Product photography built for feed crops and colour accuracy

The most expensive photography defect in furniture is not composition, it is colour. A sofa photographed two or three Delta E away from the fabric that arrives becomes a return, and a return on a three-seater costs more than the shoot day amortised across the SKU. We capture to an X-Rite ColorChecker, grade against a physical swatch you post to us, and report the measured ΔE2000 per material in the delivery. Above 2.0 we reshoot at our cost. Entry engagement is €9,000. Shooting for the crop: Placements decide framing before the set is dressed. Meta feed wants 4:5, Reels and TikTok want 9:16, Shopping wants the product filling a square. We capture one frame that survives all three rather than lighting three separate set-ups: composed square with deliberate head and side room, on a 45-megapixel body, so the vertical and the wide catalogue crop are both real pixels rather than an upscale. Anything framed to fill exactly one ratio is an asset you will pay to shoot again within the quarter. Merchant Center rules, applied at capture: Google's primary product image rejects overlay text, watermarks, promotional badges and borders, and wants at least 800 by 800 pixels. Amazon's main image wants pure white and the product occupying roughly 85 percent of the frame. These are capture decisions, not retouch decisions. A badge composited afterwards is a disapproval, and a product sitting too small in frame cannot be rescued without upscaling. We build the shot list against your live feed destinations before the truck arrives. Texture after compression: Bouclé, linen weave, brushed oak and matte lacquer all fall apart in platform re-encoding. Fine texture reads as noise, the codec spends its bitrate there, and the material you are actually selling disappears at the exact scroll size the buyer sees it. We key texture with a low raking light so the weave reads as structure rather than grain, and we shoot material plates as standalone assets. A close-up of a fabric is an ad in its own right and it performs better than a crop of something composed for another purpose. Delivery: 16-bit TIFF masters. sRGB IEC61966-2.1 exports at each placement ratio. WebP versions sized to your feed. Cut-outs on transparent PNG with the clipping path retained so your team can re-cut a background without coming back to us. The per-material ΔE report. Files named to your feed's SKU convention, because a merchandiser renaming four hundred files by hand is a cost somebody eventually pays. How we work with the product itself: Furniture arrives assembled or it does not get shot. We need pieces on site three working days before the first frame, because upholstery arrives creased from transit and steaming takes most of a day. Where a finish exists in six colourways and only two are in production, we shoot the two and say plainly that recolouring the rest is a lie your returns desk ends up paying for. We decline: Catalogue volume on white at a unit rate. That is a different trade, done better and cheaper by studios in Lille and Barcelona, and we will give you the names. Retouching a colour into something the factory does not manufacture. Apparel and ghost mannequin work. And shooting before the placement list exists, because we would be guessing at the crop and you would pay for that guess twice.