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Commercial Product Photography with Paloma Rincón: The Making of Samsung Galaxy Tab S

Commercial Product Photography with Paloma Rincón: The Making of Samsung Galaxy Tab S

Paloma Rincón is Madrid based photographer working worldwide, from commercial assignments for big companies to more experimental and personal projects. She works with such clients as IKEA, Swatch, Samsung, Oreo, Sonos and advertising agencies like Saatchi & Saatchi, J. Walter Thompson N.Y., Herezie and many more.

Today we will know what it takes to create single image for big client.

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Behind The Scene Video

Interview with Paloma Rincón


How did you come up with idea of such shot? Did client had strict brief or you had some space for creative maneuvers?


There was a clear brief from the agency with a  creative direction for this shoot. I was commisioned for this project by Serial Cut Studio, as we had just delivered an international campaign for Sonos where 2 of the images were composed out of splashes. At first they were asked to develop this in 3D, but from the recent experience we had we knew we liked better the result when shooting them in real.

The sketch showed a splash comming out from the paint in the image of the tablet’s screen. How the splashes were developed and combined was up to us.  Together with Serial Cut Studio, we came up with a nice way to compose with different kinds of splashes.

Palóma, could you tell about pre production process? How much time needed to prepare a studio and all props for the shooting?

It took about a week to gather all the stuff and start testing. We needed to develop a way to have different kind of splashes bearing in mind the way we would integrate them in postproduction. We had about 5 different splashes systems to be combined for the shoot and have a variety of forms.


May you tell about your crew? How many people were involved in this set and what’s the role each of them?


My 2 assistants, 3 members from the prop team including the prop master and about 2 designers and Serial Cut´s Creative Director. The postproduction was shared between Serial Cut and me.

What’s the system did you use to create few of those splashes?

The systems that worked better for us in this shoot were the pool and the pump as I call them. The pool system gathers a lot of paint in a small space, in this case limited by a metalic circle where an object fell and made the paint splash. Adjusting the density and the weight of the object were the tricky parts.

The other system was the one we created for on eof the visuals from the Sonos campaign. Our prop Master came up with the idea of pumps that absorbed the paint and pushed it out when pressing a button creating steams that have more unique forms than the ones we know for a normal splash, and that was what we were looking for.

Do you use any triggers to catch right moment for splashes or you do it manually?

No, I do it manually. Once I know the right moment for the splash/steam to be shot and practice 2 or 3 times I find it easier to catch the right moment doing it manually.

What camera, lens, lighting and light modifiers were used?

    Camera: Phaseone DF+ with an IQ180 digital back
    Lens: Schneider Kreuznach 80mm LS f/2.8
    Lighting: Broncolor Scoro 3200, Octalight softbox, Strip softbox

Lighting setup

How many images of splashes did you take approximately? And how many were used for the final result?

400 to 500 shots where about half were test shots using different systems. The final shot is composed out of about 25 images.


What was the most problematic situation during the shooting? How did you deal with it?


The camera was a little bit slow so it took me some shots to synchronize with this delay and shoot at the right moment. It was just a matter of patience and very short after I knew how to do it in the right time.

What kind of techniques did you use to put all parts together during post production? Could you describe overall way of the process?

Selecting the right splashes and composing was what took us more time, there were many splashes to play with until we liked the composition. This first stage includes masking all the selected elements and moving them in the image. After, with the composition approved, we retouched and cleaned a little as there wasn´t much to touch here. The last step was integration, this means adding shadows and reflections to have the feeling that everything was there together at the same time.

Credits

Agency: Cheel NL
Client: Samsung
Photography: Paloma Rincón
Art Direction: Serial Cut
Prop Master: Javier Le Pera

Connect with Palóma

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