOUR CAMERA SETTINGS
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A R T I S T A S S E T S G U I D E - R I S E A R T 14
A P E R T U R E P R I O R I T Y M O D EIn this mode, you wil l need to set your aperture (F/number) ,
and ISO, but the camera automatical ly sets the shutter speed .
I t wi l l g ive you control over the depth of f ie ld ( the amount of
b lur effect that you want in your photo) with access to exposure
compensat ion, so you can control br ightness.
Situat ions where using Aper ture pr ior i ty can be helpful :
PORTRAITS
• While taking por trait or
c lose-up shots , you might
want to keep the subject
in focus and blur out the
background by choosing
a large aper ture (smal l f/
number) .
• Use f/1.8 or f/2.8 to achieve
a shal low depth of f ie ld
(blur background effect) .
LOW LIGH
Low l ight condit ion can make
your photos underexposed.
By opening the aper ture
(select ing a smal ler aper ture
value l ike f/1.8 ) , you can al low
more l ight into the camera
and capture a better-exposed
photo.
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A R T I S T A S S E T S G U I D E - R I S E A R T 15
• While shoot ing landscapes
or c i tyscapes, you might
want to have both the
foreground and the
background in focus. This
is only possible i f you use a
smal l aper ture sett ing (high
f/number) .
• Use f/16 or f/22 to get a
deep depth of f ie ld (more
objects are in focus) .
MIDDAY BRIGHT SUNLIGHT
• I f you are shoot ing in broad
dayl ight and are gett ing
overexposed photos whi le
shoot ing in automatic mode,
you can reduce the aper ture
s ize. This means that by
using a higher aper ture
number ( l ike f/16 ) , you can
minimise the amount of
l ight enter ing the camera.
STUDIO | LANDSCAPE ( if you work outdoors)
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A R T I S T A S S E T S G U I D E - R I S E A R T 16
S H U T T E R P R I O R I T Y M O D E
Shutter Prior ity mode al lows you to take charge of the shutter
speed. Shutter speed is the durat ion at which the camera’s
shutter remains open for l ight to enter the camera and be
captured by the sensor. The slower the shutter speed is , the
more the l ight is received by the image sensor. The faster the
shutter speed, the less l ight would hit the image sensor.
Situat ions to use Shutter Pr ior i ty Mode:
• I f you want to freeze a fast-
moving subject/object e .g. ,
a drop of paint) you wi l l
need to use a fast shutter
speed in order to capture
the moment.
• A shutter speed of anything
faster than 1/500th of a
second is considered ideal
for f reezing an object , but
this may vary depending on
the speed of the subject .
Your camera wi l l adjust the
required aper ture and ISO
values. (You can set this in
auto mode.)
FREEZE A MOVING SUBJECT OR OBJECT
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A R T I S T A S S E T S G U I D E - R I S E A R T 17
SHOWING MOVEMENT
• I f you want to capture
movement (e .g. Someone
walking in a studio) , you
wi l l have to select a s low
shutter speed so that
the subject ’s movement
is captured in the s ingle
photo. To capture long
exposure photos, you must
use a tr ipod to avoid any
camera shake.
LOW LIGHT
I f you are in low l ight
condit ion, you might get
underexposed photos whi le
shoot ing in automatic mode.
By s imply reducing the shutter
speed (e.g. , from 1/200th to
1/50th ) , you can al low more
l ight into the camera and
capture a wel l -exposed photo.
BROAD DAYLIGHT
• Shooting in broad dayl ight
in automatic mode can
result in overexposed
photos. Here you should
increase the shutter speed
(e.g. , f rom 1/200th to
1/1000th ) , and minimise the
amount of l ight enter ing the
camera body.
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A R T I S T A S S E T S G U I D E - R I S E A R T 18
ISO represents the sensor ’s sensit iv i ty to l ight . The lower the
number the less sensit ive your camera is to l ight , and the less
f i lm grain you wi l l have in the image.
• Higher numbers mean your
sensor becomes more
sensit ive to l ight , which
al lows you to use your
camera in darker s i tuat ions
without changing your
shutter speed, aper ture or
adding more l ights , result ing
in a grainier image.
• 100 ISO is general ly
accepted as the ‘standard’
ISO and wi l l g ive you cr isp
shots (with l i t t le to no
noise/grain) . I f possible ,
keep your ISO under 200 at
al l t imes .
I S O
100
6400
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A R T I S T A S S E T S G U I D E - R I S E A R T 19
EXAMPLE IMAGES
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A R T I S T A S S E T S G U I D E - R I S E A R T 20
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A R T I S T A S S E T S G U I D E - R I S E A R T 21
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A R T I S T A S S E T S G U I D E - R I S E A R T 22
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