Inspiration

How to photograph correctly - secrets of interior shooting

Today we want to share secrets with youхорошей фотосъёмки интерьера и рассказать о том, зачем же там нужен стилист. Для более детального рассказа мы пообщались с ведущими экспертами отрасли — Натальей Обуховой и Юлией Чеботарь Наталья Обухова и Юлия Чеботарь — стилисты, которые в сумме проработали в индустрии фотосъёмок интерьеров более 30 лет. Свой огромный накопленный опыт они активно передают начинающим дизайнерам и декораторам, а также тем, кто хочет выйти на совершенно новый уровень в искусстве получения шикарных фотографий квартир и домов. К слову, 31 января в Москве пройдёт их лекция, посвящённая правилам и приёмам хорошего стайлинга. Как красиво снять интерьер, не переборщив с аксессуарами? В чём секрет правильной расстановки света? Отличаются ли принципы съёмки интерьера для портфолио и для публикации в журнале? На эти и другие вопросы Наталья Обухова и Юлия Чеботарь ответят 31 января в шоу-руме архитектурного света Quantum Studio («Красный Октябрь»). Информация о мероприятии — по , а мы публикуем интервью с экспертами, которое нам предоставила основатель дизайн-лектория Ольга Косырева. — Зачем нужен стилист на съёмках, если дизайнер Have you already thought of everything there, picked it up and, in general, is an excellent decorator yourself? - The camera sees the space a little differently. Anything that is ideally matched by a decorator can shoot in the wrong scale or with an extra color. The simplest thing a stylist does is move the furniture, creating a harmonious composition in the frame. I have met very few designers who are great decorators themselves. And this is not a reproach to them. Someone is simply not interested, someone does not have time, and someone's customer literally bursts into the apartment with his personal belongings. But the object needs to be filmed. For a magazine, for a portfolio. If people live for a long time, then the stylist rakes up the space, frees what the designer has chosen from under the client's things. Or the other extreme: there is not much time, the object was commissioned without decor at all, it is urgent to shoot before the tenants arrive. Then we fill the space with things to give it life. And emphasizing the idea of ​​the designer, we continue his work in detail, even in flowers, in bouquets. - What is the difference between a decorator and a stylist? - The designer looks at his object as a combination of ideas and technical implementation, he sees the joints, the beautiful connection of the skirting board with the door frame, the seams on the parquet, tiles from Spain, special wallpapers on the walls, vintage fabric on chairs, etc. A stylist enters an object and sees a story for a magazine or portfolio. - Is it possible to turn an average or not quite successful interior into a good one with styling products? So to say, embellish it before shooting and make it more attractive? - It all depends on the source data and what the decorator needs. It happens that the interior looks so wild that you can't help it in any way: poor layout, furniture, ceilings, windows, textiles and paintings. If everything is not so bad, the decorator trusts the stylist, and there is an opportunity to take something out or not to take it off, then the picture can be improved with accessories, flowers and all sorts of photo traps. Although the situation cannot be radically changed anyway. - Is it possible to radically improve or fixproject errors when it is filmed for a magazine? And is it necessary to do this? - For shooting for a magazine, everything is more difficult: it is impossible to do with only close-ups, it is imperative to show the entire space, and the bar is initially high. So trying to reshoot with a stylist an interior that has already been discarded in a magazine, in my opinion, is pointless. - What are the most common mistakes andshortcomings that designers make when shooting their projects? - More often than not, there is a lack of history, and therefore - the absence of life in the project. Just showing all the corners of an apartment or house is one thing. To make the reader think about what kind of person lives there, how he feels there, want the same sensations and look for this designer - this is the work of a stylist. Sometimes the designer does not work with the personal belongings of his clients. Either ignores them, or leaves everything as it is. The camera sees all the little things and can show the mess on the shelves (if this is not the idea of ​​the story) where everything seemed to be good. In addition, not all decor that knows how to live well in space lives well in the photo. The designer chose it and may not want to remove or rearrange it: after all, everything in life “works”. As a result, there is a disaster in the frame. The same vase in all rooms, ugly folds of curtains or bedspreads, crumpled pillows, prints on glass, and so on. The stylist walks and rearranges, adds, unfolds, straightens, wipes, hides and moves. In every frame. The angle changes - the scenery changes. - What are the funniest, weirdest and most instructive stories that happened to you on the set? - If you take all the shooting, both interior and staged, then there are already so many stories that you can write a book. I can just list what we shot in the heat and in the hellish cold; rented furniture in the woods, in the garden, in the stables, in the botanical garden, in the dolphinarium, in museums and parks, and millions of times in the studios. We were filming fabrics in a thunderstorm at a fish market in Istanbul, and lightning struck our generator. For the sake of colored smoke, smoke bombs were blown up inside the bathrooms, and everyone almost burned out. They filmed on a raft on the river, and the loaders, like barge haulers, dragged the raft with furniture, a TV set and me, and the summer residents almost fell off the bridge in amazement. They filmed a creative project in Georgia at the market, and all the men of the market abandoned their counters and went out into the street so as not to embarrass the naked model. On our shoot, Jean-Louis Deniot helped three French movers to screw in a light bulb. One very good photographer fell during an interior shoot in a pool with electric slopes. On the set of interiors, the owners sometimes fed us black caviar, but it happened - on the contrary, they did not give us water to drink. Somewhere the film crew was shown incredible relics, rare, very expensive things, and somewhere, on the contrary, they asked not to touch anything, although the things and furniture were quite ordinary. In general, there are a lot of stories, I have a good job. Sources: photos of Olga Tuponogova-Volkova for AD magazines (www.admagazine.ru), Vogue, Vogue Kids, Tatler, Brides, etc. Stylist Natasha Obukhova. The artistic project of photographer Fyodor Markushevich and stylist Natasha Obukhova.

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