When it comes to tricks of the trade, it seems that there are few companies that have so many secrets than photo studios that offer batch photography and catalog photography services. A quick glance at the number of catalogs, sales catalogs, brochures, posters and brochures that surround us shows how busy the suppliers of batch photography are. With such a wide range of products on offer, it is inevitable that over the years they have created their own catalog of tricks on trade and methods that allow the results of their photographs in the catalog to differ significantly from everything that we can achieve even with a high-quality digital camera and rather sophisticated software.
Given that batch photography can be anything from a small diamond ring to a children’s pool, from a fountain pen to a motorcycle, the range of tricks and techniques is simply huge, and many books and articles have been writtenon this subject, providing plenty of materials to choose from if you are interested in learning a little more about how professionals achieve the outstanding aspect of batch photography that they regularly take.
At first glance it often seems that professional photographers have done much more than we, given the same product and set. But the fact is that often the cause of the problem is not the most obvious characteristics of the photograph, but the more subtle aspects of the images, which have benefited from an expert understanding of how the human eye and brain work.
Let’s take a tricky example, like a motorcycle. Suppose you put this motorcycle in a studio or in a well-lit place, and you have a completely clean or neutral background. All these problems in themselves are more complex than they might seem, but for the purposes of this article we will assume that everything is possible.
If you now sit in front of the motorcycle and look at it, you can look at every aspect of the motorcycle and see all aspects and details of the motorcycle with complete clarity. If you now take a digital camera of acceptable quality and photograph the catalog of bicycles exactly in the form in which you see it, and exactly from the same position, without changing the lighting, how will this end?
Most people assume that what they finish is a photograph that seems almost indistinguishable from the image of a motorcycle that they saw when they were sitting in a chair a few seconds before shooting. However, this is almost certainly not the case. So why there is a difference between what you usually see and what the camera sees? The answer is how the human eye really works. When looking from the darkest parts of the bike to the lightest parts of the bike, your eye automatically adjusts to the amount of incoming light.