OUGD502: Jewellery Photoshoot

I booked the studio for Wednesday afternoon's late slot (3:30-9pm), giving us enough time to set up the equipment and Memory enough time to get the shots. Looking back, this was not enough time as Memory asked to keep my jewellery for another two weeks in the attempt to get better shots. We chose to shoot on a Phase One camera, costing £25,000 and being one of the highest quality digital cameras on offer. Memory has been inducted into this camera yet it was difficult to use, essentially being an unnecessary obstacle in the time scale of the shoot. 

To get the product shots we used a product booth, resembling a Punch and Judy tent. The jewellery sits inside this with the lights underneath, yet we got assistance from Paul, one of the photography technicians to make sure lighting was correct. In lieu of a model on the day, I used myself. I had previously contacted a model, however due to time restrictions on the shoot Memory didn't have time to shoot the model before she had to leave. The urgency I was trying to convey in the shoots schedule did not get picked up on by Memory, and in all the shoot was quite a stressful experience.

The standard of photography is not what I expected when agreeing to use Memory as a photographer. Despite seeing lots of really successful shots on the day of the shoot, these were not sent to me- nor was the full list or contact sheet of images. The issues with lighting were not resolved by Memory in the images, with the umbrella reflections being clearly visible in shot. This is my first really negative experience of collaboration, and in this instance would have much preferred to shoot the jewellery myself, using familiar techniques which I know work from the photography induction and personal practice. Never the less, the collaborative experience with Memory has taught me to be more cautious with who I work with, and possibly share work before embarking on collaborative journeys to improve the final resolution. 

My intentions with these images was to create editorial and Instagram content, giving me the initial kickstart to gage response and possibly develop a brand. The crop ratio's were not any form of preset, meaning that they just wouldn't would for the intended print distribution. I will experiment with grids to see if I can get them to function as envisaged  but I do not feel like I have achieved this because none of these images comply with the initial requirements and brief I gave to Memory. In our initial discussion she even mentioned how she was also inspired by Tiffany & Co, as featured in the mood boards, so I was expecting a wider veriety of shots and experimentation on her behalf. Throughout the shoot I Art Directed many shots, yet these were sadly not sent to me. We incorporated props which I sourced specially (including a bracelet stand and funky wooden boxes), as inspired by the mood boards. 

This experience has taught me to lower my expectations in some cases, yet to not rule out the opportunity of good things happening from collaborative practice- with the right people. I will still try and use these images, possibly clone stamping the high contrast studio shots, yet I will not prioritise this section of my practice until the summertime when I can focus more holistically on creating a personal brand and create more pieces.

OUGD502: Jewellery Photography Collaboration

After I completed the jewellery course, I caught a real jewellery bug and started creating more things. As luck was had it, I was wearing one of my pieces and was speaking to a girl about it in the photography department... it turns out she is specialising in independent jewellery photography and asked to photograph some more of my work as part of her brief!

I said I had done "a few pieces", but feel this is a perfect opportunity to grab the bull by the horns and take the two week window to design and produce more pieces, using the graphic design design-process as a benchmark to build this skill on and utilising collaboration. It has been clear from all professionals I have spoken to that collaboration is one of the keys to success, so by collaborating with a specialist hopefully the end result will naturally improve too, as well as broadening my network of creative contacts.

In initial collaborative discussion with Memory Potifa, L5 BA (Hons) Photography Student, we shared mood boards with each other about the direction we wanted to go. Coming from a graphic design point, I wanted to convey the purpose of the shoot as well as incorporating unique art direction. I took inspiration from classic jewellery photography, as well as a mix of personal favourite brands and shots. As I don't have a great deal of pieces right now, I feel keeping a modest tone of voice is essential through imagery, as I don't want to suggest i'm something that i'm not (a big time designer), yet still retain a high quality. 

I considered where I would position a prospective brand in the market, and would plan to target a higher income demographic and clients who are willing to pay for quality and metal weight. With this in mind, the photography needs to convey these messages, as well working well for editorial design, social media and to be incorporated as marketing material.

Product photography and display design can be constructed in numerous ways. The aesthetic and style of each photographic composition complies with the message of the jewellery concept. The incorporation of botanical objects is always something I enjoy, not only due to the tropical visual feel but the fresh, optimistic suggestions it brings to the tone of voice.  Chanel in particular experimented with three dimensional display compositions, to levitate products and create exquisite shadows. Furthermore, models were incorporated to show stylistic suggestions, as well as setting aspirations goals for women as an incentive to buy the jewellery. 

Simple photography, featuring the products simplicity with an aspirational, 'luxury' quality throughout. The photography is clean, quite architectural in its structure and can be easily incorporated to a range of graphic distribution. When considering the Gucci, Bamboo ring (bottom left), the presence of the metal is ominous and distinctive, with a shadow as clear as water reflected below it. The lighting is not overpowering, yet makes the silver sparkle, a needed consideration for my pieces.

Investigating more classic jewellery photography, looking at ads from history's 'greatest'. Bulvagari, Harry Winston,  Zaha Hadid and some unknown jewellery designers all feature jewellery in simple ways, using simple props and zoomed in shots to convey beauty through design. Quite modernist in its approach, product selling product.

I sent these over to Memory and she was on board with the stylings, I asked if its possible for us to meet and discuss ideas (or simply have a quick phone call), but this has not yet been possible.

OUGD502- ButterCrumble Talk

Advice from ButterCrumble, Leeds based creative studio who ceate work to "make people smile". Currently based in Leeds, originally from Scarborough.

Their three main points of advice is... Smile, Have a foundation to your work, Collaboration

To be a professional, you need:

- Need a Portfolio / Connections and Exposure (so people know you exist).

- Journey to social enterprise started in 2012, when they were starting out with illustration and design aspects. In 2012 they did a Doedemee competition, getting exposure in the Observer and other platforms. They are now looking into more social enterprise projects, currently working on Leeds Indie Food Fest 2017. 

Make your own opportunities, knock on their doors and ask for collaboration- don't just wait for it.

Getting their work out there:

- Women Art Food Exhibition, Leeds Gallery, 2016

- Wander Exhibition, Old Red Bus Station, 2017

- Other spaces include Colours May Vary/ Village/ Munro House etc

Independent Leeds Magazine, Volumes 4,5,6, 2016. Layout, typography and illustration for the issues. Great exposure and made loads of new contacts.

On the Kirkstall Art Trail, 2015-16. Designed all the marketing material as part of a voluntary role, helped secure another paid commission and helped getting exposure.

Garforth Zine Workship and 'Feastival', 2017, gained from the Kirkstall project. Will be creating a zine with the local people of Garthforth, running workshops and again designing the marketing.

Collaboration is essential for success.

Personalise your approach, do some research about them, be excited for your project and passionate about your idea, contribute in any way, never be embarrassed about being passionate. 

@buttercrumblecreative 

abigail@buttercrumble.com


Over half of the projects they get is through marketing themselves. Both Twitter and Instagram are used religiously, you need to interact with other people. You're not going to get work from another designer, so reach out to a range of businesses and platforms.

Looking at my own practice, I am building up a following and 'like' base from fashion enthusiasts and professionals, purely from the photography and bits of design work. I hardly post on any social media as it makes me really anxious, but this is something i'm going to have to break out of and really utilise social media NOW. 

Collaboration. Work with someone similar, but different enough to see your styles merging and evolving naturally. Reach out to people and try and find something in common. As long as theres one thing in common you're okay! You have to find the right kind of people with the right kind of skills, even if one of those is project management making sure everything comes out on time!

I plan to take on Buttercrumbles advice and have a holistically professional practice, all about good client relationships and collaborative practice. The importance of collaboration hit home with me in this talk, as everyone who visits discusses how key it is to success.