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Discussion in 'Studio Equipment and Lighting' started by Henry Goh, Sep 25, 2005.
Here's a catalog shot I did with D2H a couple of days ago.
What do you guys think?
Beautiful shot. How did you prevent the red from saturating/blown highlights? Correct WB and conservative exposure? Or WB to get all three color channels close to the right on the histogram, and then correcting the WB in post-processing?
Thanks for sharing,
The first thing I make sure I get right in the studio is WB and then exposure. This workflow will always ensure you get very close to neutral and after capture you can choose to tweak.
In shooting, I check the histogram to make sure I do not blow the highlights.
Glad you like the image.
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Hi Paul....it's been a while
How is the D2X working for you? I'm sure it is a real solid camera, wished I had the spare cash to buy one (
Yes, reflective and highly polished objects are quite tough to capture. Actually whenh I say tough to capture, I mean tough to set up the shot.
You can wrap the object in a light tent type arrangement but when you do that, you get flat low contrast look and the colors would be hazy with the reflection of the tent material. You need contrast in the object so you have to arrange the lighting and reflections to suit the shot. That takes time. Most people I know would shoot teethered so that they can make fine adjustments as the go. Me being lazy, just shoot the draft set up and adjust.
I love working in the studio because whenever I get frustrated, I switch eveything off and go to bed.
Thank for looking.
Excellent Henry, just the right amount of specular highlights to make the shot interesting. The colors are vivid and the exposure right on. Well done.
Thank you very much for the kind comments. It is nice to see "old" friends whenever I drop by. DPReview is a little noisy these days so I don't post much there if you noticed.
That's nice Henery! Red's tough. Shiny is tough. You've done them both with excellence!
Thank you! Shooting products is definitely different from capturing portraits of humans. Although objects like this is static, they present many tough challenges like reflections, colour accuracy and even depth of field control.
Hi Henry. Looks just right to me, nice work. Makes me want to go out & buy one! :wink: Did you use an array of softboxes to light it? If this is for a print ad which camera did you use for this? The one with the most MPs? Now, this may have been intentional on your part, but the radio appears to be sort of "floating in space", since there is no shadow below it.
Hello Steve....love your avatar
Yes this was shot with several softboxes on a shooting table.
Whenever I shoot for catalog, I would usually strip all shadows outside the object so that the layout people can do whatever they wish with the image. Sometimes they comp the image with other images or background or they lay text around it or above it etc. They know how to drop a shadow after they complete the layout.
You seem to be busy building your studio? You should take a look atmedium format digital backs. May not be the right time to buy one but they will be coming down in prices over the next year or so.
Hi Henry, Thanks for the kudos on the avatar. I think my D2X is fine for what limited portraiture I'm doing right now. It DOES create 70 MB 16-bit files, you know! They're big enough! Back home here, I'm all set up with strobes, backdrops, etc, but for my new Fla winter home, I'm very seriously considering a rail system for my strobes to keep them off the floor. My 2-car garage is going to have to suffice for studio space, and I don't want to clutter up the limited floorspace with lightstands. Got any recommendations for good rail systems?
I forgot to answer you earlier
about the camera used - D2H.
Rail system - I used to have rails by FOBA. Actually it makes little difference who supplies the rails. They all hang your strobes and allow movements. I would concur to use a rail system if you do not want clutter but becareful to think about how the wiring is going to run. Those heads are going to be powered and some lights with power packs do not have very long cables (from the pack to the heads). If you are using monoblocs, then it is easier but again remember that you need to dial the strobes so make sure you find that task easy enough. It would be perfect if you could find a system of lights that allows you to control their settings with wireless controller. That way you place the controller next to you and adjust without pulling lights up and down. If you are using large softboxes, make sure you have sufficient height above the working height to store upwards w/o the pain of having to dismantle s/b after each shoot.
Let me know how it goes.
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