Studio photography is easy because you can get exactly what you want. Studio photography is hard because you can get exactly what you want.

As the upper limit of studio photography is no limit, blending a professional’s talent with technical and equipment organization is the most challenging. This applies specifically on cultural photography because of objects that are mainly old, fragile, unique, expensive, almost-impossible-to-handle and made of materials that many times are hard to reproduce without interfering with the object itself. Additionally, this kind of approach has to balance between the precise representation for use in scientific and historical research (omitting fancy highlights, dramatic shadows etc.), the pleasing appearance to the broad public and the constant supervision of an anxious collection curator.

To achieve the impossible, large amounts of equipment has to be used: from as-high-resolution-as-the-market-offers cameras and fine optics, to lights, studio flashes, wireless triggers, computers & software, backgrounds of any kind, tripods and even counter-balanced cranes. Additionally, all of these have to be portable, since most of the times the work is realized at the client’s premises.

Last but not least, an inspired, highly skilled, cold-blooded, full of MacGyver’s solutions professional photographer is the leading force that can transform a historical relic to a digital replica.

Realiscape Typorama maintains three fully equipped studios, that consist of a series of cameras (Nikon D800, D610, D700 [full frame] and noumerous APS-C format for support and backup reasons), a broad range of normal and macro lenses, studio flashes, continuous lights, tripods and cranes, still image tables and a series of computers, software and support equipment (umbrellas, softboxes, remote triggers, external camera power supplies etc.). All the studios are portable and able to provide their services at any place.