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Posts Tagged ‘Products’

New FTC rule will penalize companies making false ‘Made in USA’ claims on their products

12 Jul

On July 1st, the Federal Trade Commission (FTC) issued a new rule that will penalize companies making false or misleading claims about where their products are manufactured. As a result, marketing departments slapping the ‘Made in USA’ label on their products, and advertising them as so, will need to prove that they are ‘all or virtually all’ made in the United States.

This change could affect certain brands in the photography world, including drone manufacturer Autel, who proudly claims certain drones of theirs are ‘Made in the USA, with foreign and domestic parts and labor’ – many of those components being manufactured in Shenzen, China, the same region where DJI, who has received criticism and even been blacklisted for its ties to the Chinese government, produces its popular UAVs.

Even if this new ruling prevents Autel from saying its products are ‘Made in the USA’ on any level, their CEO Randall Warnas told us ‘this has not been something that [Autel has] needed for [its] success, and will be fine however the ruling turns out.’

Autel’s Evo II Dual drone, which it claims is ‘Made in the USA, with foreign and domestic parts and labor.’

There’s an important distinction to be made when labeling a product ‘assembled in America’ as opposed to ‘made in America,’ as this thorough article written by Jeremiah Karpowicz of Commercial UAV Expo explains. Historically, the FTC has struggled to uphold its standards, without being able to dole out consequences. But this latest ruling could change that.

In light of the ruling, we contacted both Autel and DJI for comment. DJI chose not to comment on the matter, but Warnas said:

‘The FTC is doing the right thing by making “Made in USA” mean something, and more clarity on how this can be accomplished is appreciated. Globalization over the past few decades has been accelerated with the Internet and cell phones that keep information at our fingertips at all times. As the world shrinks, we will surely encounter more blurring of these lines that the FTC is trying to address.’

The North American Free Trade Agreement (NAFTA) initially took effect in 1994. Congress had given the FTC authority to penalize fraudulent ‘Made in the USA’ claims but it would take effect after the Commission issued an official rule. That last part never came to fruition as it turned out to be a bipartisan issue – some in Congress thought those making these fraudulent claims shouldn’t be fined.

‘The final rule provides substantial benefits to the public by protecting businesses from losing sales to dishonest competitors and protecting purchasers seeking to purchase American-made goods,’ said Commissioner Chopra.

The FTC released a notice of proposed rulemaking on June 20th and received over 700 comments—most of them in favor of of the FTC enforcing their ‘Made in the USA’ standards. Commissioners Rohit Chopra and Rebecca Kelly Slaughter, joined by Chair Lina Khan, issued a statement outlining the implications of this new rule. Small businesses, who otherwise may not be able to afford legal recourse from imitators who manufacture products outside the U.S., but claim that they’re ‘Made in the USA,’ will have an advantage now that the Commission can seek civil penalties up to $ 43,280 per violation.

‘The final rule provides substantial benefits to the public by protecting businesses from losing sales to dishonest competitors and protecting purchasers seeking to purchase American-made goods,’ said Commissioner Chopra. ‘More broadly, this long-overdue rule is an important reminder that the Commission must do more to use the authorities explicitly authorized by Congress to protect market participants from fraud and abuse.’

In order to legally display a ‘Made in the USA’ label on a product, businesses must adhere to the following three components:

  1. Final assembly or processing of the product occurs in the United States,
  2. All significant processing that goes into the product occurs in the United States and
  3. All or virtually all ingredients or components of the product are made and sourced in the United States.

It’s unclear whether these new guidelines would prevent Autel from continuing to claim its products are ‘Made in the USA.’ Autel didn’t confirm whether or not this will change any of its plans going forward, but it will undoubtedly make Autel and others think more critically about applying the ‘Made in USA’ label going forward when global parts are used to manufacture the hardware, considering there’s now a financial penalty hanging over their heads.

The Made in the USA Labeling Rule, which will be published in the Federal Register, can be viewed here.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon’s FY2020 financial results: ¥225.8B in revenue, ¥17.1B loss in operating profit for Imaging Products Business

29 May

As it promised when it initially pushed back the release date, Nikon has released the financial results today for its 2020 fiscal year (FY2020), ending March 31, 2020, as well as its forecast for its 2021 fiscal year (FY2021).

Overall, Nikon Corporation recorded ¥591B in revenue and ¥6.7B in operating profit. These numbers align with what Nikon’s updated forecast suspected and are a decrease of ¥117.6B and ¥75.9B, respectively, year-over-year (YOY).

An overview of Nikon’s revenue, operating profit and more for FY2020.

Interestingly, Nikon attempts to quantify the impact of the COVID-19 pandemic, with its report saying it believes the pandemic has caused 10 billion yen in operating profit losses. Specifically, Nikon attributes ‘approximately 4 billion yen’ of that loss to its Imaging Products division ‘Due to product mix change by [the] suspension of distributors mainly selling mid- and high-end cameras, and delay of launch in main products including professional use products by stagnation of the supply chain.’

Diving specifically into its Imaging Products Business, Nikon recorded ¥225.8B in revenue and a loss of ¥17.1B in operating profit. These numbers are both worse than Nikon’s February 2020 forecast and are a decrease of ¥70.3B and ¥39.1B, respectively. The documents reveal Nikon sold 1.62 million interchangeable lens camera (ILC) units and 2.65 million interchangeable lens units, with just 840,000 compact digital cameras sold. These unit numbers are a decrease of 21.4%, 16.4% and 47.5%, respectively, YOY.

Nikon’s breakdown of the FY2020 results for its Imaging Products Business.

In notes on the revenue of its Imaging Products Business, Nikon says revenues were ‘progressing mostly in line with previous forecasts until the middle of February,’ when the COVID-19 started to wreak havoc on the supply chain and retailers. Nikon again reiterates that it’s had to delay new product launches ‘such as high-end DSLR cameras and [mirrorless lenses]’ due to the impact of the COVID-19 pandemic. This is referencing the delay of Nikon D6 shipments and suggests the Nikkor Z 70-200mm F2.8 VR S zoom delay back in January could’ve been due to COVID-19 complications as well, even though at the time Nikon said it was caused by ‘production reasons.’ Nikon also notes sales of its Z-series mirrorless cameras and Z-series lenses have increased, and that the volume/sales ratio of mid-range and high-end cameras ‘improved steadily’ YOY.

Additional comments under the ‘Operating Profit’ headline note Nikon incurred ¥2.7B in restructuring costs and posted ¥6.6B in fixed asset impairment losses, which were detailed in its statement earlier this month.

As for FY2021, Nikon doesn’t share too much information, saying performance forecast details will ‘be disclosed once reasonable estimation can be given as the impact of COVID-19 is uncertain.’ Numbers aside, Nikon notes sales for its imaging Products Business ‘decreased significantly YOY’ in April and May of this year and notes that ‘the business of luxury goods is expected to continue in a severe business environment for the time being, and the deficit for the second consecutive fiscal year is inevitable.’

The executive summary section of the report details how Nikon plans to approach its various divisions in the upcoming year.

Under the executive headline, Nikon says its strategy for the Imaging Products Business is to ‘rebuild business with an understanding of accelerating market shrinkige [and] aim to achieve early profitability.’ In other words, Nikon plans to optimize its Imaging Products Division to get ahead of the quickly-shrinking camera market by restricting and minimizing costs.

You can find all of the latest financial results and presentation materials referenced above on Nikon’s investor relations website.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create a Budget Tabletop Photography Setup for Shooting Food and Products

31 Mar

The post How to Create a Budget Tabletop Photography Setup for Shooting Food and Products appeared first on Digital Photography School. It was authored by Jackie Lamas.

It can feel like photography is a money vortex and unless you have an unlimited amount, many types and styles of photography may seem out of reach. We’re here to tell you that you can create your own tabletop photography setup on a budget and still create some amazing food and product photography.

tabletop photography setup
The white paper in this setup is used to help bounce light back ono the products as the window (the main light source) is at camera left.

All you need is a trip to your local dollar store and craft store, and you’ll have a set up ready to go that won’t break the bank. It will also let you create the images your clients will love.

What is a tabletop photography setup?

A tabletop photography setup is generally used to photograph products and food for commercial or marketing services.

tabletop photography setup
1/20 sec; f/3.2; ISO 1600 using a 50mm lens. The product is the coffee mug and to get this shot I used a table I already had, a bright window to camera right, and notebooks to give it more height.

In recent years, tabletop photography setups have moved away from the Lightbox and toward more authentic setups thanks to social media.

The basic tabletop photography setup is a table, backgrounds, tabletop backgrounds, and nice light source that you can use to light your products and food.

What you need for a basic setup

A tabletop photography setup doesn’t have to be complex or involve a lot of materials. You can have a simple setup that offers you a variety of backgrounds, looks, and setups all in the same spot, at the same table.

tabletop photography setups
There is a big window to camera left and here we can see the basic setup with kraft paper and white paper taped to the wall.

You’ll need:

  • a table or any stable surface to place items onto of
  • a few backgrounds like a white paper, kraft paper, black paper, foam boards, different types of fabric and textures
  • depending on your products/food you’ll need some stands, dishes, and plates, or other styling items
  • tape
  • a large window for window light
  • clips or clamps to hold things down
  • a tripod for max aperture and depth of field to avoid camera shake.
tabletop photography setup
1/10 sec; f/14; ISO 400 using a 50mm lens.

This basic setup will help you to create your tabletop photography setup without the need to be in a big space or rent a studio. It will also keep costs down.

Get creative with backgrounds

While a table, solid plain wall and a good light source are the basic set up, it can often get boring. As you get more clients, you’ll want to have different setups to help you get more interesting photos.

tabletop photography setup
These were just a few of the backgrounds and items we had for styling. We didn’t use all of them but get creative with what you already have in your home.

A quick trip to the dollar store can help keep costs down. You can get items that can give your tabletop the right look and style for the product that you’re photographing.

How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
1/15 sec; f/11; ISO 400 using a 50mm lens. You can see the window in the reflection of the watch.
How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
Here is a behind the scenes shot of the watch. Using a lace dress for the background made for a moodier photo.

Choose different patterns for backgrounds, like this shower curtain I used to give the tabletop photography setup more of a marble texture and style. The watch stands out against the colors and pattern and creates a more interesting effect.

How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
1/10 sec; f/14; ISO 400 using a 50mm lens. I took photo using a shower curtain and big sliding glass doors as the main light source. Both watch photos were taken minutes apart at the same table and distance from the window.

Different placemats work really well as backgrounds and tabletops for food photography as well as product photography. Letting you change the tabletop photography setup without having to directly paint or change your table.

How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
Here we used a placemat and bowl from the dollar store and a kitchen towel already owned.

Posterboard can be really useful in creating a faux cyclorama wall for products giving the illusion of a seamless background. Taping fabric to the wall also works to help keep the backgrounds in place and creates seamless backgrounds.

Placemats of various textures and prints can also be perfect for food photography and work in many different settings for products as well.

tabletop photography setup
1/20 sec; f/8; ISO 400

Kitchen towels can also serve as props for your food styling as well as backgrounds.

Find the light

The biggest concern is getting enough light and that is what a big window is for.

How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
1/200 sec; f/2.2; ISO 200. For this image, I used an external flash (580EXII) pointed at the ceiling for added light. If you have a flash, you can use it off-camera to create images with more pop.

If you don’t get lots of light in your home, go outside! Take your tabletop setup out onto your patio or yard. Find some good indirect shaded light to work in.

tabletop photography setup
1/20 sec; f/5.6; ISO 400. Using a plastic dollar store plate and the wood textured placemat as a background, this photo has a different feel. We even get a little reflection on the plate. The light source is a big window at camera left.

The idea is to create an evenly-lit tabletop setup so that you’re able to set your camera to the correct settings and get the look you want.

Having enough light to work with, lets you take away light with flags or create shadows with different items. You’re also able to get different exposures to your products or food.

How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
Both of these images are shot at different times of the day with the window at opposite sides of the camera. The photo on the left has the window to camera-right, and was shot later in the day with twinkling Christmas lights behind. The photo on the right was shot with the window at camera-left during the morning.

Different times of day can give different types of lighting for your tabletop photography setup too. Take advantage of the lighting changes and experiment to see what light is best for the items you’re photographing.

tabletop photography setup
This photo was created a bit darker on purpose to create a more cozy effect and to capture the twinkle lights. Taken in the same location as the bowl photo above with the window to camera left. Settings are 1/20 sec; f/6.3; ISO 400.

Using available ambient light can really help keep costs down while doing tabletop photography and can offer lots of different types of lighting.

Don’t limit yourself to a table

With a lifestyle component, you can take your tabletop photography setup on the go. Take your backgrounds, fabrics, and styling items to different locations to get different types of photographs.

How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
Taken outside under a covered area with bright sunlight behind the camera. I used a found bark branch to style the product. Settings are 1/400 sec; f/3.5; ISO 400.

You can photograph in a park, trail, cafe, or in front of an interesting wall in your neighborhood.

How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
Taken on my sofa with settings as 1/500 sec; f1.8; ISO 400. The window is at camera-right.

Using your creative eye, you can photograph food and product photography just about anywhere that will save you money, while also giving you amazing results.

In conclusion

How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
I created this on location at the restaurant where the food was photographed. It used ambient light ,which was a combination of window light and overhead daylight lamps. I adjusted the white balance to suit. f/160 sec; f2.0; ISO 400.

As you can see, creating a tabletop photography setup doesn’t have to mean spending loads on lighting, space, styling equipment or backgrounds. With a trip to your local dollar store and craft store, you can create stunning product and food photography for a fraction of the price.

tabletop photography setup
Aluminum foil and other kitchen supplies can work great to create a background that is interesting and fun. Settings are 1/20 sec; f/5.6; ISO 400 with window to camera left.

Your clients will love their photos and you will have a setup that you can use anywhere!

Do you have any other tips for creating a tabletop photography setup? Share with us in the comments section.

The post How to Create a Budget Tabletop Photography Setup for Shooting Food and Products appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Sony to transform its Electronics Products & Solutions segment into new holding company

26 Mar

Sony has announced it is transforming its Electronics Products & Solutions (EP&S) segment into an intermediate holding company. Starting April 1, 2020, Sony’s Imaging Products & Solutions, Home Entertainment & Sound and Mobile Communications divisions, which made up its EP&S segment, will be known as Sony Electronics Corporation.

In a short statement on its public relations website, Sony Corporation says the creation of this new company ‘will not only accelerate the integrated operation of the EP&S businesses, but also aim to optimize its organizational structure, talent and business portfolio, while further enhancing competitiveness and creating new business.’

Sony has done multiple restructures in the past with little to no effect on consumers. It would appear that will be the case with this transition as well.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma CEO confirms ‘most new products’ will be ‘exclusively for mirrorless cameras’

16 Mar

In a tweet published on March 10, Sigma CEO Kazuto Yamaki shared a bit of information that hints at what products we should most be expecting to see from Sigma in the foreseeable future.

In response to a question from Twitter user Terri Ikoma, username @uplink_boss, Yamaki-san said Sigma will put a priority on developing its ‘DN’ lens lineup for mirrorless camera systems, including full-frame, APS-C and Micro Four Thirds (MFT) systems. Below is the screenshot with the machine-translated text:

Since much can get lost in translation (particularly machine translation), we contacted Yamaki-san to independently confirm the statement and see if he would be willing to divulge any further information. Yamaki-san both confirmed the statement and elaborated that while APS-C and MFT lenses aren’t out of the question, ‘most of [the lenses] will be DG DN series (designed for full-frame mirrorless cameras).’

Considering the direction the rest of the photography world is moving, this news shouldn’t necessarily come as a surprise, but to get confirmation from Sigma’s CEO that the third-party lens manufacturer will be focusing exclusively on mirrorless systems is a significant detail. Canon also confirmed earlier this year that its focus will be on full-frame mirrorless lenses (RF-mount) over DSLR lenses (EF-mount), so Sigma isn’t the only one who’s looking at DSLRs through the rearview mirror.

Articles: Digital Photography Review (dpreview.com)

 
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Topaz Labs will end free upgrades for several products starting in August 2020

15 Feb

Topaz Labs, the software company known for offering free software upgrades, has announced a major change to its business model: customers will have to pay to upgrade several of the company’s products starting in August 2020. The announcement was made by company CEO Eric Yang in a statement on Thursday. Gigapixel AI, DeNoise AI, Sharpen AI and Mask AI are all affected by the change.

Yang explains that offering free major upgrades for its products was a way ‘of acting differently than faceless corporations,’ but that it ultimately had an unwanted effect. By hinging its revenue on new products rather than product upgrades, Yang says, ‘we found that we weren’t focusing as much as we wanted on improving existing products.’

Yang goes on to state:

We ended up with several different products that did similar things, which caused confusion about which tool to use. Although it started out with good intentions, our free upgrade policy ultimately prevented us from delivering the best possible products to you. Make no mistake about it: this situation was 100% our fault. We were not thoughtful enough about aligning our pricing structure with continuous improvement of our products.

Topaz Labs says more than $ 8 million worth of free upgrades were claimed for major new products last year. In 2020, the company will transition to paid upgrades, which will involve paying $ 49.99 for a year of upgrades following an initial first year of free major and minor upgrades. For customers who own multiple Topaz Labs products, the upgrades can be collectively purchased for $ 99.99.

The company says that Mask, Sharpen, DeNoise and Gigapixel will require upgrade licenses this year. Topaz Labs stresses that customers retain access to the products they purchased even if they choose not to purchase software upgrades. ‘Wait until [the upgrade] actually includes something you want to pay for,’ Yang says. ‘This also incentivizes us to make sure that the improvements we do implement are useful enough for you to upgrade.’

Some customers are understandably upset about Topaz’s decision to start charging for upgrades. Yang acknowledges this in his post, stating that it was a hard decision to make. ‘I’m asking you to lock arms with us and walk through this phase of our development by accepting this change,’ he states. Users will soon be able to view how much time remains on their upgrade licenses within their customer accounts.

Articles: Digital Photography Review (dpreview.com)

 
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Spider Holster launches updated Hand Strap and Lens Collar Plate, as well as two new products

24 Jan

Spider Holster, the company best known for its camera-carrying accessories, has launched four new products, including updated versions of its SpiderPro Hand Strap and its Lens Collar Plate. All four products are available from the company’s website now, making it easier to carry around a camera, attach it to tripods and tote around all of your photography accessories.

Most notable among the new products is the company’s new SpiderPro Hand Strap v2, a new version of the camera-carrying strap already offered by Spider Holster. This strap can be used with mirrorless and DSLR cameras, this time featuring Nylon cores for slowly conforming to the shape of the user’s hand.

As well, the updated version can be installed more quickly using a three-snap attachment feature, plus there’s a new Graphite version of the strap made from synthetic Hypalon fiber with a carbon fiber finish. This, Spider Holster explains, is an alternative for customers who don’t want to purchase the leather version. The model is available now for $ 70.

Joining the updated Hand Strap is the new Lens Collar Plate v2, an updated model that can be used to holster a telephoto lens with a tripod collar to the company’s SpiderPro Single and Dual camera-carrying products. The updated version of this product is Arca-Swiss compatible for use with tripods, features a built-in 1/4″-20 thread, built-in hex wrench, as well as a pair of Spider pins and a Spider Tether Bail. The model is available now for $ 55.

Spider Holster has also launched the new Spider Light Z Plate specifically for the Nikon Z6 and Z7 cameras, a model that can be used or without the FTZ Mount Adapter. The Z Plate can be used with any Arca-Swiss tripod in addition to the holster, plus it allows access to the camera’s battery door. The Spider Light Z Plate is currently available to preorder for $ 32.

Finally, Spider Holster has also launched its new SpiderMonkey Ultimate Kit, a bundle that features the entire SpiderMonkey product line, including the SMv2 Tab, Studio Assistant, Rain Cover, rotating and non-rotating Action Grip, Utility Pouch, Backpack Adapter, Bag Strap Clamp and more. With these accessories, users can easily clip a variety of camera gear to belts, backpack straps and bags.

The SpiderMonkey Ultimate Kit is available now in Essentials and Ultimate bundle options for $ 55 and $ 75, respectively.

Articles: Digital Photography Review (dpreview.com)

 
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3 Important Tips for Successfully Photographing Products for Brands

16 Dec

The post 3 Important Tips for Successfully Photographing Products for Brands appeared first on Digital Photography School. It was authored by Lily Sawyer.

photographing-products-for-brands

In this article, you’ll learn 3 important tips for photographing products for brands that will help you achieve better images.

Other than as a photographer, I wear many hats, one of which is as a content creator for brands. It’s common knowledge that when working with other brands, two things are key:

  1. Understand the brand’s USP (unique selling point)
  2. Communicate the brand’s USP

dps-lily-sawyer-photo

Brands that differentiate themselves from other brands, thereby having a clear uniqueness about them that they propose to their audience, achieve more success in their advertising endeavors.

However, it is not enough to have a great USP.

Presentation of the USP matters and this usually means visual presentation. This is where the photographer or film-maker comes in.

When it comes to photographing products for brands, our role as photographers is to understand that unique message and deliver it in the most effective way for the brand to succeed. We need to be able to communicate that USP in our images and visuals.

3-tips-photographing-products-for-brands-dps-lily-sawyer-photo

Social media allow brands to reach the masses more easily. Audiences now have access to more than one platform, one type of style or preference. They are inundated with an array of options from which they can make their choices.

To be part of the game, and have a slice of the pie, brands are endeavoring to reach beyond their expected target audience to those they want to convert to their aesthetics.

dps-lily-sawyer-photo

Audiences might not necessarily know what they want nor that they want something until it has been presented to them.

Take Henry Ford, for example. He may not have been the first person to invent a private automobile, but he was the first person to mass-produce it. Ford made his Model T accessible to the masses.

Prior to this, not many people had access to their own automobile. They relied mainly on steam-powered vehicles and mechanical forms of transport to get them to places. People were generally happy with what they had until something better, something they had not thought of before, in the form of their own gasoline-powered automobile, was presented to them. It was both accessible and available.

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Various platforms widely used nowadays in brand advertising are websites, social media (Instagram, YouTube, Facebook, Twitter, Pinterest, Linked In, Yelp, Reddit), print advertising (magazine, billboards, leaflets, posters), television and radio ads. The type of communication will depend on what works best for the advertising platform used.

3-tips-photographing-products-for-brands-dps-lily-sawyer-photo

This article will focus on photographing products for brands to reach their intended audience. Assuming that you have an adequate understanding of the brand’s USP and ideas on how to communicate it on their chosen channel, here are 3 tips when photographing products for brands.

1. Understand what the audience wants

3-tips-photographing-products-for-brands-dps-lily-sawyer-photo

Whilst branding is the most important, it is no longer the only consideration, no longer the be-all-end-all. We need to think outside the brand and understand our audience.

Recently, I received an invitation to sit on an advisory board for a big company. The company was hard at work nailing their branding. They were at a point where they were able to clearly and articulately present their brand’s identity. The advisory board, composed of various sectors of the industry, was asked for opinions and input on how to effectively shout the brand’s identity to the world.

The meeting took an interesting turn as it became apparent that the brand, as strong as their identity was, needed to look outside of themselves and understand the market, consumers, and traders – the people on the receiving end of their message.

It’s no longer just about the brand. The audience is now just as important in the game.

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What does the audience want? What type of images and visuals speaks to them the most? Where and how do they want the brand to speak to them? Old traditional ways don’t cut it anymore. We have to be thinking outside the box and exploring new ways of effective messaging.

Is it enough to present a product photographed against a ubiquitous white background? Is presentation in context now necessary as well? We are bombarded with short films and short stories everywhere we go. Static images in white boxes no longer pull the heartstrings.

Stories and contextual presentation, personal experience, and testimonies are now a must. Remember, photographs can tell stories just as effectively as moving images – we just need to keep up with our game.

3-tips-photographing-products-for-brands-dps-lily-sawyer-photo

2. Photograph with the intention of giving the audience what they want

I’m a typical consumer; before I buy something, especially if I have not seen it in real life and I’m only relying on web images, I’d like to investigate the item. I want to see it close-up, read a detailed description of it, and would like to envisage it in my own personal situation or surroundings. A complete range from context to product photography is what I need to complete my research and help me decide to purchase or not.

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How do I want this presented? Personally, I’d like an image in context, then close-up images, then an image on a white background – pure product photography.

A contextual image should resonate with me and elicit my emotions. The close-up image should speak to my visual aesthetics and help me decide if I like the look of it enough to buy it.

Lastly, the product image on a white background speaks to my brain. It answers practical and logical questions I might have.

I’d expect a combination of visuals on a website or a good advertising platform.

3. Present the visual so the audience will engage

When it comes to photographing products for brands, depending on the channel or platform you choose, you need to be discerning about what image works best to ensure that a good percentage of the audience engages.

For example, on TV, emotionally moving adverts or humorous, unforgettable ones work best. The cost is immense. In the UK, big brands usually do quite long, full Christmas adverts around the time of the launch. These adverts then get cut and shortened on subsequent showings to help with the costs.

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On social media, videos are hugely effective, but the most effective ones are the short and quick videos to keep in line with the limited attention span of audiences nowadays! Yes, there are videos longer than a minute that are effective too. However, this would perhaps require that you already have an engaged tribe willing to give up more time and stop for several minutes to watch your long advert.

Of course, the younger audiences (youths and young adults, especially Generation Z) are more used to watching longer videos, so there’s that to consider when creating and presenting product content.

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On Instagram, for example, brands work with me to reach my audience. It’s not always a must that our aesthetics match, although often they do. It could be that the brand wants to reach my type of audience to expand their reach and to speak to new audiences who may not be familiar with what they have.

Think again of Henry Ford here.

In both cases, I would always present the ad in terms of how engaging it would be to my audience and not the brand’s aesthetics per se. This is better for the brand as the more engaged the audience is, the wider the reach is for them.

This is not to say that I disregard the brand’s USP. In fact, I communicate the brand’s uniqueness in my captions and make sure these are the focus of the message. But at the forefront of my mind, I will present the visual in a way that my audience finds most interesting so that they are encouraged to engage.

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Wide, medium, close-up, and flatlay shots

In practical terms, this means my front image is always the contextual wide-angle image. I follow this with product images shot from a medium angle to close-up.

This is in line with what I know to be the most popular style of posts with high engagement rates.

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Other pages may have close-up product shots as their most successful type of images, or flatlays, or products all shot in a seamless white background. To effectively communicate to your target audience, your images need to resonate with their aesthetics, not just needs and wants, as they might not be fully aware of those yet.

Whilst the brand needs to be true to its USP and key message, the presentation needs to be flexible to adapt to consumer demands.

3-tips-photographing-products-for-brands-dps-lily-sawyer-photo

As a photographer, keep the above in mind and usually aim to cover all bases when photographing. Take wide-angle shots using something like a 24-25mm lens, a mid-range angle using a 50mm-85mm focal length, and close-ups from 105mm upwards.

In terms of presentation, go with the most successful type of images that elicit high interaction from the audience. Suggest that as the front image for the client to use on platforms like Instagram. Then provide the necessary product shots as secondary images to use to complete the audience satisfaction.

Conclusion

In summary, when it comes to photographing products for brands, successful advertising takes into consideration your audience’s preferred aesthetics. Whether that audience is already your tribe or a new audience you are trying to reach with the brand, you want your visuals to resonate with them on an emotional level. That is one of the most effective ways of communicating with your audience and ensuring effective brand reach.

Do you have any other tips for photographing products for brands that you’d like to share? Please do so in the comments section.

The post 3 Important Tips for Successfully Photographing Products for Brands appeared first on Digital Photography School. It was authored by Lily Sawyer.


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Uwe Moebus of Hasselblad – “We have learnt that we should launch products when they are fully developed”

30 Jun
Uwe Moebus, Hasselblad’s head of sales for Europe and MD of Germany. Photograph by Damien Demolder.

It has been interesting watching Hasselblad’s fortunes over the last couple of decades. When I began writing about cameras the V system wasn’t called the V system, and the company’s medium format film bodies were very popular with high-end amateurs as well as with professional photographers. I suspect that even in those days it was amateurs that contributed the majority of Hasselblad’s income, and the company was revered for quality, craftsmanship and very high standards. It seems Hasselblad is aiming to recapture that valuable amateur market once again and the X1D II 50C is the camera the company hopes will bring droves of non-professionals back to its door. The company’s product catalogue has been dominated by very high priced digital medium format models for quite a period of time, which has kept the majority of non-professionals away.

During the launch event for the X1D II 50C in London I got to speak to Hasselblad’s head of sales for Europe and MD of Germany, Uwe Moebus, to ask him how this relatively low-cost model came about and to find out what Hasselblad aims to achieve in the future.

‘We have learnt that we should launch products when they are ready and fully developed’

I asked Moebus what the company has learnt since the launch of the original X1D, and how that learning has been implemented in this new model and the way the company operates. ‘We have learnt that we should launch products when they are ready and fully developed for the market. We have also learnt a lot from our customers over last three years about what should be improved and we tried to bring this into the new camera.

Start-up time was an issue from the beginning – this is improved now – frame rate needed to be improved – everybody wants faster frame rates, though this is difficult with medium format because of the amount of data – and some people weren’t happy with the previous viewfinder. These things were okay in the first camera, but now they are much better and enhanced in this mark II version.’

Attracting amateurs again

We chat about how it had been some time since Hasselblad had dealt with the amateur market when the X1D came out and how things had changed since the days the film bodies were at their height. ‘Everybody thinks that the V system Hasselblad were only for professionals. The camera was about £5000 at the time, and actually almost two thirds of users were amateurs. So, working in this market is not so new to us. But in between, when medium format went digital, things became so much more sophisticated, complicated and expensive that our whole market turned around to the point that over 90% was professional. The number of cameras we made dropped a lot and the price went up a lot – and we had a much smaller customer base.’

‘There are fewer professional photographers and it is getting harder for professionals to make money’

‘Now though we will be turning that situation back again. There are fewer professional photographers and it is getting harder and harder for professionals to make decent money. So Hasselblad needed to look to the future and ask if those customers would continue to use expensive medium format cameras, or would they look at full frame cameras? We decided that ‘no’ many wouldn’t continue to spend on high priced medium format systems and that we needed to take a different route. We will continue to develop our H system, which is very high-end and for pros, but the new X1D will open a new market for us. Maybe we can go back to [how things were in] the 80s and have a lot of amateur customers.’

‘The purpose of this new model and its lower price is to broaden our market, to put the company on solid ground. We can do this by having more products: this X series, the H series, having a new V series with the CFV attached and the new 907X – this will allow us to develop our position in the market. Looking back ten years we only had the H system. Now though we can attract a new customer group. £5500 is still a lot of money but it is a lot less than these cameras used to be, and you can have a camera and a lens for below £10,000. This is a much bigger market for us.’

New electronics

The main changes in the new body are centered around performance and speed of operation, all of which have been achieved using a new faster processor and a whole new electronics system. Moebus wouldn’t say exactly how much faster the new processor is, but it has cut start-up time almost in half, has produced reduced shutter lag and black-out time between frames. It can also run the 60fps EVF while also adding 30% to the maximum frame rate – though 2fps to 2.7fps doesn’t sound all that impressive until you think of the data that is being moved. To cope with this new processor the camera has had a complete electronic make-over inside with an entirely redesigned system.

The new processor also helps the auto focus run more quickly, speeding up acquisition and tracking. Moebus said the system only has to read the area of the sensor beneath the AF points rather than reading from the whole sensor, so it is efficient and operates quickly.

‘We have further optimized the power management and the heat management systems’

‘New firmware also helps to run the camera more efficiently’, says Moebus, ‘and new systems are used to deal with the heat. We fixed the firmware in the original X1D to change the way the camera was always running all its systems all of the time, so that then only systems that were needed would be on while they were in use. The same is true in the X1D II but we have further optimized the power management and the heat management systems to make the camera work even better.’

The body is almost exactly the same on the outside other than the slightly remoulded grip and the much bigger rear screen, and it uses the same materials in its construction.

Evolution, but the same camera

I asked Moebus why this model is called a mark II and not X2D, for example. ‘There is more to come’ he joked. ‘This is an evolution of the original camera. There are some significant changes but it still looks like an X1D. It is not a completely new camera, which is why it has the same name.’ He wouldn’t be drawn on what would have to change to make it a revolution and thus completely new camera, rather than an evolution. I tried!

Hasselblad was never tempted to use a higher resolution sensor in this model, according to Moebus. ‘This camera was designed to have a 50MP sensor, and we were clear on this from the start. The X1D is a portable tool that captures high end images while maintaining is size and low weight to make it the most compact medium format camera on the market. The sensor we have used in the X1D II 50C is exactly the same one as is used in the original model.’

I was surprised at first that Hasselblad has placed so much emphasis on being able to record JPEG images – and that were was so much demand for more JPEG options. Moebus tells me that many Hasselblad users want to be able to shoot JPEGs and not have to spend time processing them afterwards. ‘Most professionals need raw data of course, but there is a market that requires JPEG only, so we have included the ability to shoot one file type or the other, or both at the same time. With the more accessible price of the camera we expect more amateurs to use it, and some of them just want to produce wonderful images straight from the camera. The X1D II 50C immediately delivers very nice JPEGs.’

I suppose that Fujifilm has also gone to some lengths to cater for the JPEG market in its medium format bodies, but it does too in the X series models. I was just curious that anyone would pay for a Hasselblad X1D and lenses and then record JPEGs, but having just seen the photo staff from luxury department store Harrods at the press briefing it clicked for me that I might not be their typical customer. Like Leica, Hasselblad has many wealthy fans who want a nice looking camera for their holiday snaps. Nothing wrong with that I suppose.

Cost reduction

Even though the X1D II 50C costs a good deal more than the average amateur camera, its price is significantly lower than the launch price of Mk I version – and the price of the Mk I version the day before the Mk II was announced. So, how was this price arrived at?

‘We have optimized production processes and our supply chain’ explains Moebus. ‘When we began making the X1D we were buying in lower quantities, but now we are buying more and in bulk. Buying more brings the unit cost down, so now we can make an even better camera for a lower price. These changes have not come about suddenly because the Mk II is an easier camera to make, but as a progressive journey since the beginning of the X1D.’

‘The whole organization has had to migrate to a situation where we are making many more products’

Hasselblad was caught out by the demand for the X1D and really struggled at first to produce enough units to meet its orders. Since then though the company has boosted its production line, its manufacturing processes and assembly to deal with much larger volumes than it had expected. ‘This hasn’t happened in a split second’ says Moebus ‘but the whole organization has had to migrate to a situation where we are making many more products. We had to do this without dropping quality as that would undermine the company and the brand. At Hasselblad image quality is everything. Everyone wants a fantastic picture. If you sacrifice this you aren’t going the right way. It was a stretch, but now we can make better cameras at a lower price.’

‘We are now in a position to be able to meet demand for the X1D II 50C. We are assuming it will be a popular camera, because of the features and the price, so we are prepared. We employed more people to meet demand for the Mk I so we are already in a good position. We will also be able to make the 907X and CFV II 50C on the same premises and cope with demand when the time comes. We are used to making digital backs, as we have been doing so since the merger with Imacon and also for the H system. The CFV II isn’t a new challenge for us to make, so we will be able to cope. The 907X is a nice slim camera with some mechanics and electronic connectors. We will be able to make an appropriate amount to feed the market. That shouldn’t be too complicated.’

Moebus isn’t prepared to discuss the price of the CFV II 50C or the 907X unfortunately, and argues that the original CFV wasn’t expensive – it was $ 15,000! We might hope though that with efficiencies in production and supply chain the cost of the CFV II 50C might synchronize with the drop we’ve seen in the X1D II 50C.

Moebus points out that the 907X camera and the CFV II 50C will have a whole system waiting for them once they are launched. ‘Often manufacturers have only a few lenses when a new camera system is introduced but the 907X already has nine native X lenses, and will also be able to work with H, V and XPan lenses – we have a complete line-up.’

Half an eye on the competition

We’d already discussed how Hasselblad reduced costs in the making of the X1D II 50C, but I wanted to know if the camera’s new lower price was a response to Fujifilm’s activities with its GFX series. ‘We are both in the medium format mirrorless market, so of course we look at what other people are doing in the same field. Primarily though we are looking at ourselves and thinking about what we need to bring to the market. We aren’t interested in copying and we don’t strive to make cameras that match others. That’s why the X1D is the way it is. The current price of the X1D II 50C reflects that we wanted to make the camera accessible to a larger audience, not because of Fujifilm’s pricing.’

‘We will listen to our current customers’

Hasselblad has been quite good at offering trade-in programs to encourage its H system users to move up the ladder to the newest equipment, but Moebus says there are no similar programs in place for the X series. But, he says ‘We will listen to our current customers’ meaning perhaps that if there is enough demand the company might consider it. The issue for some is that the new body costs less than the original did the day before the launch of the upgrade, so if you’d bought the original model the week before you might feel a bit annoyed. Moebus said the company was aware that this might be an issue, but that the most important thing was to make the new model accessible.

The best lens ever

After speaking to Moebus I was able to chat to other technical staff about the new 35-75mm F3.5-4.5 zoom lens. Hasselblad claims it is the best lens the company has ever made, so I asked what it was in particular that made it so. The answer it seems is MTF. Charts were produced that show the lens to perform to the sort of standard you’d expect from a prime lens – and much better in many cases.

Comparing the MTF at various focal lengths with the prime versions the company makes it is clear to see, in theory at least, that the 35-75mm will provide a prime-lens experience for those who don’t need super-wide maximum apertures. Even at the long end though the maximum F4.5 aperture is comparable to moderate telephoto lenses from past medium format systems – though with the X1D’s smaller sensor the ability to achieve differential focus will be a little more limited.

On its own the lens seems very expensive, but taken in the context that it really could replace three or four prime lenses it might begin to sound like a very good deal. In full frame terms the angles of view offered by the zoom are those we’d expect from a 28-60mm, so it encompasses 28mm, 35mm, 50mm and 60mm lenses. Our only quality measure at the moment is just the manufacturer-provided MTF of course. How that and the other characteristics will translate into real life image quality we will have to wait and see.

Forward to go backwards

This clutch of product announcements from Hasselblad creates a very positive air around the company and its future. Even with the original X1D the company seemed in a much more precarious position as the shock at the size of the order book generated so many issues of its own. But the company survived that and has grown, and now seems on a much better footing – production is sorted out, buying can be done in more efficient volumes and Hasselblad is geared up for meeting its new enlarged market with popular products that more people can enjoy. Are the good old days back I wonder? Perhaps not just quite, but things are looking rosy for the future.

Articles: Digital Photography Review (dpreview.com)

 
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Sony’s financial report shows 2% YOY growth for its ‘Imaging Products and Solutions’ division

18 May

Editor’s note: Keep in mind that each company groups different products under their respective ‘Imaging’ category, so there may be slight differences in what products and services are offered in the financial details. However, the categories are broadly similar and comparable, and we’ve done our best to account for those differences using available information.’


If you were to look at the most recent financials of Canon, Nikon and a few other camera manufacturers, it would seem the camera industry as a whole is facing a crisis. But not everyone in the imaging market is struggling, as Sony’s latest financials show.

Sony has published its latest annual financial report and inside a number of interesting details have emerged. Sony’s 2018 fiscal year (2018FY), which ended March 31, 2019, saw increased sales of 14.6 billion yen for its Imaging Products and Solutions division for a total of 670.5 billion yen. This amounts to a two percent year-over-year (YOY) growth, accounting for loss due to currency conversion.

A small snapshot from Sony’s financial report showing the sales numbers (in millions of yen). On the left are the numbers are through March 31, 2018, while numbers bolded in the center are the numbers through March 31, 2019. The numbers on the right are the difference between the two years.

While two percent might not seem impressive, Nikon’s imaging division reported a 17.9 percent decrease while Canon reported an annual decrease of 11.3 percent YOY.

Sony specifically mentions in its report (starting on page 26) that ‘[the] increase was mainly due to an improvement in the product mix reflecting a shift to high value-added models such as mirrorless single-lens cameras and the interchangeable lens lineup, partially offset by a decrease in compact digital camera unit sales reflecting a contraction of the market.’ Sony also says reductions in operating costs helped to reduce to YOY numbers.

In a year when it seems nearly every other company manufacturing cameras is showing decreasing profits YOY, it seems Sony managed to find a way to keep profits growing throughout 2018.


Update (May 17, 2019): The last paragraph in this article has been removed and rephrased to account for the discrepancies in the fiscal years between companies.

Articles: Digital Photography Review (dpreview.com)

 
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