arti st photo guide · pdf file 9/5/2020  · top tips 10 general tips 10 artwork...

P H O T O G U I D E

A R T I ST

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 4 Styl ing 4 Approach 4 Lighting 5

EQUIPMENT & SETTINGS 6 Camera 6 Lenses | Focal Length 6 Tripod 8 Resolution 8 Fi le Format 8 White Balance | Colour Temperature 9

TOP TIPS 10 General Tips 10 Artwork Tips 11

CAMERA MODE 13 Aperture Prior ity Mode 14 Shutter Prior ity Mode 16 ISO 18

EXAMPLE IMAGES 19

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.

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 G YOU 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.

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

2700K Warm white

3000K Soft white

4000K Neutral white

5000K Cool 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 ) .

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 A DSLR 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.

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

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

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