Kat Valenzuela on tue 14 jan 03
Recently I purchased a SLR camera to take some
photos of my work. Set up a booth, etc... and
took the photos, seems all good. Until I developed them,
The color was completely wrong. A light blue turned out
white, what am I doing wrong? Any suggestions from
any photo pro's out there.
Also, has anybody taken the correspondence courses
offered by the American Ceramic Society and what
did you think of them?
Kat in the Hat
www.kat@digitalfire.com
Kira-Umich on wed 15 jan 03
Kat -
Chances are, the blue cast has to do with your film and lighting
compatibility.
What kind of film and lighting were you using? If you were shooting
indoors, your best bet is to darken up the room, light everything with
tungsten, and then use T64 slide film - it's designed specifically for that
kind of light. If you need to shoot outdoors/don't have access to tungsten
lights (more on that in a second), try to shoot outside on a lightly cloudy
day using daylight slide film.
I have rigged up my own tungsten lights by going to a photo supply store,
buying the bulbs with regular bases, and then using a combination of clip
lights, fishing line, clothespins and cheese cloth (those last three to
diffuse the light). It takes me a while to set up, but it's cheap, and I
usually get fairly decent shots.
I'm sure that there are more photo-savvy folks on Clayart, hopefully they
will have a better way!
Good luck,
Kira
Deep in the throes of thesis building, and loving clay more every day!
Tony Ferguson on wed 15 jan 03
Kat,
You need to make sure the slide film you are using and the lighting method
you are using is compatible--i.e. color temperature. I would recommend
using tungsten film with 2- 500 watt tungsten bulbs ($4.45 each) in a
ceramic light fixture so you don't have a melt down. Also, do not touch
these bulbs with your fingers, where a glove or us a shirt or something so
the oil from your fingers does not make contact with the bulb. Give the
bulbs a 3 hour life and then throw them away as their color temperature
begins to fluctuate and you may not get accurate color. Your local photo
store should have what you need or check on the interent at B&H or someone
like them.
Thank you.
Tony Ferguson
On Lake Superior, where the sky meets the Lake
Stoneware, Porcelain, Raku
www.aquariusartgallery.com
218-727-6339
315 N. Lake Ave
Apt 312
Duluth, MN 55806
----- Original Message -----
From: "Kat Valenzuela"
To:
Sent: Tuesday, January 14, 2003 8:32 PM
Subject: Shooting your work and the Periodical table
> Recently I purchased a SLR camera to take some
> photos of my work. Set up a booth, etc... and
> took the photos, seems all good. Until I developed them,
> The color was completely wrong. A light blue turned out
> white, what am I doing wrong? Any suggestions from
> any photo pro's out there.
>
> Also, has anybody taken the correspondence courses
> offered by the American Ceramic Society and what
> did you think of them?
>
> Kat in the Hat
> www.kat@digitalfire.com
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
>
James Bledsoe on wed 15 jan 03
i am not a pro but i bet the pros are going to tell you that the color of
the light must match the film.
that is to say that the light bulb burns at some temperature, measured in
degrees kelvin and the film color sensitivity is indexed to a temperature.
therefore go the professional photo store and buy professional film from the
ice box and the bulbs to match the film. use those bulbs for the shoot the
next time you shoot get new bulbs these photo bulbs lose their color and
burn out in a few short hours.
an other tip is to use a tripod and the slowest shutter speed you can this
means you must close the aperture as small as it will go. this setting
will give you the most detail and the best color saturation. turn off the
auto everything.
or go digital and fix the color in photo shop.
Happy snaps
Jim
> Recently I purchased a SLR camera to take some
> photos of my work. Set up a booth, etc... and
> took the photos, seems all good. Until I developed them,
> The color was completely wrong. A light blue turned out
> white, what am I doing wrong? Any suggestions from
> any photo pro's out there.
>
phil davenport on thu 16 jan 03
Kat:
1. You don't say what type of light you used to photography your pots. The type
of lighting can and does effect how colors will look--on film/prints. Most films
are made to be used under daylight conditions or with a flash and if that doesn't
occur then you will get a color shift.
2. You don't say if the film was slide film or print film. If it was print film
then the processing lab can make some color corrections. Don't assume that it is
you fault--it can be the labs' fault.
3. How did you determine the correct exposure. If you didn't shoot more than one
frame and over and underexpose the additional frames then you might not have the
correct exposure. There are several good books out on shooting artwork--the one by
Kodak is good.
4. If you shot with a flash that was attached to the camera then you have a whole
new set of problems.
It is important to take careful notes and compare your results to your notes and
then re-shoot. Testing is very important and will result in continuous and
predictable results.
I hope this helps and let me know if you need more information.
Kat Valenzuela wrote:
> Recently I purchased a SLR camera to take some
> photos of my work. Set up a booth, etc... and
> took the photos, seems all good. Until I developed them,
> The color was completely wrong. A light blue turned out
> white, what am I doing wrong? Any suggestions from
phil davenport on thu 16 jan 03
Kat:
1. You don't say what type of light you used to photography your pots. The type
of lighting can and does effect how colors will look--on film/prints. Most films
are made to be used under daylight conditions or with a flash and if that doesn't
occur then you will get a color shift.
2. You don't say if the film was slide film or print film. If it was print film
then the processing lab can make some color corrections. Don't assume that it is
you fault--it can be the labs' fault.
3. How did you determine the correct exposure. If you didn't shoot more than one
frame and over and underexpose the additional frames then you might not have the
correct exposure. There are several good books out on shooting artwork--the one by
Kodak is good.
4. If you shot with a flash that was attached to the camera then you have a whole
new set of problems.
It is important to take careful notes and compare your results to your notes and
then re-shoot. Testing is very important and will result in continuous and
predictable results.
I hope this helps and let me know if you need more information.
Phil Davenport
Garland, TX
Kat Valenzuela wrote:
> Recently I purchased a SLR camera to take some
> photos of my work. Set up a booth, etc... and
> took the photos, seems all good. Until I developed them,
> The color was completely wrong. A light blue turned out
> white, what am I doing wrong? Any suggestions from
> any photo pro's out there.
>
> Also, has anybody taken the correspondence courses
> offered by the American Ceramic Society and what
> did you think of them?
>
> Kat in the Hat
> www.kat@digitalfire.com
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Jennifer F Boyer on thu 16 jan 03
What are you using for film, lighting and light diffusion
material if any?
Kat Valenzuela wrote:
> Recently I purchased a SLR camera to take some
> photos of my work. Set up a booth, etc... and
> took the photos, seems all good. Until I developed them,
> The color was completely wrong. A light blue turned out
> white, what am I doing wrong? Any suggestions from
> any photo pro's out there.
>
> Also, has anybody taken the correspondence courses
> offered by the American Ceramic Society and what
> did you think of them?
>
> Kat in the Hat
> www.kat@digitalfire.com
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
>
--
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Jennifer Boyer mailto:jboyer@adelphia.net
Thistle Hill Pottery Montpelier VT USA
http://www.thistlehillpottery.com/
Never pass on an email warning without checking out these sites
for web hoaxes and junk:
http://urbanlegends.about.com/
http://snopes.com
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Bob Pulley on thu 16 jan 03
I do about the same. I shoot against a white backdrop that rolls out on
the floor( large work) and curves up the wall. I put my floods behing a
big screen made with pvc pipe with a white shower curtain from target
stretched over it. The frame is about 2 =BD by 4 feet. This makes a large
light source that illuminates evenly and reduces harsh shadows. I set
this up at about a 45 degree angle to the work and bounce back light on
the opposite side with a piece of insullation board with wrinkled
aluminum foil glued to it. (A photographer freind uses =22gator board=22 =
to
bounce back. I have never been able to find such a product at building
supply stores.
Robert Pulley
>>> kcambell=40UMICH.EDU 01/15/03 10:28PM >>>
Kat -
Chances are, the blue cast has to do with your film and lighting
compatiReceived: from Barth-MTA by mail.bcsc.k12.in.us
wbility.
What kind of film and lighting were you using? If you were shooting
indoors, your best bet is to darken up the room, light everything with
tungsten, and then use T64 slide film - it=27s designed specifically for
that
kind of light. If you need to shoot outdoors/don=27t have access to
tungsten
lights (more on that in a second), try to shoot outside on a lightly
cloudy
day using daylight slide film.
I have rigged up my own tungsten lights by going to a photo supply
store,
buying the bulbs with regular bases, and then using a combination of
clip
lights, fishing line, clothespins and cheese cloth (those last three
to
diffuse the light). It takes me a while to set up, but it=27s cheap, and
I
usually get fairly decent shots.
I=27m sure that there are more photo-savvy folks on Clayart, hopefully
they
will have a better way=21
Good luck,
Kira
Deep in the throes of thesis building, and loving clay more every day=21
___________________________________________________________________________=
___
Send postings to clayart=40lsv.ceramics.org=20
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/=20
Moderator of the list is Mel Jacobson who may be reached at
melpots=40pclink.com.
Charles and Linda Riggs on fri 17 jan 03
Yes, we too periodically shoot our work. A 22 caliber Ruger rifle, a quiet
hillside in the woods, and a table of unsaleable pots. Fill the pots with water
and you get a dramatic response if you hit the things just right.
Just one of the ways we entertain ourselves out here in the Carolina woods.
Linda
Dean Walker on sat 18 jan 03
Linda, I have thought of how this might look if you shoot the pots while
they are still unfired and in various stages of wetness with different
shotgun shells.......??!
Dean
Tony Olsen on sun 19 jan 03
dean:
That wouldn't be food safe with the lead shot in the gaze, better use =
steel. ;-)
Tony, the one from Galveston.
Charles and Linda Riggs on sun 19 jan 03
You might be on to something there Dean. Could be the beginning of a whole new
look to Riggs pottery. :-)
Linda
Dean Walker wrote:
> Linda, I have thought of how this might look if you shoot the pots while
> they are still unfired and in various stages of wetness with different
> shotgun shells.......??!
> Dean
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Russel Fouts on mon 20 jan 03
Dean
>> Linda, I have thought of how this might look if you shoot the pots while they are still unfired and in various stages of wetness with different shotgun shells.......??! <<
Takao Okazaki had some really large, solid slab pieces that he did this
to. You used to be able to see them on Dai Ichi's site at
http://www.daiichiarts.com. But after a quick search, I could no longer
find them. Have a look anyway.
Russel
--
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
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