Photography Portfolio

Annual Reports


Click on " see pages > " button to see larger images of several pages of the report. Once there, you can see bigger images of each and on the bigger images you can read about the shoot.

STP

STP
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details

Host International

Host International
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details

AMC

Applied Magnetics Co.
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details

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805-646-1991 | Ojai, CA 93023 USA.

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All rights reserved Peter D'Aprix © 1975-2012


Annual Report Photography.

Annual report photography calls on everything from photojournalistic skill, shooting fast under time and weather pressures to product, studio photography, either in the studio or setting up a temporary one on location.

As opposted to true photojourmalism where the object is to tell the story of what is happening in front of you as you see it, annual report photography must use the same style but tell the story that the client wants you to tell. A big difference.

The client will want to be seen in their best light, show mazimum facility and capability and look on the cutting edge of their industry.

This means the photographer and his team must remove the girlie pin ups from engineering tables, tidy up all work space, clean up spills, get workers into clean clothing, and sometimes even paint the machinery showing signs of wear before any film can be shot.

If we are lucky, we get to bring lots of equipment to achieve the best of lighting, but often we have to hop a plane with minimum equirpment but still must show the facilities half way around the world in their best light anyway on top of jet lag through translators and levels of authority giving everyone concerned "face".

Client: STP Corporation Annual Report
Agency: Robert Miles Runyan

The designer had been supplied with some existing photogarphy for this report, but they were not strong enough to make a powerful publication.

Budgetary considerations confined the designer to shooting studio shots locally rather than sending us around the country.

He wanted to stress the smooth, lubricative quality of the product, an oil additive. For the cover, we opened a can, had a silversmith polish it. While the designer created a clean graphic label, I found a hand model with perfect nails and cut the bottom out of the can and glued a piece of clear acitate to the bottom.

I then cut a hole in a blue seamless paper back drop that fit exactly over the base of the can and dropped it over the can. The result was a can that looked as though it was sitting on a blue seamless with allowed us to project bright light up through the thick, syupy liquid. The model was posed with the carefully curled and polished lid over the surface of the oil to created a pleasing shadow and high light design on the surface of the oil.

Robert Miles Runyan decided the shot was more compelling when cropped to the cover that was printed. It looks good enough to drink!

Client: Host Internatinal Inc. Annual Report
Agency: Robert Miles Runyan

I was approached to fix things from a disasterous location shoot by another photographer for this Host International Annual Report shoot.

Since the photo budget had already been used, it was decided by the designer at Robert Miles Runyan to make small prints of the first shoot and make them into still life photos with other props to cover up the lack of quality of the location shots. In fact, by making "snap shot" style prints, they would look like snaps instead of a professional disaster.

These pages show the results.

Client: Applied Magnetics Corp. Annual Report
Agency: Scott Reid & Associates

This report is quite different from the preceeding two reports that involved studio, still life photography. This report called for all location shooting under difficult conditions.

This company made computer drive heads of various different kinds. Much of the manufacture and assembly was done in clean rooms. Shooting wearing full body suits was tricky enough what with vacuum cleaning all the equipment and using a color meter to put the correct color correcting jells in front of the lens to correct for the green and yellow or green and blue of the florescents, but many of the clean rooms had yellow jells over their lights confusing the color meter.

Trips to Korea, Japan, Singapore and Malasia were also necessary where the color of the lights was even more different and where instructions to the workers on the huge, open plan factory floors had to go through the interpreter and thus through the chain of command to the workers. Since the instructions were usually adjusted on each level of authority, seldom was the result what was needed.

Today with digital cameras, the photo process is considerably improved. Results can be seen and analysed on location rather than at the end of an expensive trip back at the home lab. While scans from film can be adjusted to correct for color balances and PhotoShop can do a lot, both scanners and computers still have to work with the raw material given to them. A violent green/blue color shift can never be brought to normal if there is a total absence of red.

So getting it right at the time of shooting is still of vital importance. The better the original image is, whether film or digital camera scan, the better the final result and the less expensive the final product.