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  • 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