RAGAM PRODUK AKSESORIS MANIS MANIK DALAM FOTOGRAFI STILL LIFE

Tugas Akhir ini berjudul “Ragam produk Aksesoris Manis Manik dalam Fotografi
Still Life” yang berfokus pada penciptaan karya fotografi sebagai media promosi
produk aksesoris berbahan manik-manik. Latar belakang karya ini berangkat dari
kebutuhan brand Manis Manik di Jakarta Selatan yang memiliki banyak varian
produk, namun belum sepenuhnya didukung visual fotografi yang professional
dan sesuai standar fotografi. Untuk itu, penulis menerapkan metode studi pustaka,
observasi, dan wawancara guna memperoleh data pendukung, serta melalui
tahapan pra-produksi, produksi, dan pascaproduksi. Proses pemotretan dilakukan
vi
di rumah penulis menggunakan kamera Nikon D3200, lensa 50mm f/1.8 dan 18-
55mm, tripod, serta pencahayaan continuous light, dan artificial light. Dari 667
hasil foto, dilakukan kurasi hingga terpilih 15 karya utama yang telah melalui
retouching, proofing, dan cetak final. Karya fotografi yang dihasilkan
menampilkan detail motif, tekstur, dan karakter visual produk dengan penataan
properti dan komposisi yang estetis, sekaligus merepresentasikan identitas brand.
Foto-foto in difungsikan sebagai media promosi melalui uggahan media sosial,
katalog, hingga poster, sehingga memperkuat citra professional dan menarik
minat konsumen. Melalui penciptaaan karya ini, penulis menegaskan bahwa
fotografi still life tidak hanya bernilai artistik. Tetapi juga efektif sebagai strategi
komunikasi visual yang mendukung pemasaran produk lokal, serta diharapkan
dapat menjadi referensi dalam pengembangan fotografi produk di ranah akademik
maupun industri kreatif.

This final project is entitled “Variety of Manis Manik Accessories Products in
Still Life Photography”, focusing on the creation of photographic works as a
promotional medium for bead-based accessory products. The background of this
project stems from the needs of the Manis Manik brand in South Jakarta, which
offers a wide variety of products but lacks professional and standard- compliant
visual photography support. To address this, the author employed methods such
as literature review, observation, and interviews to gather supporting data,
followed by stages of pre-production, production, post-production. The
photoshoot was conducted at the author’s residence using a Nikon D3200
camera, a 50mm f/1.8 lens, an 18-55mm lens, a tripod, and both continuous and
artificial lighting. From a total 667 captured photos, a curation process resulted
in 15 final works that underwent retouching, proofing, and final printing. The
produced still life photographs highlight the detail, texture and visual character
of the accessories through aesthetic property arrangement and composition,
while also representing the brand’s identity. These works serve as promotional
media in social media content, product catalogues, and posters, thereby
strengthening professional branding and attracting consumer interest. Through
this project, the author emphasizes that still life photography holds not only
artistic value but also functions as an effective visual communication strategy to
support the marketing of local products, while providing a reference for further
development of product photography in both academic and creative industry
contexts.