MarjB on wed 26 nov 03
I am considering the idea of using a painted masonite panel for my =
background for photos.
My question is about the paint colour. If I use my Kodack Grey card, is =
that the right shade of grey, in a flat latex that would be appropriate? =
Lighter ?
Thank you, MarjB
Hollis Engley on wed 26 nov 03
----- Original Message -----
From: MarjB
Subject: photography background
I am considering the idea of using a painted masonite panel for my
background for photos.
My question is about the paint colour. If I use my Kodack Grey card, is
that the right shade of grey, in a flat latex that would be appropriate?
Lighter ?
Thank you, MarjB
Marj: The Kodak gray card shade would probably be fine, but you'd still be
dealing with a flat background panel and a flat tabletop ... or whatever
horizontal surface you set the pot on. That gives you a right angle joint to
deal with in the background. That's fine if you want it that way. But you
might also go to the Porter's Camera Store website
(www.porterscamerastore.com) and look at their graduated backgrounds. They
fade from a light color where the pot sits to a darker gray behind and above
the pot, much like many of the photos you see on the cover of CM and in
other ceramics and art-related magazines. They make the pot stand out,
assuming you light it well.
Hollis Engley
Hatchville Pottery
hengley@cape.com
Falmouth, Mass., where the traditional Thanksgiving Day clouds are
gathering.
Bobbruch1@AOL.COM on thu 27 nov 03
<<<< writes: I am considering the idea of using
a painted masonite panel for my background for photos. My question is about
the paint colour. If I use my Kodack Grey card, is that the right shade of
grey, in a flat latex that would be appropriate? Lighter ? Thank you, MarjB
I don't know if this is what you are asking, but many professional quality
background sheets vary from dark to light on the same backdrop sheet. What you
would use would depend on the type of work you were photographing. The one that
is "recommended" varies from off white to black. They come in different
sizes, and smaller ones are not particularly expensive. They can be ordered from a
professional level camera shop. I would recommend that route unless you are a
talented painter, as the gradations of tone and color are going to be
difficult to achieve.
I don't know what you mean by a "masonite panel", but is it going to be as
flexible as a backdrop sheet which you may need for your purposes?
Bob Bruch
Bandy on thu 27 nov 03
I too am not sure what you want but.... If you are taking BW photos then the
photography purists would tell you that white is the only way to go.
Cherie Bandy
Nevada City
----- Original Message -----
From:
To:
Sent: Thursday, November 27, 2003 3:59 AM
Subject: photography background
> <<<< writes: I am considering the idea of
using
> a painted masonite panel for my background for photos. My question is
about
> the paint colour. If I use my Kodack Grey card, is that the right shade
of
> grey, in a flat latex that would be appropriate? Lighter ? Thank you,
MarjB
>
> I don't know if this is what you are asking, but many professional quality
> background sheets vary from dark to light on the same backdrop sheet. What
you
> would use would depend on the type of work you were photographing. The one
that
> is "recommended" varies from off white to black. They come in different
> sizes, and smaller ones are not particularly expensive. They can be
ordered from a
> professional level camera shop. I would recommend that route unless you
are a
> talented painter, as the gradations of tone and color are going to be
> difficult to achieve.
>
> I don't know what you mean by a "masonite panel", but is it going to be as
> flexible as a backdrop sheet which you may need for your purposes?
>
> Bob Bruch
>
>
____________________________________________________________________________
__
> 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.
>
Vince Pitelka on thu 27 nov 03
My objection with paper backdrops is that no matter how carefully you care
for them, they become ragged quickly, and your work will look bad if
photogrpahed on a crappy backdrop. There should be no wrinkles, no marks,
no abrupt variations in color or value.
The two best backdrop materials are Formica and 1/8" Masonite. With
reasonable care the Formica is a very long-term investment, because the
surface is so hard and durable. You must avoid scratcing the surface, but
that is not a problem with a little care. You can purchase Formica at any
home improvement center in 4x8 sheets, and in some places you can find it in
sizes up to 6x10, for photographing large sculpture. It is available in
matte or satin shades from white through the grays to jet black. The latter
is rarely a good idea, because the work seems to be floating in space, and
that is rarely a good idea with something that is intended to sit on a
surface.
4x8 sheets of 1/8" Masonite can be purchases at any home improvement center
or lumber yard, and can be painted with a paint roller to any color you
wish, and it is easily repainted periodically to make it look very crisp and
fresh.
With either Masonite or Formica, simply clamp one end of the sheet to the
horzontal edge at the front of a table, and allow the sheet to curve up
against the wall. The table does not have to be especially large, and it
does not have to be right up against the wall. You can manipulate the sheet
so that it has a longer horizontal surface before it curves up againt the
wall, or you can have it curve up fairly quickly, depending on the kind and
size of work being photographed.
I think that graduated backdrops, where the value changes from front to
back, are the easy way out, and generally do not look as good as when you
achieve the same thing with light. It is worth the investment and effort in
order to get the best results. You can build your own softbox using
ordinary halogen worklights available at any home improvement center. When
the softbox is used along with a gentle spot to bring out a few
highlights/reflections, anyone can learn to do professional-quality
photographs of their work. Search "softbox" on the web and you will see
what they look like.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Roly Beevor on fri 28 nov 03
Vince Pitelka wrote >
> The two best backdrop materials are Formica and 1/8" Masonite. With
> reasonable care the Formica is a very long-term investment
I have followed Vince's advice on this. The pictures on my page at
www.summerhillpotters.org.uk/rolybeevor.html were taken against a sheet of
white material, I don't actually know whether it is Formica or a similar
product. You can probably see a progression in my photographic technique if
you care to look critically.
I got the sheet from the local Formica disrtibutor (happens to be just down
the road). Its a big warehouse with only sheet material. They were happy
to let me have four offcuts (about 2'x3') I could have taken as many as I
could carry. I went back for a larger piece to photograph Anne MacDonalds
animals (I have still to work out a satisfactory way to photograph them).
They had to get the fork truck to find me an end of line full sheet. I gave
them a contribution to the Christmas party. You do need to think fairly
carefully about transporting and using an 8'x4' sheet. You can roll it up,
not very tight, but you need sticky tape on hand and it is easy to crack;
really a two person job, but then it goes in an estate car. Also you need a
reasonably big room, when you let it go that roll has a mind of its own.
Roly Beevor
John Rodgers on fri 28 nov 03
I think Vince's point here was he uses a plastic laminate as
background. There are many brands, Formica and WilsonArt being two of them.
I use matting for mounting pictures. I buy a whole sheet, push a table
against a wall, then place the mat on the table so that it forms a 90
degree bend between the table and the wall. I attach the edges to the
table edge with tape to preven movement, and I pin the top edge that is
up the wall, so the mat won't move.
Bending the background this way gives a unifom background with no lines.
The item photographed in this set up appears floating in space with a
nice background behind it.
Regards,
John Rodgers
Chelsea, AL .....where it is raining and blowing, but I am snug and warm
inside my new clay shop while painting the walls and ceiling. YEA!!! the
new shop is almost ready for complete occupancy!!!!! I can start making
pots again in a couple of days!!
Roly Beevor wrote:
>Vince Pitelka wrote >
>
>
>>The two best backdrop materials are Formica and 1/8" Masonite. With
>>reasonable care the Formica is a very long-term investment
>>
>>
>
>
>I have followed Vince's advice on this. The pictures on my page at
>www.summerhillpotters.org.uk/rolybeevor.html were taken against a sheet of
>white material, I don't actually know whether it is Formica or a similar
>product. You can probably see a progression in my photographic technique if
>you care to look critically.
>
>I got the sheet from the local Formica disrtibutor (happens to be just down
>the road). Its a big warehouse with only sheet material. They were happy
>to let me have four offcuts (about 2'x3') I could have taken as many as I
>could carry. I went back for a larger piece to photograph Anne MacDonalds
>animals (I have still to work out a satisfactory way to photograph them).
>They had to get the fork truck to find me an end of line full sheet. I gave
>them a contribution to the Christmas party. You do need to think fairly
>carefully about transporting and using an 8'x4' sheet. You can roll it up,
>not very tight, but you need sticky tape on hand and it is easy to crack;
>really a two person job, but then it goes in an estate car. Also you need a
>reasonably big room, when you let it go that roll has a mind of its own.
>
>Roly Beevor
>
>______________________________________________________________________________
>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.
>
>
>
Riggs on sun 30 nov 03
Vince said:
"I think that graduated backdrops, where the value changes from front to
back, are the easy way out, and generally do not look as good as when
you achieve the same thing with light."
---------------------------------------------------------------------------------------------------------
Hi Vince,
I'll have to disagree with you here. When it comes to photos, I WANT
the easy way out. We barely have enough time to make pots much less
worry about becoming professional photographers. We love our graduated
background.
But I do agree with you about how fragile they are. Thankfully, they
are not that expensive to replace and you can usually get one to last
several years if you are careful. Obviously the masonite background you
mentioned would last a lot longer.
We have found that we can set up our photo table with background outside
on a cloudy day and get great shots without any kind of fancy lighting
at all. The clouds diffuse the sunlight. The last photos in July/Aug
ClayTimes of Wally Asselberghs and Charlie Rigg's Naked Raku pots were
shot that way.
Also, Linda Dalton, a friend of ours is having great success putting up
her photo set up in her pop-up sales tent with a white roof on a sunny
day and gets that diffused light that makes for a perfect shot.
Linda
Vince Pitelka on sun 30 nov 03
> Also, Linda Dalton, a friend of ours is having great success putting up
> her photo set up in her pop-up sales tent with a white roof on a sunny
> day and gets that diffused light that makes for a perfect shot.
Linda -
Regarding your setup using the graduated photo backdrop and photographing
outdoors on a cloudy day, and your friend using her pop-up tent, it sounds
like both of you have found very convenient and effective solutions. Part
of this is about finding the setup that works best in your own situation for
particular work.
But I cannot overstress the importance of bringing out a few
highlights/reflections, and the effectiveness of asymmetrical lighting. You
have no doubt looked at slides representing the work of hundreds of ceramic
artists, and you have probably noticed some of the lighting effects that
distract from the subject, as well as the effects that really make the
images sing. If you simply eliminate all shadows by creating diffused
overall light, your slides fit in with thousands of others who use this
simple formula, and no matter how beautiful the work, it will not stand out
as distinctively. You want people to really notice your work, not by
resorting to any sort of arty effects or cheap tricks, but by lighting the
piece in the most complimentary and effective fashion. So, with outdoor
lighting on a cloudy day, or photographing inside a tent, the slides will
still benefit from the use of a subsidary spotlight and/or some reflective
cards to bring out highlights and create more asymmetrical lighting effects.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Riggs on sun 30 nov 03
>Linda -
>Regarding your setup using the graduated photo backdrop and photographing
>outdoors on a cloudy day, and your friend using her pop-up tent, it sounds
>like both of you have found very convenient and effective solutions.
>
>But I cannot overstress the importance of bringing out a few
>highlights/reflections, and the effectiveness of asymmetrical lighting. You
>have no doubt looked at slides representing the work of hundreds of ceramic
>artists, and you have probably noticed some of the lighting effects that
>distract from the subject, as well as the effects that really make the
>images sing.
>
Vince,
I'd really like to have the last word here, but I'll begrudgingly have
to defer to your years of experience and view of many slides for
creating images which are very distinctive in addition to being
professional. I'm sure the extra time and effort would make a big
difference in the long run. But, so far our technique has worked for
us--including being selected as part of a chosen 100 slides out of
5000--go figure. Hey, did I get the last word in afterall? :-)
Linda
Earl Brunner on sun 30 nov 03
Come on Linda, you KNOW that if you aren't mining and grinding your own
chemicals and clay and involved in the ENTIRE process, you just aren't a
REAL potter.......... no easy ways out allowed. :)
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Riggs
Sent: Sunday, November 30, 2003 6:22 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: photography background
Vince said:
"I think that graduated backdrops, where the value changes from front to
back, are the easy way out, and generally do not look as good as when
you achieve the same thing with light."
------------------------------------------------------------------------
---------------------------------
Hi Vince,
I'll have to disagree with you here. When it comes to photos, I WANT
the easy way out. We barely have enough time to make pots much less
worry about becoming professional photographers. We love our graduated
background.
SusanRaku@AOL.COM on sun 30 nov 03
In a message dated 11/30/2003 10:41:59 AM Eastern Standard Time,
fireclay@EARTHLINK.NET writes:
Thankfully, they
are not that expensive to replace and you can usually get one to last
several years if you are careful.
Mine seem to scratch within a few sessions and I pay around $60 for the large
size that I need. If you know of some that are more durable and less
expensive please let me know.
I am using the graduated black to white.
Susan
Riggs on sun 30 nov 03
Susan,
We pay about the same for ours. I think the longevity comes from making
sure the bottoms of the pots are very smooth. If we want to photograph a
pot made with groggy clay where a smooth bottom is impossible, we put
stick-on felt pads on the bottom of the pot for the photo session.
Linda
>Mine seem to scratch within a few sessions and I pay around $60 for the large
>size that I need. If you know of some that are more durable and less
>expensive please let me know.
>I am using the graduated black to white.
>
>Susan
>
>______________________________________________________________________________
>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.
>
>
>
Vince Pitelka on sun 30 nov 03
> Mine seem to scratch within a few sessions and I pay around $60 for the
large
> size that I need. If you know of some that are more durable and less
> expensive please let me know.
> I am using the graduated black to white.
Susan -
Pardon my persistence, but I am known for that. Why would anyone pay the
money for expensive graduated backgrounds that do not last and scratch
easily, when with proper lighting a sheet of formica will work great and
last indefinitely? I really want to know.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Vince Pitelka on mon 1 dec 03
> Lack of space, either for storage or transport.
> Paper rolls up; formica doesn't.
Snail -
Formica does roll up to a roll about two feet in diameter, so you need a SUV
or minivan to transported the rolled sheet, but you only have to do that to
get the sheet from the supplier to wherever you are going to use it and keep
it. We keep a 4' by 10' sheet of neutral gray satin formica rolled up in
our AV storage closet at the Craft Center. We have some buckle straps that
we bind it with. You have to wrestle with it a bit to get it rolled up, but
anyone can manage it. Granted, it does take a chunk of space to store a 2'
by 4' cylinder, but for some people it is worth it.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Vince Pitelka on mon 1 dec 03
> Well, I would for one. With care, as Linda explained, I got over 5
> years out of my first one. It is simply much easier for a beginner to
> get professional looking shots with a graduated background. If you have
> learned the lighting techniques to get the gradated look from a plain
> background, fine. Other haven't and don't want to spend the time to do
> so. I and others prefer one technique; you and others prefer another.
> So what? Both techniques are equally valid.
John -
My response was at least partly in reaction to some posts complaining that
the graduated backdrops wear out so quickly, but obviously one can get good
longevity with some care. I guess the critical thing is whatever works best
for each person, and there are lots of things to consider. I learned early
on how to get the graduated effect with good lighting, and it never seemed
difficult, so perhaps that is part of my confusion as to why people prefer
to use the graduated backdrop. Those backdrops were developed as a way to
immitate what is accomplished with lights, and they do not do as good a job
as lights can do, but there is no denying that you can get very good slides
using a graduated backdrop.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
SusanRaku@AOL.COM on mon 1 dec 03
Guess I have just stuck with what works for me in an area that I have little
expertise.
Susan
In a message dated 11/30/2003 9:58:55 PM Eastern Standard Time,
vpitelka@DTCCOM.NET writes:
> Mine seem to scratch within a few sessions and I pay around $60 for the
large
> size that I need. If you know of some that are more durable and less
> expensive please let me know.
> I am using the graduated black to white.
Susan -
Pardon my persistence, but I am known for that. Why would anyone pay the
money for expensive graduated backgrounds that do not last and scratch
easily, when with proper lighting a sheet of formica will work great and
last indefinitely? I really want to know.
- Vince
SusanRaku@AOL.COM on mon 1 dec 03
In a message dated 11/30/2003 9:55:52 PM Eastern Standard Time,
fireclay@EARTHLINK.NET writes:
Susan,
We pay about the same for ours. I think the longevity comes from making
sure the bottoms of the pots are very smooth. If we want to photograph a
pot made with groggy clay where a smooth bottom is impossible, we put
stick-on felt pads on the bottom of the pot for the photo session.
Linda
>Mine seem to scratch within a few sessions and I pay around $60 for the large
>size that I need. If you know of some that are more durable and less
>expensive please let me know.
>I am using the graduated black to white.
>
Linda, that is a good idea. Sometimes I am working with vertical sheets of
clay that are less then a quarter of an inch and putting something on the
bottom would be a challenge, especially with my impatience, but will try.
Susan
SusanRaku@AOL.COM on mon 1 dec 03
In a message dated 11/30/2003 7:17:14 PM Eastern Standard Time,
fireclay@EARTHLINK.NET writes:
Vince,
I'd really like to have the last word here, but I'll begrudgingly have
to defer to your years of experience and view of many slides for
creating images which are very distinctive in addition to being
professional. I'm sure the extra time and effort would make a big
difference in the long run. But, so far our technique has worked for
us--including being selected as part of a chosen 100 slides out of
5000--go figure. Hey, did I get the last word in afterall? :-)
Linda
Vince, I can't resist jumping in and taking a shot. My stupid slide made it
onto the cover (back) of the 500 Bowls book. Go figure!
(Don't fret, I promise to try it your way one of these days.)
Susan
Riggs on mon 1 dec 03
Hi again Vince,
I think the answer your question comes under the heading: "to busy and
or indifferent to learn something new" category.
When you have something really simple and it works well for you, the
idea of trying to figure out what to buy for the lighting and how to
work the new background gets put on the back burner for "one of those
projects we'll get to one of these days." In our house it's in there
with " learning to create our own web site." Something we really want
to do, but somehow when it comes right down to doing it, we either
procrastinate or seriously are focused on a pottery deadline of some sort.
In my case, just learning the operate the camera properly is a large
techo-challenge. One day I might even learn to operate my DVD player. :-)
Linda
>Susan -
>Pardon my persistence, but I am known for that. Why would anyone pay the
>money for expensive graduated backgrounds that do not last and scratch
>easily, when with proper lighting a sheet of formica will work great and
>last indefinitely? I really want to know.
>- Vince
>
>
>
>
Snail Scott on mon 1 dec 03
At 08:26 PM 11/30/03 -0600, Vince wrote:
>Why would anyone pay the
>money for expensive graduated backgrounds that do not last and scratch
>easily, when with proper lighting a sheet of formica will work great and
>last indefinitely?
Lack of space, either for storage or transport.
Paper rolls up; formica doesn't.
I don't use paper. I can't move a 50# piece of
sculpture around without doing damage. But, I
don't have a place to store a sheet of formica
either. So, I use fabric. Definitely less than
professional looking, even unwrinkled, but at
least I get my work documented.
(Both the photos in the calendar were done that
way.)
I hate shooting slides! I'd rather go to the
dentist.
Oh, to have a permanent photo setup, maybe
with a little overhead crane to move the work
around! :)
-Snail
John Hesselberth on mon 1 dec 03
On Sunday, November 30, 2003, at 09:26 PM, Vince Pitelka wrote:
> Why would anyone pay the
> money for expensive graduated backgrounds that do not last and scratch
> easily, when with proper lighting a sheet of formica will work great
> and
> last indefinitely? I really want to know.
Hi Vince,
Well, I would for one. With care, as Linda explained, I got over 5
years out of my first one. It is simply much easier for a beginner to
get professional looking shots with a graduated background. If you have
learned the lighting techniques to get the gradated look from a plain
background, fine. Other haven't and don't want to spend the time to do
so. I and others prefer one technique; you and others prefer another.
So what? Both techniques are equally valid.
Regards,
John
http://www.frogpondpottery.com
http://www.masteringglazes.com
wayneinkeywest on tue 2 dec 03
Having just been to the dentist (yesterday) and had all my uppers removed
and the bone trimmed 1/4 inch I feel qualified to answer this one.
Snail, trust me dear....shoot the slides, and smile while you're doing it!
Wayne Seidl
showing a whole new set of (acrylic) pearly whites...
and happy that the pain is finally gone
> I hate shooting slides! I'd rather go to the
> dentist.
>
Bobbruch1@AOL.COM on tue 2 dec 03
<<background.
Mel: did you come to that conclusion based on cost? or do you find the gray
superior to the variated backgrounds.?
Thanks, Bob Bruch
Arnold Howard on tue 2 dec 03
Formica is a wonderful photo background material. Use the back side of the
Formica and paint it whatever color you want. You can also repaint it a
number of times.
Sincerely,
Arnold Howard
Paragon Industries, L.P.
arnoldhoward@att.net
From: "Vince Pitelka"
> Formica does roll up to a roll about two feet in diameter, so you need a
SUV
> or minivan to transported the rolled sheet, but you only have to do that
to
> get the sheet from the supplier to wherever you are going to use it and
keep
> it. We keep a 4' by 10' sheet of neutral gray satin formica rolled up in
> our AV storage closet at the Craft Center. We have some buckle straps
that
> we bind it with. You have to wrestle with it a bit to get it rolled up,
but
> anyone can manage it. Granted, it does take a chunk of space to store a
2'
> by 4' cylinder, but for some people it is worth it.
> Best wishes -
> - Vince
Hank Murrow on tue 2 dec 03
Dear Bob;
I am going to attempt to answer for Mel since I use much the same set
up for my pics except for using Fuji RTP-ll film and a color-corrected
(available at theatrical lighting supply houses) 500W tungsten halogen
lamp (I shoot at night). The neutral grey formica allows for good
contrast with nearly any glaze, since there are few who use grey
glazes. The 16% or so grey allows the foot area of the pot to be
lighter than most pots while the darker grey at the top of the frame
renders the rim or handle or shoulder lighter than the background
(which is very dark because of the light falling off on the
background). These conditions render the form with far more
three-dimensionality than otherwise. You really do not need a graduated
backdrop for pots unless they are HUGE. I shoot at half or 1 sec. at
f22 with a 100mm macro telephoto lens.
Hope this clarifies, Hank in Eugene
On Dec 2, 2003, at 5:57 AM, Bobbruch1@AOL.COM wrote:
> <<> background.
>
> Mel: did you come to that conclusion based on cost? or do you find the
> gray
> superior to the variated backgrounds.?
SusanRaku@AOL.COM on wed 3 dec 03
Hi Vince. Now I am better understanding what you do with the lightbox and
now I do have somewhat of a more legitimate excuse for not using one, although
I do wish I had the facility to try. I live in a great house and take my
pictures in my dining room. I do this because the room has a rectangular cove,
about 18 " deep by 5 feet wide. Ceiling height is 9 feet, and in the ceiling
just above this cove are two symmetrically placed built in floods.
In the space itself is a table about one foot in width that runs the 5 feet
in length. I attach my variegated background to a spring type curtain rod with
clothes pins, and hang it into this space. It drops down to the table where
it becomes horizontal on the table top (one foot) before curving over the
tables edge and continuing down another foot or two. As mentioned earlier I put
250 watt bulbs into the two ceiling lights, directly above the piece, and use
my three adjustable stand up lights about five feet out from this set up. I
have 500 watt bulbs for these lights.
I cannot imaging anyway to hang anything in this area or to increase the
horizontal plane that the background must cover, as described in your set up.
Seems that I would have to relocate to somewhere else in my house for that and I
cannot think of any such place since my studio is over full and the rest of
the house is nicely finished space. I guess this could be done but since I only
do about three evening sessions of photography a year I doubt if the time and
investment would be worth it. However, I will reconsider this situation and
keep my eyes open for a potential space.
Thanks again for all.
Susan
SusanRaku@AOL.COM on wed 3 dec 03
In a message dated 12/3/2003 9:06:18 PM Eastern Standard Time,
fergy@CPINTERNET.COM writes:
> Have fun. Digital is good.
>
> Thank you.
>
> Tony Ferguson
>
Hi Tony. Was wondering why you even need to deal with the background if you
are working digital. I have not quite gotten it down but recently took
pictures with my digital
camera and am playing with the images using photoshop elements. In minutes I
can see the pottery with a white, black, colored, or varigated background.
I even discovered that the varigation can go from diagonally and is quite
interesting this way. There are too many options to mention.
Susan
Snail Scott on wed 3 dec 03
At 03:57 PM 12/2/03 -0800, you wrote:
>The neutral grey formica allows for good
>contrast with nearly any glaze, since there are few who use grey
>glazes.
Grey is good because it's likely to provide contrast
with the widest range of surfaces, and it's important
for a grouping of slides to have similar backgrounds.
Unfortunately, one of the few glazes I use often is
in fact grey. (Dangit.) So I shoot a lot of work
against black, too. I also do a lot of wall-mounted
work, which is colored with the assumption that most
walls are white. So, I make the elements that are
intended to recede in pale whitish tones, and the
'important' elements darker. The contrast is reversed,
though, when shot against a grey backdrop (besides
the need to drive a nail into the background), so
all these pieces are shot against white walls. The
variety of background colors gives my portfolio a
patchwork look when seen as a group, but I don't
think I'd be better served by making them match if
each piece doesn't show well individually.
Always a compromise. Is mine the best? Probably not.
Haven't come up with a better one, though.
If I had any sense, I'd make all my work the same
size - small - and the same color, and non-reflective,
and then all my slides would look perfect! Of course,
the work would be pretty boring, but I've always said
you'll go further with good slides of bad work than
with bad slides of good work! (That part, sad to say,
may be true.)
-Snail
Russel Fouts on wed 3 dec 03
Vince,
>> I guess the critical thing is whatever works best for each person, and there are lots of things to consider. <<
My reading of Clayart has been a bit patchy of late, now that my
exhibitions are up or ending, There is a lot of stuff that I've been
putting off for a long time.
How do you get your gradiated effect with lights only. Michael's,
especially with the picture is readily understandable.
How do you do it?
--
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
Home of "The Potters Portal"
Over 1800 Pottery Links!
Updated frequently
"To announce that there must be no criticism of the president,
or that we are to stand by the president, right or wrong,
is not only unpatriotic and servile, but is morally treasonable
to the American public."
U.S. President (and Nobel Peace Prize winner) Theodore Roosevelt.
Tony Ferguson on wed 3 dec 03
Russel and others who have emailed me,
With a light box and placing it closer to the front of the foreground allows
for a very nice graduate effect. By playing with the verticality of the back
part of the formica/paper whatever you use will also change where the center
of the transistion take place--I try to have this center of transistion take
place in the middle of the work.
This effect works whether you have a neutral gray piece of formica or
white--black is a little tougher. The advantage of white is it bounces
light from beneath the piece. Gray gives you a more dramatic effect. I use
gray, white and black depending on the piece. Like many others, I use a
ping pong table, 4 x 8 sheet of formica which is clamped the table, and a
light box I built out of wood with one 500 watt tungsten (I use to use blue
daylights but found tungsten last longer and they don't change their color
temp like the blues do) bulb in a $5 menards ceramic clamp on work light.
Blue daylight bulbs are good for 2 hours for sure--after that, they start to
turn toward the tungsten spectrum delivering an ugly yellow effect.
It is a matter of finding out what works for you. I've done it the least
expensive way. Formica was $55, light $12 total, scrap wood for the light
box (free) which is suspened from ceiling with a pully $5, etched glass (2
pieces) for inside the light box $18 each (for diffusion). For under $100,
you can build a great set up. I use a piece of foam core as a reflector on
the right side. All you need is a table configuration, you could also use
paper and hang it off the wall. I sometimes drap some paper over my side
light which I hang on my wife's tripod.
Because the box is on a pully system, I can raise and lower it depending on
the piece. I group works in order of sizes and try not to move the light
box if I don't have to so there is consistency with the gradation.
I used last week when shooting the Coleman's new work and my sculpture a new
material white countertop (not formica) plastic--I needed to clamp it down
more properly but my children hid the clamps on me! Next time. I think it
has grate possibilities and it rolled up into an 8 inch diameter.
To date, I have shot over 15,000 images on my digital camera with this
setup. You could say I've tried many many types of lighting,
configurations, compared them to images shot with my SLF film camera,
tested, tested, tested. Find what suits your work. Some of you may want
more dramtic lighting (don't diffuse it as much, have higher contrast).
Some of you will find that some works really just pops on a black background
(which if you light it right it will not appear to be floating in air),
others will find a neutral gray works. Lately, I've been liking white. My
sculpture, which is darker, needs to have white so it is well defined and
not lost in the background. If you tweak your camera settings, you will not
have to color correct in Adobe or other program. Make less work for yourself
and utilize technology--it is only another tool.
Have fun. Digital is good.
Thank you.
Tony Ferguson
On Lake Superior, where the sky meets the Lake
Custom & Manufactured Kiln Design
Stoneware, Porcelain, Raku and more
by Coleman, Ferguson, Winchester...
http://www.aquariusartgallery.com
218-727-6339
315 N. Lake Ave
Apt 312
Duluth, MN 55806
----- Original Message -----
From: "Russel Fouts"
To:
Sent: Wednesday, December 03, 2003 2:43 PM
Subject: Re: photography background
> Vince,
>
> >> I guess the critical thing is whatever works best for each person, and
there are lots of things to consider. <<
>
> My reading of Clayart has been a bit patchy of late, now that my
> exhibitions are up or ending, There is a lot of stuff that I've been
> putting off for a long time.
>
> How do you get your gradiated effect with lights only. Michael's,
> especially with the picture is readily understandable.
>
> How do you do it?
>
> --
> Russel Fouts
> Mes Potes & Mes Pots
> Brussels, Belgium
> Tel: +32 2 223 02 75
> Mobile: +32 476 55 38 75
>
> Http://www.mypots.com
> Home of "The Potters Portal"
> Over 1800 Pottery Links!
> Updated frequently
>
> "To announce that there must be no criticism of the president,
> or that we are to stand by the president, right or wrong,
> is not only unpatriotic and servile, but is morally treasonable
> to the American public."
>
> U.S. President (and Nobel Peace Prize winner) Theodore Roosevelt.
>
>
____________________________________________________________________________
__
> 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.
>
Vince Pitelka on wed 3 dec 03
> How do you get your gradiated effect with lights only. Michael's,
> especially with the picture is readily understandable.
Russel -
The softbox directs a gentle light downwards at a slight angle towards the
top and
front of the piece being photographed, quite similar to what Michael's setup
accomplishes. The softbox is normally suspended so that it is barely out of
the picture above the piece. The photography is done on a long table, so
that the backdrop continues flat for some distance before curving up against
the wall. With no other lights on in the room except for perhaps a small
subsidary spot coming in from the side front, the light simply bleeds off in
the background, so that the backdrop is in the dark where it curves up
towards the wall.
With a softbox mounted like this, the lower walls and undercuts of a piece
often tend to be a bit dark, but it is a simple matter to use white cards,
or cards covered with tinfoil to reflect some of the light towards the
excessively dark areas. These cards are placed standing at an angle on the
table just out of the photograph.
When Stephen Robinson was at the Craft Center as my artist in residence, he
built a softbox and mounted it in the lounge next to the clay studio. He
suspended it at the appropriate angle from four ropes that were threaded
through four little pulleys on the ceiling, threaded through four more
little pulleys where the ceiling meets the wall, and then all four ropes
were tied together. So in operation you simply pulled one rope to raise the
softbox up out of the way, and then wrapped the rope around one of those
little "T"-shaped cleats that they use with drapery cords (smaller version
of what they use to tie up ships at the docks). It was a simple matter to
raise and lower the softbox to whatever height you want, and the table could
be moved to one side or the other to orchestrate asymmetrical lighting. So
it would be a simple matter to install a softbox in this way in a studio or
utility room, and hoist it up out of the way except when you are doing
photography.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Kathy Forer on thu 4 dec 03
Velvet works nicely too. It's easy to work with, appropriately
absorptive or reflective by color and nicely "velvety."
Kathy Forer
http://kforer.com/sam_photosession.jpg
Chris Schafale on thu 4 dec 03
Those of you who use soft boxes can maybe help with a question I've had. I
built myself a foam-core soft box from John's directions, and tried it out. It
worked OK, but I got big square white reflections on my pots. On the whole,
I think the small spots I get from using a regular camera-mounted flash are
less objectionable. What am I doing wrong?
Chris
On 3 Dec 2003 at 17:42, Tony Ferguson wrote:
> Russel and others who have emailed me,
>
> With a light box and placing it closer to the front of the foreground allows
> for a very nice graduate effect. By playing with the verticality of the back
> part of the formica/paper whatever you use will also change where the center
> of the transistion take place--I try to have this center of transistion take
> place in the middle of the work.
>
> This effect works whether you have a neutral gray piece of formica or
> white--black is a little tougher. The advantage of white is it bounces
> light from beneath the piece. Gray gives you a more dramatic effect. I use
> gray, white and black depending on the piece. Like many others, I use a
> ping pong table, 4 x 8 sheet of formica which is clamped the table, and a
> light box I built out of wood with one 500 watt tungsten (I use to use blue
> daylights but found tungsten last longer and they don't change their color
> temp like the blues do) bulb in a $5 menards ceramic clamp on work light.
> Blue daylight bulbs are good for 2 hours for sure--after that, they start to
> turn toward the tungsten spectrum delivering an ugly yellow effect.
>
> It is a matter of finding out what works for you. I've done it the least
> expensive way. Formica was $55, light $12 total, scrap wood for the light
> box (free) which is suspened from ceiling with a pully $5, etched glass (2
> pieces) for inside the light box $18 each (for diffusion). For under $100,
> you can build a great set up. I use a piece of foam core as a reflector on
> the right side. All you need is a table configuration, you could also use
> paper and hang it off the wall. I sometimes drap some paper over my side
> light which I hang on my wife's tripod.
>
> Because the box is on a pully system, I can raise and lower it depending on
> the piece. I group works in order of sizes and try not to move the light
> box if I don't have to so there is consistency with the gradation.
>
> I used last week when shooting the Coleman's new work and my sculpture a new
> material white countertop (not formica) plastic--I needed to clamp it down
> more properly but my children hid the clamps on me! Next time. I think it
> has grate possibilities and it rolled up into an 8 inch diameter.
>
> To date, I have shot over 15,000 images on my digital camera with this
> setup. You could say I've tried many many types of lighting,
> configurations, compared them to images shot with my SLF film camera,
> tested, tested, tested. Find what suits your work. Some of you may want
> more dramtic lighting (don't diffuse it as much, have higher contrast).
> Some of you will find that some works really just pops on a black background
> (which if you light it right it will not appear to be floating in air),
> others will find a neutral gray works. Lately, I've been liking white. My
> sculpture, which is darker, needs to have white so it is well defined and
> not lost in the background. If you tweak your camera settings, you will not
> have to color correct in Adobe or other program. Make less work for yourself
> and utilize technology--it is only another tool.
>
> Have fun. Digital is good.
>
> Thank you.
>
> Tony Ferguson
> On Lake Superior, where the sky meets the Lake
>
> Custom & Manufactured Kiln Design
> Stoneware, Porcelain, Raku and more
> by Coleman, Ferguson, Winchester...
> http://www.aquariusartgallery.com
> 218-727-6339
> 315 N. Lake Ave
> Apt 312
> Duluth, MN 55806
>
>
>
>
> ----- Original Message -----
> From: "Russel Fouts"
> To:
> Sent: Wednesday, December 03, 2003 2:43 PM
> Subject: Re: photography background
>
>
> > Vince,
> >
> > >> I guess the critical thing is whatever works best for each person, and
> there are lots of things to consider. <<
> >
> > My reading of Clayart has been a bit patchy of late, now that my
> > exhibitions are up or ending, There is a lot of stuff that I've been
> > putting off for a long time.
> >
> > How do you get your gradiated effect with lights only. Michael's,
> > especially with the picture is readily understandable.
> >
> > How do you do it?
> >
> > --
> > Russel Fouts
> > Mes Potes & Mes Pots
> > Brussels, Belgium
> > Tel: +32 2 223 02 75
> > Mobile: +32 476 55 38 75
> >
> > Http://www.mypots.com
> > Home of "The Potters Portal"
> > Over 1800 Pottery Links!
> > Updated frequently
> >
> > "To announce that there must be no criticism of the president,
> > or that we are to stand by the president, right or wrong,
> > is not only unpatriotic and servile, but is morally treasonable
> > to the American public."
> >
> > U.S. President (and Nobel Peace Prize winner) Theodore Roosevelt.
> >
> >
> ____________________________________________________________________________
> __
> > 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.
> >
>
> ______________________________________________________________________________
> 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.
Light One Candle Pottery
Fuquay-Varina, North Carolina, USA
(south of Raleigh)
candle@intrex.net
http://www.lightonecandle.com
Karin Hurt on thu 4 dec 03
Hi Vince,
It seems to me that you sould write a book about that - photographing our
work it's the hardest part of marketing our stuff. How about it?
Karin
Lake Havasu City, Arizona
http://www.laughingbearpottery.com
----- Original Message -----
From: Vince Pitelka
To:
Sent: Wednesday, December 03, 2003 7:33 PM
Subject: Re: photography background
> > How do you get your gradiated effect with lights only. Michael's,
> > especially with the picture is readily understandable.
>
> Russel -
> The softbox directs a gentle light downwards at a slight angle towards the
> top and
> front of the piece being photographed, quite similar to what Michael's
setup
> accomplishes. The softbox is normally suspended so that it is barely out
of
> the picture above the piece. The photography is done on a long table, so
> that the backdrop continues flat for some distance before curving up
against
> the wall. With no other lights on in the room except for perhaps a small
> subsidary spot coming in from the side front, the light simply bleeds off
in
> the background, so that the backdrop is in the dark where it curves up
> towards the wall.
>
> With a softbox mounted like this, the lower walls and undercuts of a piece
> often tend to be a bit dark, but it is a simple matter to use white cards,
> or cards covered with tinfoil to reflect some of the light towards the
> excessively dark areas. These cards are placed standing at an angle on the
> table just out of the photograph.
>
> When Stephen Robinson was at the Craft Center as my artist in residence,
he
> built a softbox and mounted it in the lounge next to the clay studio. He
> suspended it at the appropriate angle from four ropes that were threaded
> through four little pulleys on the ceiling, threaded through four more
> little pulleys where the ceiling meets the wall, and then all four ropes
> were tied together. So in operation you simply pulled one rope to raise
the
> softbox up out of the way, and then wrapped the rope around one of those
> little "T"-shaped cleats that they use with drapery cords (smaller version
> of what they use to tie up ships at the docks). It was a simple matter to
> raise and lower the softbox to whatever height you want, and the table
could
> be moved to one side or the other to orchestrate asymmetrical lighting.
So
> it would be a simple matter to install a softbox in this way in a studio
or
> utility room, and hoist it up out of the way except when you are doing
> photography.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@dtccom.net
> 615/597-5376
> Office - wpitelka@tntech.edu
> 615/597-6801 x111, FAX 615/597-6803
> http://iweb.tntech.edu/wpitelka/
> http://www.tntech.edu/craftcenter/
>
>
____________________________________________________________________________
__
> 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.
John Hesselberth on thu 4 dec 03
On Thursday, December 4, 2003, at 05:58 AM, Chris Schafale wrote:
> but I got big square white reflections on my pots. On the whole,
> I think the small spots I get from using a regular camera-mounted
> flash are
> less objectionable. What am I doing wrong?
Hi Chris,
You probably don't have enough 'softening'. Put on another layer of
whatever you used on the face of the softbox or move the softbox
farther away.
If you have a lot of very glossy glazes, you may want a smaller softbox
or go to floodlamp lighting. Getting the right size and location of
highlights (I agree with Vince that you want a small highlight--you
kill the pot if you kill all the highlights) can take some fiddling
with light position and size. For example, the photo on the cover of
our book was taken with a softbox/strobe that way about 10 inches
square held well back from the pot--Waterfall is a very glossy glaze.
This is one place where floodlamps have an advantage over strobes--you
can better see the highlights before you take the picture.
Regards,
John
http://www.frogpondpottery.com
http://www.masteringglazes.com
Marta Matray Gloviczki on thu 4 dec 03
Karin Hurt wrote:
>Hi Vince,
>
>It seems to me that you sould write a book about that - photographing our
>work it's the hardest part of marketing our stuff. How about it?
karin,
i dont know, maybe vince IS going to write a book on that, but i know,
that he DID write about it in a chapter in his 'clay: a studio handbook'.
if i need an info on anything, i`ll find it there...
marta
=====
marta matray gloviczki
rochester,mn
http://www.angelfire.com/mn2/marta/
http://users.skynet.be/russel.fouts/Marta.htm
http://www.silverhawk.com/crafts/gloviczki/welcome.html
Tony Hansen on thu 4 dec 03
Did anyone mention this web page.
http://www.crystalline-ceramics.info/photofix.html
Fara explains how to use a photo editing program
to knock out the background, then add a custom one
back in, set lighting and add shadows and do color
adjustment to the piece while you are at it. Then
the background does not matter. I have done
this to probably a thousand photos and once you get
good at it it is no problem.
-------8<--------
Hi Vince,
It seems to me that you sould write a book about that - photographing our
work it\'s the hardest part of marketing our stuff. How about it?
Karin
Lake Havasu City, Arizona
http://www.laughingbearpottery.com
----- Original Message -----
From: Vince Pitelka
To:
Sent: Wednesday, December 03, 2003 7:33 PM
Subject: Re: photography background
> > How do you get your gradiated effect with lights only. Michael\'s,
> > especially with the picture is readily understandable.
>
> Russel -
> The softbox directs a gentle light downwards at a slight angle towards the
> top and
> front of the piece being photographed, quite similar to what Michael\'s
setup
> accomplishes. The softbox is normally suspended so that it is barely out
of
> the picture above the piece. The photography is done on a long table, so
> that the backdrop continues flat for some distance before curving up
against
> the wall. With no other lights on in the room except for perhaps a small
> subsidary spot coming in from the side front, the light simply bleeds off
in
> the background, so that the backdrop is in the dark where it curves up
> towards the wall.
>
> With a softbox mounted like this, the lower walls and undercuts of a piece
> often tend to be a bit dark, but it is a simple matter to use white cards,
> or cards covered with tinfoil to reflect some of the light towards the
> excessively dark areas. These cards are placed standing at an angle on the
> table just out of the photograph.
>
> When Stephen Robinson was at the Craft Center as my artist in residence,
he
> built a softbox and mounted it in the lounge next to the clay studio. He
> suspended it at the appropriate angle from four ropes that were threaded
> through four little pulleys on the ceiling, threaded through four more
> little pulleys where the ceiling meets the wall, and then all four ropes
> were tied together. So in operation you simply pulled one rope to raise
the
> softbox up out of the way, and then wrapped the rope around one of those
> little \"T\"-shaped cleats that they use with drapery cords (smaller version
> of what they use to tie up ships at the docks). It was a simple matter to
> raise and lower the softbox to whatever height you want, and the table
could
> be moved to one side or the other to orchestrate asymmetrical lighting.
So
> it would be a simple matter to install a softbox in this way in a studio
or
> utility room, and hoist it up out of the way except when you are doing
> photography.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@dtccom.net
> 615/597-5376
> Office - wpitelka@tntech.edu
> 615/597-6801 x111, FAX 615/597-6803
> http://iweb.tntech.edu/wpitelka/
> http://www.tntech.edu/craftcenter/
>
>
____________________________________________________________________________
__
> 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.
______________________________________________________________________________
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.
-------
Tony Hansen, http://digitalfire.com
Personal Contact Page: http://digitalfire.com/services/contact.php
Calculation/Database Software for Ceramic Industry
Arnold Howard on thu 4 dec 03
A light box produces diffuse light. On-camera flash produces specular light.
You can see the difference in the shadows. Diffuse light has soft shadows.
Specular light has hard, dark shadows. Diffuse light gives more detail in
photos.
I suggest that you reposition the light box to move the reflection in the
glaze out of the way.
Sincerely,
Arnold Howard
Paragon Industries, L.P.
arnoldhoward@att.net
From: "Chris Schafale"
> Those of you who use soft boxes can maybe help with a question I've had.
I
> built myself a foam-core soft box from John's directions, and tried it
out. It
> worked OK, but I got big square white reflections on my pots. On the
whole,
> I think the small spots I get from using a regular camera-mounted flash
are
> less objectionable. What am I doing wrong?
>
> Chris
Bruce Girrell on thu 4 dec 03
Susan wrote:
> Was wondering why you even need to deal with the
> background if you are working digital. ...
> In minutes I can see the pottery with a white, black, colored,
> or varigated background.
Susan,
The problem with simply stripping in a background is that subtle details
will be missing and the picture will not look right, especially to a trained
viewer such as a magazine editor. The pot casts shadows and reflects the
colors near to it. If you strip in a different background the shadows will
be missing and the reflected color will be wrong. The pot looks two
dimensional and looks as though it has been pasted on to the background
(which, in fact, is the case).
Doing what you suggest is a great way to try out different backgrounds to
see what works best for the final shoot, though, since the little details
don't matter when all you're trying to do is see what background sets off
the piece the best.
Bruce "here comes Photoshop, here comes Photoshop, right down Photoshop
lane..." Girrell
Vince Pitelka on thu 4 dec 03
> Those of you who use soft boxes can maybe help with a question I've had.
I
> built myself a foam-core soft box from John's directions, and tried it
out. It
> worked OK, but I got big square white reflections on my pots. On the
whole,
> I think the small spots I get from using a regular camera-mounted flash
are
> less objectionable. What am I doing wrong?
Chris -
The whole idea of a true softbox is that it is large enough to be the only
primary light source, and it is placed just out of the picture above and
slightly in front of the work, usually not more than 12" to 18" away from
the piece, so that it floods the entire piece in light - thus, no
reflections on the surface. If you are using smaller light sources with
diffuser fabric over the front, placed at some distance from the work, then
they are not softboxes. An ideal softbox for photographing ceramic wares is
at least 36" by 24".
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Vince Pitelka on thu 4 dec 03
> It seems to me that you sould write a book about that - photographing our
> work it's the hardest part of marketing our stuff. How about it?
Karin -
I do have a section about it in my book, but it is minimal. You can only
cram in so much. I am going to do detailed instructions on building a
softbox for one of my Clayatimes "Tooltimes" columns. Should be coming up
within the next six months. Regarding writing a book on photographing
ceramic work, someone far more qualified than I am should undertake the
task. And besides, about the last thing I need right now is another
project.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Vince Pitelka on thu 4 dec 03
> The problem with simply stripping in a background is that subtle details
> will be missing and the picture will not look right, especially to a
trained
> viewer such as a magazine editor. The pot casts shadows and reflects the
> colors near to it. If you strip in a different background the shadows will
> be missing and the reflected color will be wrong. The pot looks two
> dimensional and looks as though it has been pasted on to the background
> (which, in fact, is the case).
Bruce makes a very good point, which I also mentioned in an earlier message
in this thread. In the photograph, you need for there to be a clear sense
of the surface that the piece is sitting on. That is not hard to
accomplish, but some people make the mistake of eliminating all sense of the
surface, and that is a mistake in photographing an object which in real life
does in fact sit on a surface. It needs that context in order to come
across well in a photograph.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
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