Tim Wallace is a internationally recognized corporate and commercial photographer based out of the UK, and often described as conceptual and dramatic. His works with a wide range of industries such as automotive, truck and logistics, aviation, marine, engineering, and freight operations. His clients include McLaren, Peugeot, Jaguar, Land Rover and many other iconic brands. Looking at his work, I am amazed by the sense of wonder he creates with conceptual photographs, showing just enough of a subject to draw the viewer’s eye. In the examples above, I notice that he utilizes show depth of field and light/shadow to create a mysterious yet elegant and whimsical feeling persuading the viewer to want to know more about the scene. In the first photo, I notice that there is a cast of purple color on object and the image is tightly cropped conveying the idea that there is more to see. In the second image, there is a lot of shadow created by a dim over head light making it more mature and serious, the netting and pattern is more textured and defined like you want to reach out and touch it. This image is also cropped tightly leaving a sense that the object goes on beyond what you can see. It gives the feeling that the brand is powerful, elegant and refined. Tim Wallace is beyond talented in this field whether he is capturing the concept of a subject or creating movement using shallow depth of field and dramatic backgrounds.
My concept for my final Advanced photography photo shoot was inspired by the challenges my friends, family and I faced during this past year. Basically, we are all in our early 20’s juggling work, school and a variety of other issues that can become physically, emotionally and psychologically draining on a person’s well being. Speaking for myself and what I’ve experienced from others these various challenges can take us to very dark and negative spaces in our minds, so I want to do a portrait shoot depicting that. I want the shoot to be transitional going from a depressed, stressed, overwhelming and dark feeling to something more hopeful and positive like finding light at the end of the tunnel. My subjects will include myself and four other people (family members, friends, spouse). My audience is young people like us who are also going through some of the most difficult times in our lives trying to be successful and live well but at the same time feeling like we’re running out of time. We fall into pits of depression so deep we often become our own worst enemies doubting ourselves and our abilities thinking we’ll never reach the finish line. I want to see this all narrated by the text from Langston Hughes’ poem Harlem. In the dark scenes, I want to see my subjects in a lot of shadow like partial silhouette in the more positive scenes I want a more hopeful light setting. In the dark settings, my subjects will be wearing dark clothes to add to the mood, in the more positive settings they will be wearing clothing and props that depict what their future aspirations or dreams are. All of this will be back lit in the color red because it represents a feeling of pain and anguish but also passion and strength. This idea can also be explored in a still life by photographing objects representing negative behavior like alcohol, drugs, razor blades and objects representing a person’s aspirations like books, art work, cameras, etc. My inspirations for concept and lighting are works from Gregory Heisler, Nick Fancher and Jordan Peele’s poster art for his recent horror film “Us.
Julia Sent. This style of work is overall dark, with dark tones and a dark background that sets off bright objects. Very interesting color matching and irregular object placement. Always have a base for food to place. Not a bright hat, book or cloth to make food or flowers more prominent. Different styles of food or objects make the still life more interesting, and more often the photographer’s own creativity and use of light. In this style she uses a less bright light or a dark background. The foreground, medium and background have different brightness and darkness differences. For example, this crab leg is matched with a silver cup and a dark cloth. The crab script has a certain degree of brightness, but it is not that bright, it has a kind of oil-like brightness.
Richard Foster is one of the most talented specialists in still life photography, working with various big clients like Prada, Adidas, and Vogue Magazine just to name a few. Looking at his work, I notice that Foster uses lighting, color and other elements to make his images more dynamic and eye-catching to the audience adding to the brand’s presence. In the examples above, Foster is using a colored back light forming a diagonal shape behind the items making the product a more powerful and life like feel. He’s careful to use color that doesn’t draw attention away from the object while keeping the light at an angle that doesn’t produce a harsh glare into the camera. He also uses rim light and probably fill or main light to bring out features and shadows of the glass, this helps add a sense of personality or emotion to the item. When I first saw the photos I thought about the emotion and the audience it would apply to. Being that the first image is a bottle of whiskey it already signaled to me that this was for an older crowd. Then considering the lighting the image felt kind of mysterious and rugged but classic at the same time because of the mature and clean design of the bottle. In the second example, the name brand Prada already signals a luxury item but the strong diagonal of hot pink light gave off a powerful, confident personality that would make someone stand out from the crowd. It honestly made me feel like purchasing the item myself because those are the same ideas I would want to present to the world about my own personality. Richard Foster stands out from the crowd because he gives the subject of his photography a personality even though its an object, after achieving that the image comes to life on its own.
As I looked through all of Richards Fosters images of these different fragrance companies. I realized that he wasn’t just trying to sell the product it self but the bottles as well by using the bottles shapes, transparency and colors to his advantages. With the Stella McCartney bottle he used the bottles purple and black and clear to create both a shadow and refraction of the light on the clear and colored part of the bottle. Which he also did with one of the Tom Fords blue bottles. He used something that looks like a square light above the bottle at an angle while placing the bottle on the edge of a white table which did similar results but the difference here is he using the shadows to create solid geometric shapes out of the shape of the bottle.
Now in the Bottega Campaign with all three bottles he uses the bottles shapes to create both hard and soft shadows shapes with a background that matches the with the color of the fragrance bottles as well.
Richard Foster is a sought after still life photographer because he uses the bottles, glass, liquid, and transparency to its fullest potential and doesn’t waste time showing that through his campaigns. He wants to show off everything that the product has and not just the fact that its a fragrance in a bottle but that the bottle its self is a beautiful item to have and keep. Its a way to catch someones eye instead of someones interest in the smell. Before getting someone to smell and want a perfume/cologne the bottle must catch the eyes of its consumers to get them to look in its directions for it to be noticed.
Tim Wallace a car photography, his works as whole are very commercial and textured, with a lot of texture processing and a sense of technology feel. Its pretty cool whether he dealing with light or shadow. I like this picture very much. First of all it contains many details. Such as the use of street light and headlight of the car, which bring the light from the left side to the dark side of the light.it make good use of the reflection of the door. Also it had cool way to get some motion blur.
Manchester Commercial Photographer Tim Wallace. Commercial photography, car, automotive, aviation, truck, engineering and parts photography
Gregory Heisler is a very talented photographer who believes in that technique can limit creativity. In a video giving advice to photographers, he stated “looking outside yourself for what’s going to spark your career or photo will not help you more than your own mind. Techniques are like gloves anyone can buy them and wear them for different occasions, your vision is like a fingerprint they don’t change. Techniques may actually hide your fingerprint so it doesn’t show as well.” He was saying that all photographers utilize techniques in their work but if you are wrapped up in the technique you use to compose a photo you lose the unique way you would take the photo. In Heisler’s photography, I notice there are a lot of black and white frames using a wide range of lighting techniques such as split, rim, short, broad and 3- point lighting. His skills also carry over to his color photography, his subjects looking comfortable in the frame as if they weren’t overly instructed to pose a certain way. As a photographer, he has a don’t think too hard, just shoot type of personality about him. He advises other photographers not to spend time studying the work of their idols and aspiring to be like them. He says ” Don’t think about how someone else would shoot think about how you would shoot then do it”. It means that photographers shouldn’t compose under the constraints of “how would this person/ or that person do it”, the only person you should be comparing your work to is yourself. He also encourages photographers to be resourceful and ready to shoot under any circumstances because there’s always a chance things will not go as planned. It’s possible that professional lighting won’t be available or you won’t have as much time with a subject as you may have anticipated, but you must be prepared to work well under pressure.
I can see why high-end brands such as Tom Ford, Prada, Stella McCartney and Bottega have sought out Richard Foster’s photography services. He has a keen eye for framing products so that the eye is immediately drawn to them. The still-life work he has done with fragrance and cosmetics are exceptional. The refraction effect used on these glass items is lovely. I love the use of this aesthetic, then combined with the shadows casted from an overhead light made for a most successful Charlotte Tilbury ad. I can easily picture seeing this in a print campaign through fashion magazines. In the Piaget ad, it does well in using lighting to layer the different textures, and invoke a bit of drama. This is also replicated in the Dalmore alcohol ad, who also features a pop of red for good measure. Lastly, I appreciate the geometry found in the Tom Ford fragrance ads, which utilize a low camera angle and light manipulation make for a most striking hierarchy. Richard Foster’s style would make you double take on a still-life of a half empty bottle of Robitussin. I admire his work. — Did I mention he has short films?
Richard Foster used a style of light refraction, and colour, combined with a low angle camera. Foster uses certain angles to catch different geometric shapes in his photographs. For his glass photography he was an expert at catching the different light effects that the glass produced showing the beautiful rainbow effect on the surface. His photographs are very infomercial-like, looks like something you would find on a television commercial or a magazine. The products which are the subjects are very crisp and you can see every edge and corner of it, there is no extra lighting or effects to the photographs, they are already well done in quality it is quite simple and has a certain aesthetic to it that is eye candy.
Richard Foster style use product light refraction and color, low angle camera. Use light to create geometric shadows and staggered lighting. Use a glass plate to create a reflection. He was a master at using light to create different shapes of color light. The main color is very prominent. Good at using glass products to bring a light reflection and refraction of the different light effects. I think his works are very textural and very commercial. The products themselves are very textured, and the background is to reflect the product itself. There is no extra light or unnecessary things around the products, only simple light and color and his creativity are formed.