Art directors and designers

Before a photographer is commissioned to illustrate an advertisement, the art director/ designer would have submitted countless ideas at numerous creative meetings. These meetings involve the creative team (art director and copywriter), the creative director (leader of all creative teams within an advertising agency) and in the initial and final stages, the client. This process can be long and arduous. Many ideas will be submitted but only one will be accepted by all parties. By the time the surviving idea reaches the photographer the idea and layout have become very refined and precise. It is imperative therefore that the photographer produces exactly what is wanted. In these circumstances photographer and art director/designer work as a team so a result acceptable to a third party (the agency’s client) is achieved. Working to an agreed plan, known as a layout, is the blueprint all concerned follow in order to produce an end result acceptable to all.  Activity 1 Using magazines, newspapers and direct mail advertising collect a series of advertisements having varying amounts of art direction and copywriting. A direct mail catalogue will have less art direction per image than an advertisement for an international perfume. Compile in your Visual Diary advertisements you consider more effective than others.  Layouts A layout is the format decided by an art director/designer into which the photograph, headline and body copy (text) have to combine to form an integrated whole. It is a guide to ensure that all the elements visually fit together and become a piece of art work that serves, in the case of advertising, the purpose of attracting attention to the product. Rarely does the photographer have the opportunity to take photographs and have the art director incorporate headline and body copy later. It is nearly always the other way around. The graphic designer and art director’s role is to take all the components (photograph, headline, body copy, client logo) and assemble them in a cohesive form. The finished piece of art work must be acceptable to the client and capable of being produced and released to the media on budget. After the initial briefing at which the photographer is informed of all the requirements of the photograph, most clients will request an estimate of costs to produce the photograph. Upon acceptance of this estimate a period of time (pre-production) is allowed in which to prepare for the shoot. This involves the complete organisation of all the elements required to be in the final photograph. It is at this stage that the photographer should offer information and advice regarding the practicalities of the layout. If it is obvious to the photographer that elements of the layout are not achievable at a practical or financial level it should be mentioned at the briefing or during the pre-production period. Do not leave it until the day of the shoot. Throughout this process it is important to constantly relate back to the layout and the brief. It is better to oversupply equipment and props than to be short on the day when your reputation as a photographer and organiser is on display. Leave nothing to chance. Organise.  Framing the image Photographs used in completed pieces of art work are rarely random images. They are images relating to the message the art director is attempting to get across to the public. It is essential to understand fully what the art director is trying to say with this combination of words and pictures. Suggestions by the photographer are usually welcome if there is a genuine attempt to improve on the outcome and communication. To suggest radical changes will meet with resistance. This may not necessarily be because the art director disagrees with you but because any major change would require a resubmission to the agency of any new idea differing from what the client has agreed to pay for. This is valid in any form of commissioned photography. If someone is paying you to photograph their dog in his favourite kennel suggest variations upon this theme but do not be surprised if you meet resistance when you suggest the idea of maybe photographing the dog in a bath full of bubbles. It may seem like a great idea to you but the client may hate how the dog looks when it is wet. Do not feel obliged to make any suggestions if it is obvious that the client has a firm opinion of what they expect from you. Judge each job on its merits.