biz

Nautica International, an Eleven Year Relationship

Steve Burns — Wed, 30 Nov 2011 02:36:58 +0000

What follows are just a few of the images created for Nautica International’s Annual Reports, as well as a few of the ads done for them, and a few examples of numerous works as used in Nautica’s Merchandising Manuals.

Early on in my career I did not see myself as a studio photographer. Rather I saw myself as a location photographer; one who brought studio skills and a natural curiosity to the job done on location. It was clear to me that I was looking for the experiences in photography that would allow me access behind some of the closed doors of life that were out side of the studio. I wrongly felt I might be hemmed in by the four walls of a studio.

One aspect of how I see myself and the services I offer is as a problem solver for my clients. It was 1994 when I was working on Nautica International’s annual report for R.L. Silver Associates in NYC that I was introduced to Michael Benesch of Nautica International. Michael needed a flexible way to produce a significant amount of photography in house using the firm’s facilities. Essentially what he needed to do amounted to studio on location work at the firm’s offices in NYC. That introduction, and the next eleven years turned out to be for me one of the more memorable relationships of my career.

During those eleven years working with Michael and his trusted staff, I came to realize the personal satisfaction and value of long term client collaborations be they in the studio or not. It was a wonderful time. We would go in and camp out in their offices and show rooms in NYC for three or four days each quarter of each year. While there I and my team would set up what was essentially an on location studio where we would in collaboration with Michael’s team photograph the various fashion collections of the company for their use in merchandising manuals and several ads.

The covers from 1998, 1999, and 2004 used photography from my personal collection. Photography from 1994 through 2001 was film based. Starting in 2002 and running through 2005 all photography was done digitally.

Water Filtration Plant Exterior

Steve Burns — Fri, 18 Nov 2011 19:29:51 +0000

A client’s representative contacted me, asking if I would duplicate a photograph of a their recently renovated facility which they were especially happy with. Looking at the existing image I realized it was made by another photographer about 20 years ago.

As a photographer who tries to provide problem solving solutions to his client’s needs, I immediately was aware of a few things: One being duplication of another’s photograph would be a violation of a copyright which I have no interest in doing. Two being the existing photograph was more than 20 years old, so things at the site could have changed considerably physically.

Scouting the site I found there was now a large guard house, a chain link security fence, a parking lot and twenty years of growth to the trees and landscaping at the site in the way of making a similar image. I realized that I had to identify what she loved so much about the existing image. Think blue sky, white clouds, beautiful light on their newly renovated building and you have it.

The angle could be duplicated but not the perspective. The 20 years of growth now caused very heavy ominous shadows in the foreground relative to what would be a very beautiful lit facility. By working with contrast masking I was able to open up those shadows for a natural look. Returning to the site to photograph over a couple of beautiful days, I was able to provide several beautifully lit angles of the facility that had in spirit the feeling of the image that my client loved so much.

Click on any of the above thumb nails to see a larger gallery of the case study.

Use of Head and Shoulders Portraits

Steve Burns — Mon, 07 Nov 2011 20:29:56 +0000

Here is an excellent example of the use of simple business portraits on a web site.

Why is it an “execellent example” of a use? It is for several reasons.

The first reason being that the gallery of portraits has a consistent look to it, they all fit together as a cohesive unit. I’ve seen so many corporate websites where every portrait in a gallery of people look like they were done by a different photographer.

The second reason is that the portraits were done in a manner that was a very efficient use of the company employee’s time. I arrived early in the morning and set up a small studio in an open conference room. Shortly after doing that I met with each individual person and did their portrait. When I was finished I packed up and left the building in time to have lunch. At no time was I using any one person’s time for more than 10 minutes. They were able to plan around their meetings to accomplish this. There was no disruption to the work flow of the company.

The third reason is that this was very economical to do in the bigger picture of things.

I enjoy relationships when I’m happy and my clients are happy in that I have been able to meet their needs and solve problems.

WWIG Annual Report 2010

Steve Burns — Sun, 06 Nov 2011 19:49:44 +0000

Earlier this year I was asked to provide several photographs of people in environment to illustrate the 2010 Annual Report for Western World Insurance Group. The graphic design and art direction on this project was done by Peter Aldrich of Aldrich Design in Boonton, NJ. Peter was a pleasure to work with.

This project which had a goal of providing images of key players in Western World’s various highlighted divisions. Because the final feel of the images was to be natural, I chose to work with small strobes that would augment rather than over power the available light in the setups. Photography took place over two days at WWIG’s Headquaters in Franklin Lakes, NJ with three or four different set ups each day. The following are some of the images and how they were used from that assignment.

Peter, Linda, Tom and all involved it was great working with you!

Portraits

Steve Burns — Tue, 31 Aug 2010 15:02:08 +0000

When You Are Having A Portrait Done

Steve Burns — Tue, 31 Aug 2010 03:21:12 +0000

If you are having a business portrait done, that includes a head and shoulders or an executive portrait; you might want to consider the following.

Men should have a recent hair cut, but not necessarily a haircut done the day before their portrait. We look better and have had a chance to adjust to a “look” after about 5 to 7 days. Also our hair tends to shrink for the first couple of days after a fresh cut.

If you wear T-shirts; no V-neck or tank top T-shirts please as they may show through dress shirts.

Both men and women should try to stay away from very tight patterned shirts, ties and jackets so as not to run into a moiré problem with fabrics, which would introduce additional retouching needs. (Think of a newscaster’s blinking and shimmering tie on TV, which is filmed with a digital video camera, and you will understand moiré issues.)

Jackets on men and women need to fit as compared to being under sized. Looser is better, I can always tighten them up.

Shirts for men with ties should also fit properly around the neck so that a tie fits properly.

Loud colors and loud patterns may at times detract from the face in a portrait.

A good nights sleep is important so that you are fresh for your portrait. Good hydration is also important. It is best not to rub under your eyes the morning of your portrait as the skin there bruises very easily.