About the service
I prepare finished product photographs so that a platform accepts the card the first time. In most cases what reaches me is a folder of perfectly decent shots that simply do not pass on formal grounds: the frame is the wrong proportion, the item leans against the edge where a margin is required, the background reads grey instead of white, and the main image turns into a smudge the moment the listing shrinks it to the size of a thumbnail.
The work itself is unglamorous and exact. I bring every frame to the required size and margins, clean the background where it is mandatory, and hold the product at a single scale across the whole series, so that a buyer scrolling a catalogue sees a line-up rather than a jumble. Where we have agreed it in advance, I add a dimension diagram and short captions. Large batches go through one pipeline: files come back renamed by article number and ready to upload, and each one is checked against the formal grounds for rejection before a refusal ever reaches you. Cards a platform has already sent back I rework and prepare for resubmission.
Four things I say at the start of every job, because they are the ones that cost money later:
— the colour and the size of an item are never flattered: a return over a mismatch costs more than a pretty picture;
— I do not take other people's photographs or catalogues into the work, even when the product is exactly the same;
— platform requirements change, so before a batch we check against the rules in force today rather than last year's;
— a large order starts with a test set of a few frames: it is cheaper to argue about the look of one card than about three hundred.
The work itself is unglamorous and exact. I bring every frame to the required size and margins, clean the background where it is mandatory, and hold the product at a single scale across the whole series, so that a buyer scrolling a catalogue sees a line-up rather than a jumble. Where we have agreed it in advance, I add a dimension diagram and short captions. Large batches go through one pipeline: files come back renamed by article number and ready to upload, and each one is checked against the formal grounds for rejection before a refusal ever reaches you. Cards a platform has already sent back I rework and prepare for resubmission.
Four things I say at the start of every job, because they are the ones that cost money later:
— the colour and the size of an item are never flattered: a return over a mismatch costs more than a pretty picture;
— I do not take other people's photographs or catalogues into the work, even when the product is exactly the same;
— platform requirements change, so before a batch we check against the rules in force today rather than last year's;
— a large order starts with a test set of a few frames: it is cheaper to argue about the look of one card than about three hundred.
