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Anybody have any tips? I'm trying to photograph some for my website and I keep getting horrible results. Can't get gluechipping to show up at all! Most of my attempts have my mug reflected in them somewhere, or the flash just toasts the whole image. I'm a lousy photographer to start with but this is making me want to tear my hair out!
-------------------- Deri Russell Wildwood Signs Hanover, Ontario
You're just jealous 'cause the little voices only talk to me. Posts: 1904 | From: Hanover, Ontario, Canada | Registered: Dec 1998
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One is to get just slightly above the image you are trying to capture so the flash doesn't come back at you.
Try lighting the image with a quartz lamp from the side and don't use a flash.(try to pick up thte reflection of the gold surfaces)without getting a reflecting from your light source)
Sometimes on Etch work you need a "back light" for the etched surface to pick up the light and show it thru the gloss surfaace of the glass.
These are things that have worked for me ...tho I admit results are different everytime ( due to backgrounds or reflections from off the street. I've also found the best time to shoot an on the site job is just at dawn or dusk when you can control (somewhat) your surroundings.
-------------------- "Werks fer me...it'll werk fer you"
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The first rule is, don't use a flash unless you're shooting at an angle. Shooting straight on, without a flash, usually requires a tripod. A polarizing filter can reduce some unwanted reflections.
To do it right would require a lot of effort. At a recent workshop I heard a suggestion about hanging up a white sheet, and cutting a hole in it for the camera lens. This would control unwanted background reflections to some extent. In the shot, the camera lens would then be "hidden" in a non-reflective part of the glass.
My mind wanders. And that's not a good thing, 'cause it's too small to be out there alone. Posts: 3129 | From: Tooele, UT | Registered: Mar 2005
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posted
Are you shooting clear chipped glass or gilded?
Depending on the look you're after, clear glass is usually shot with a backlight (but off to the side, out of the camera's view) and in front of either a white or black background. The backlighting is the only way to keep the light from reflecting directly back into the camera.
When in front of a white background, you can use black objects - construction paper cut into cards for example, as subtractive lighting to create dark areas in the peaks and valleys of the chipped glass to show off the texture.
When in front of black, you can use white objects to create lighter reflections on the surface of the glass. A black background is usually more dramatic.
-------------------- "If I share all my wisdom I won't have any left for myself."
Mike Pipes stickerpimp.com Lake Havasu, AZ mike@stickerpimp.com Posts: 8746 | From: Lake Havasu, AZ USA | Registered: Jun 2000
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At the sign show in Indianapolis this year, ther was a company that sold these photographic light boxes, in that you would place your object inside the box which was lighted like a flourecent tube electrical sign.
The box allowed for even lightig all the way around the object including the bottom where the object was sitting.
I think you could build one faily easy with some thin white non glare plexiglass (or put clear application tape or etch vinyl to kill the gloss) Then back light the plex with some flood lamps
But, some of your local photographers may have a contraption like that, and it may just be easier and cost effect to have them do it for you. Swap a sign deal with them.
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Thanks Guys! There are some great tips here. I have soeme non glare plexi Dave so I'll try that. And the white sheet with the hole in it sounds like a good idea Russ. I'll maybe give that a shot too. Mike some of the pieces are already framed. SO lighting them from behind isn't going to work on them. The one that I particularly want a shot of has like a sage green/taupe matboard behind it. Now I'm struggling a bit with your concept- are you saying the black and/or white pieces will help with the light refracting in the glue chipped areas? Putting the cardboard to the front to bounce the light off of it and back at the piece? Pardon my blonde.
Yeah Matthew I really should hire a pro. I only did that once to get some portfolio shots. Cost me $250 and I really didn't like any of the shots he took. I guess I really should have got my wallet out and found myself a better photographer, but the whole thing kinda put me off. Guess I'm a control freak when it comes to that too.
I am going to try to get this done this weekend. Don't be surprised if I'm back asking more questions though. Thanks again-
-------------------- Deri Russell Wildwood Signs Hanover, Ontario
You're just jealous 'cause the little voices only talk to me. Posts: 1904 | From: Hanover, Ontario, Canada | Registered: Dec 1998
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posted
Deri, take the pieces outside and photograph them in full sunlight.
If your camera has an auto-flash, it won't fire and cause reflected flares on the image.
Try various sun angles to show up the chipped glass shadows best. I usually use a sheet of coro laid flat on the ground or just the grass itself as a background. This also allows you to shoot at a slight angle so you don't get a reflection of yourself ... just sky.
If the distortion from shooting close up at an angle is too apparent, stand the object upright at a slight angle against a wall and shoot with telephoto.
Yes, the white/black cards are used to create reflections and in the case of clear materials, refractions which are the only thing that can define the object's shape.
Example, when I shoot jewelry I normally use a light cube. It's just a small cube I built with diffusing material to soften the light which softens shadows, and there's a slit in the front to stick the camera lens through so there is no obvious reflection on the polished metal surfaces. The problem is, this very even lighting completely strips the reflections away which also removes all definition of the piece's shape. I'll place black cards inside the cube to create reflections and bring back that definition. Other times I need to fire up a diamond or other stone and the only way to do that is with a direct light source, ie: non-diffused. I put the light cube away and now the entire room reflects in the piece, but I shoot in a darkened room anyway so it's mostly black. Now I have to use white cards to "sculpt" reflections in the object to redefine its shape.
If you have a room in the house/shop or a covered porch that gets a lot of indirect light from the sun you can also use that space to take photos. This indirect light is VERY high quality and it's easy and free to harness.
If you don't have good natural lighting available, hang the piece up on a wall and put the camera on a tripod aiming straight at it, making sure the height of the camera is as close to the height of the center of the piece as you can get it.
Get two lights and place one at each side of the piece at about a 45 degree angle from the wall/center of the piece. This will give you more even lighting than using a flash and the angles will keep the light from bouncing back into the camera.
You might need to adjust the white balance in your camera to compensate for the type of lights you use, if your camera has those adjustments available. If not, it will take just a couple minutes to color correct them, even faster if you place a white object in the photo (then it becomes just a couple clicks to fix).
-------------------- "If I share all my wisdom I won't have any left for myself."
Mike Pipes stickerpimp.com Lake Havasu, AZ mike@stickerpimp.com Posts: 8746 | From: Lake Havasu, AZ USA | Registered: Jun 2000
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posted
Hi Deri! I'm pretty sure Mike Jackson wrote an article for Signcraft a few years ago about photographing glass projects. Send him an e-mail to find out what issue its in. If you don't have it, I will. I'd be happy to lend it to you.
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Deri, Mike's advice is good. I find if you take it outside, but into total shade, it helps. Also get a polarising filter for your camers- this cuts out all unwanted glare- you just rotate it till the pic looks clearest, and snap!
-------------------- "Stewey" on chat
"...there are no limits when you aim for perfection..." Jonathan Livingston Seagull Posts: 7014 | From: Highgrove via Toowoomba, Queensland, Australia | Registered: Dec 2002
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posted
Wait a minute. Jon Butterworth says to take the pieces outside and photograph them in full sunlight. Some others say to use indirect light or shade. I always thought indirect light, but is this something to vote on, or is there a standard?
-------------------- Bruce Williams Lexington KY Posts: 945 | From: Lexington, KY, USA | Registered: Mar 1999
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Indirect lighting reduces glare and produces softer shadows which are more pleasing to the eye. If the light is too soft however, it will hide too much detail and that's where the cards come into play.
-------------------- "If I share all my wisdom I won't have any left for myself."
Mike Pipes stickerpimp.com Lake Havasu, AZ mike@stickerpimp.com Posts: 8746 | From: Lake Havasu, AZ USA | Registered: Jun 2000
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