Photography Portfolio

Brochures


Click on " see pages > " button to see larger images of several pages of the report. Once there, click on the "zoom +" button and you can see bigger images of each image.

Patina
Patina Wood Floors
see pages
Terra Bella
Host International
see pages
Vivitar
Vivitar-brochure
go to
Body Glove
Vivitar-brochure
go to
Ameribike
VCC
go to
Vivitar
Vivitar-brochure
go to

Clark&White
Clark&White
go to
AMC
AMC-brochure
go to
ITI
ITI Folder
go to
ITI
ITI-brochure
go to
Triad
Host International
see pages
Reynolds Ind
Applied Magnetics Co.
see pages

Techmedica
knee
zoom
Techmedica
Bone Staples
zoom
McGhan
McGhan Medical
go to
JBL
JBL
go to
JBL
JBL
go to
JBL
JBL
go to



home About Us Biographies Contact Us


home | website design | photography | video | about us | bio | useful links | contact us

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

See my page on FaceBook

FaceBook Button Link


All rights reserved Peter D'Aprix © 1975-2012


Brochure Photography.

Like annual report photography, brochure photography calls on both studio skills and photojournalistic skills.

As opposed to a catalogue which may or may not be high end glossy publications but whose main purpose is to provide information, prices, order numbers and contact information, brochures are designed as a sales tool to stimulate buyers to buy or inform customers about the company who offers the product or service.

Some brochures exist solely to show one or more products. Others demonstrate an offered service. Still others known as "facility" or "capability" brochures are desigend to convince potential or existing customers that an organization has the necessary ability and infrastructure to take on an order or project.

These latter brochures usually require location shooting that will show them in their best light as well as some product photos.

Either way, the photographer must be as comfortable in the studio as out on location.

Client: Reynolds Industries Inc.
Agency: The Ojai Group

This brochure is a good example of a "nuts & bolts" manufacturing facility and capability brochure.

Its purpose is to both show what they do, how they do it, what capability they have to produce product and the range of products they manufacture.

We photographed the bulk of the location anew on location at the facilities of Reynolds Industries. We also photographed many of the product shots there using their conference room as a studio. Some product we were able to bring back to the studio.

The designer, Fred Kidder, the Creative Director of The Ojai Group, had to use some existing photography taken by a variety of photographers all with different styles, backgrounds and looks. Peter D'Aprix, a master at using PhotoShop to correct problems with photographs, placed new background into the shots, turned Black and White photographs into color, corrected various distortions of products and other remedial work necessary to make it look as though all the photographs were planned and shot for this publication.

Client: Triad Mini Speakers Product Brochure
Agency: Marc Oliver & Assoc.
Shot in the Studio

The aim of the photography on this brochure was to show the size of these fine speakers and their fine cabinetry.

Sound obviously could not be photographed but by using 8x10 film and fine reprodution of the images, we tried to communicate the precision of the sound by associating maximum visual detail to the shots reflecting the clarity of the sound produced by the speakers. That may be a stretch, but photography used both representation of actual things as well as symbolism to communicate.

The model was actually a symphony conductor who was a good sport.

Client: Patina Old World Floors
Agency: The Ojai Group
Shot on Location

We were approached by this company first to take decent photographs of their installed flooring. Then we helped them spruce up their brochure.

They liked the simple, rich design of their brochure which employed just a black background and gold type with simple gold border. The simplicity and dark background added drama and richness to the photography. Or it would have if the photographs had been any good and the color separations and printing had been of quality.

Like most of the photographs of flooring, the photographers took room shots in which there was a floor instead of taking a floor shot on which there was furniture.

We used a wide angle lens with a 4x5 sheet film camers very low on the floor so that the grain and color of the wood up close would be emphasized large in the lower part of the shot and yet the rest of the room is easy to view which sets the high end level of the homes in which the floors are installed.

Our Graphic Design (see link to Graphic Design on the home page or on the bottom of this page) added pages to the site, tightened up the page design, led the client to a worthy printer who produced excellent scans and was up to the delicate job of laying on a lot of ink for the richness and yet not so much as to block up the middle and high light areas.

This approach has helped estalish the perception of this company as a high end, custom flooring manufacturer they are in fact.

We then designed a web site for them that carried through the same design look and feel. (See Web Design link on the home page or on the bottom of this page)

Client: American Bicycle Security Co.
Agency: The Ojai Group
Shot on Location and in studio.

This is a small client who has been growing by leaps and bounds since we started creating both print brochures, sales sheets and ads as well as web sites that have brought in many new clients from around the country.

As owner Tom Volk says "if you put it up on the site, we sell it!"

Much of the photography is suppled, taken by customers with small, digital cameras. Other times, we get to shoot their product on location where the lockers are installed or setting them up in situations to suggest how they can be used. We also often have to shoot the product at their manufacturing facility in Santa Paula, California, and have to set up a temporary studio in space available.

Sometimes we can bring the product back to the studio where we have more control, but not often. As a result, we have to use photo digital retouching to make up for the uncontrollable problems encountered on site where we simply cannot elimiate all the problems encountered. Peter D'Aprix is a master at using PhotoShop by Adobe to finish doing the job that was impossible to accomplish on location.

He brings the supplied images up to snuff by retouching them to make them fit into the more professionally taken photography.

He works closely with graphic designer Fred Kidder, the Creative Designer of the Ojai Group and of ExclaimBranding.com. You will see this same brochure under the graphic design portfolio on this site.

Client: Applied Magnetics Co. Capability Brochure
Agency: Scott Reid & Associates, Santa Barbara.
Shot primarily on Location and in studio.

This brochure used location, photojournalism, available light photography as well as lighting set ups and some product photography both in the studio and on the clients location.

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.

Client: Clark & White Landscape.
Agency: Peter D'Aprix

This high end landscape design firm had been doing a lot of business with just word of mouth advertising. But when they were awarded half of the landscape design for the annual Design House for the Los Angeles Times Magazine Design House section, they suddenly needed an ad for the magazine, a web site and a glossy 4 page brochure.

For us, it was an opportunity to develop a totaly cohesive branding campaign. Please visit the web design portfolio to see the web site and the graphic design portfolio to see ad.

Client: Award Flooring, Terra Bella Collection Brochure
Photography: Peter D'Aprix
Shot primarily on Location and in studio.

Unlike the flooring photography I do for Patina Old World Floors (see above), these floors were not installed with the house location decorated by the owner. With these photos, we had to find existing locations to get the real location feeling, then temporarily put down flooring over whatever floor covering was already in place (even carpet!), then prop the shot and finish the shoot from this point on just like the Patina shooting.

Since the client had not sent enough flooring, we had to be very careful not to use any flooring that was not going to be seen.

The goal of this style of shooting is to give validity to the images by combining a photojournalism look as opposed to a shot that was clearly done in a large studio as well as to gain enough control to bring the detail of the product, the flooring, to the fore.

"Vivitar VI Enlarger with Dioptic Light Source"
Client: Vivitar America
Designer: Rusty Kay

This was a tricky shot that took 5 days to work out, test and finalize. The brief was to show how the enlarger Dioptic Light Source worked. The light is generated well away from negative allowing for a cool area at the film plain so that the negative would not buckle and pop as often happens with traditional enlargers.

We have to show the path of the light as it traveled from the light source, was focused through a series of condensors then reflected down by a mirror and refocused onto a "light pipe" that then radiated the light evenly and with no heat onto the negative.

This was before PhotoShop was even thought of. So I shot the enlarger normally on 4x5 film bracketing the exposures and running an exposure test at the lab. Once we have the best exposure, I then multiple exposed film with black card over the front of the enlarger with cut away slits backed by tracing paper to create an appearance of the light path. When the two different paths (white & red) were determined with the tests, I exposed the whole enlarger film thus burnging the light paths into the previously exposed film.

Today, we would also use several exposures but finish the process in PhotoShop which would speed up the process. But there are many visual images that can be made using film and multiple exposures that cannot be duplicated in PhotoShop that will look the same.

Vivitar TX Lenses Brochure Cover - Peter D'Aprix | Photographer
Client: Vivitar America
Designer: Rusty Kay
Photography: Peter D'Aprix

This brochure was designed to both show the Vivitar TX lens system as well as how to use the lenses. The brochure is a 17"x11", 3 fold piece designed to fit in a standard envelope.

The reproduction on this site cannot show the attractive gloss and matt varnish that covers the brochure. The designer, Rusty Kay, used the gloss varnish to print the different lens sizes in a slightly tinted gloss set at an angle. It gives a subtle double read.

JBL Professional Series Models 4315, 4343A & 4331 Studio Monitors Trio of Brochures
Client: James B. Lansing Sound, Inc.
Designer: Dennis Jewitt
Photography: Peter D'Aprix

The assignment here was not to just photograph the speaker cabiner to show what it looks like, that is enough of a challange, but to show what it does and to make that an interesting and a little different from the usual product cover.

The designer, Dennis Jewitt, wanted a sense of the sound coming out of the speaker cabinet.

To achieve this visually, I used a zoom lens. I shot the cabinet without zooming using flash, then with the modeling lights providing the illumination, I slowly zoomed to get the light areas of the face of the speaker cabinet to streak across the unexposed area of the black and white negative film. This required a dark background. I used a similar technique to achieve the "angel wings" on the Jean-Luc Ponty album cover (see Albums-CDs).

Then some careful burning and dodging was required in the dark room.

The actual product and components were shot on a white background and the white was dropped out in printing.

One of the biggest problems in shooting speaker cabinets is the dark fabric that covers the speakers. Getting enough light onto the fabric to show the texture without having the light spill over onto the cabinet burning out the wood grain or paint is very tricky. Today, with digital cameras whose exposure range is much greater than film plus the tools available in the CS version of PhotoShop, make the photographer's work, in this regard, much easier.

Resin and Metal Diamond Blades Gang Arbor Assemblies 6 Page Brochure
Client: Industrial Tools Inc.
Designer: Scott Reid & Associates
Photography: Peter D'Aprix

This 6 page, two fold extra glossy brochure was produced to display the extreme precision cutting blades made by my client Industrial Tools Inc. While shooting abroad for another client who manufacturer tape heads and disk heads with factories all over the far East, I was told that ITI made the only blades world wide that would give the pricision cutting they needed.

With this in mind, I shot these blades that are not always the most exciting visually with as much sense of crispness and immaculateness possible. They are used in groups to make parrallel cuts and grinds, so I shot them on a high gloss formica with a grid work of lines to simulate the type of cutting the product does. This also gave a very clean image to reflect the nature of the blades.

They were shot 4x5 film both for the extreme detail and the ability of the camera to hold the front to back depth of field.

Product Sheet Folder with interior sales sheet pockets
Client: Industrial Tools Inc.
Designer: Scott Reid & Associates
Photography: Peter D'Aprix

This high gloss product and data sheet folder was designed to extend the standard filing folder into a sales and branding tool itself.

The photography is a blend of studio and location shots. The still life and product photos of the cutting and grinding blades with their arbors and spacers lit and styled to show precision and perfection of the product. The location shots are of the massive, heavy milling machines which are much to heavy to move for a photo session. Instead, I had to make a temporary studio out of its space either on the oil stained and irregular factory floor (exposing during lunch and coffee breaks so I could turn off flourescent lights) or in small, testing bays which were even more challanging since there was precious little room around the machines to put backgrounds and lights. The lights were hardest as we could not have reflections of the lights in the glass and other reflective surfaces of the machinery.

I also have to bring the focus of the shot onto the arbor which was why the machine was there in the first place. We established a deep purple light that we used in all the shots to do this using a small, batter pack flash set into the arbor/cutting chamber and triggered by a slave cell.

Today, just within the past few years, PhotoShop helps us solve many of these problems, but it cannot create the right light for the product, only make it possible to fix many other problems that used to have to be solved at the time of the shoot. The new breed of high resolution digital cameras also helps.

It helps promote the ITI brand with the logo as a graphic on the cover, full color photos on the pockets in the interior all aimed at reinforcing the brand.

Then the product sheet, data sheets, instruction manuals etc. all fit into the pockets and the lot can be secure, easily identifiable at a trade show or leave behind or in a file drawer.