Blow up

Good photography is essential in creating good graphics work, so how and who do you choose? Amanda Lake gets the answers on five recent projects

Photographers and illustrators have been among the worst casualties of Mac-obsessed design. But many top graphics groups have kept the faith and continued to seek out hot talent to work on projects as diverse as packs and promotions. They know it makes sense.

To help those yet to make the leap, next month we’re launching a regular monthly page highlighting some of the freshest talent around and showing how their input can make a real difference to your design.

In this taster we present a handful of examples of newish work that make a strong case for commissioning original photography.

Photographer: Glen Luchford

Designer: Din Associates

Client: Victim Support

“Sourcing images to illustrate the case studies in Victim Support’s annual report can be very difficult, ‘broken glass/crime story’ pictures are easy to find but can wash past the reader. Glen Luchford’s image is particularly strong. It has a gravitas that holds your attention without being too specific, judgmental or literal. This was perfect for Kathy’s story, which told of her terrifying rape,” says Din graphics head Valerie Wickes. The image was then cropped and tinted.

Photographer: Richard Foster

Designer: Lippa Pierce

Client: Terence Higgins Trust

Harry Pearce explains why Richard Foster was used as photographer for the latest Higgins Trust education literature. “We both strive for the same standards of perfection, and Richard never puts up any barriers, he contributes more than most photographers.” Foster adds: “There is an unspoken understanding to reach the same high quality in the end-product.” Foster’s images were printed as duotones.

Photographers: Robin Broadbent and Max Bradley

Designer: Wickens Tutt Southgate

Client: The Sock Shop

Photographer: Simon Pemberton of Monster

Designer: Rachel Barrett

Client: Banking Technology

Simon Pemberton’s brief for Banking Technology magazine was to show that multinational banks are dominating the banking market. Hence the giant figure flexing his muscles.

“I chose Simon because his technique was unusual,” explains Barrett. “The photographed figure and the background were shot separately. Chocolate money was collaged to get round the fact that money can’t be photographed. The colours are manipulated with acrylic and emulsion,” explains Pemberton.

Photographers: Robin Broadbent and Max Bradley

Designer: Wickens Tutt Southgate

Client: The Sock Shop

Two photographers were chosen to produce the images for The Sock Shop hosiery packs. “Robin Broadbent was chosen for the still-life shots as he is extremely good at making simple objects look beautiful. We decided on Max Bradley for the dancing figures because we wanted someone who would experiment with poses, and he had a good portfolio in this area,” says WTS creative director David Beard.

The images were slightly stretched to cover the packs.

Photographer: Angelo Plantamura

Designer: Miller Sutherland

Client: Elida Fabergé

Miller Sutherland used photographer Angelo Plantamura to create the latest Lynx Black Christmas packs.

“We had recently seen Plantamura’s portfolio and when we started working on the Lynx project his name instantly came to mind. He had just left college and had a huge amount of enthusiasm,” says Sian Sutherland.

The ice images were retouched, for example, certain areas were highlighted or knocked back.

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