The Estetika Hiperbola dan Surealisme dalam Fotografi Komersial
Studi Kasus Digital Imaging Studio Tandaseru
DOI:
https://doi.org/10.55606/jurrsendem.v5i2.9888Keywords:
Commercial Photography, Digital Imaging, Hyperbolic Aesthetics, Surrealism, Visual CommunicationAbstract
Digital Imaging has shifted commercial photography from a recording practice to a controlled process of constructing persuasive visual realities. This study analyzes hyperbolic and surreal aesthetics in the Samsung Galaxy S25 FE campaign produced by Studio Tandaseru and explains how three-dimensional environments, photography, and digital compositing translate product claims into visual experience. A descriptive qualitative approach with a single-case-study design was applied to four publicly available visual artifacts consisting of two three-dimensional clay renders and two final composites. The artifacts were examined through Feldman’s stages of description, formal analysis, interpretation, and evaluation, supported by cross-artifact comparison and relevant visual-media literature. The findings show that Digital Imaging operates through three connected layers: virtual-space construction, photographic and CGI integration, and communicative signification. Hyperbole appears through scale emphasis, idealized lighting, controlled space, and impossible spatial events, while surrealism emerges from the seamless coexistence of physical subjects and synthetic elements. These operations form synthetic realism that converts abstract claims about performance and artificial intelligence into accessible, emotionally persuasive scenes. The study positions Digital Imaging as a strategic visual-communication method rather than a post-production technique and offers an analytical framework for evaluating contemporary commercial imagery.
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