Childhood Memories

[Marie Hass]

My sisters and I played with this children's tea set many times growing up, so it had fond memories for me.

So, when it was suggested that I needed a small model for my mentoring session, this was the first piece that I thought of. This task was, given my equipment, to create a seamless environment to display these tea pieces.

I am so happy to have worked with this set again. Just holding the pieces in my hand, the smoothness of the porcelain and the deep cobalt blues of the willow pattern... I may just print this image for my sisters!

c&c?

Marie

[Geoff F]

A tricky shot there with white porcelain against a white background. Could you get away with just a fraction more brightness?

And I notice a couple of small chips around the edge of the saucer and spout which, if possible, I would clone out; or try to find a better shooting angle.

[Marie Hass]

Dear Geoff,

The pieces were well loved and played with by me and my three sisters. Every chip is a fond memory. It does not disturb me that defects are present.

Otherwise, I am not sure how much more "brightness" I can get away with, without strenuous PP. I was aiming for SOOC. The background was already 255 at the top, and, at the least, 245 at the bottom - a subtle gradient.

I will have another look.

Marie

[Shadowman]

What was your seamless environment strategy for this image?

[Mike Buckley]

This task was, given my equipment, to create a seamless environment to display these tea pieces.

You certainly accomplished that as well as other very nice characteristics. This subject is a LOT harder to photograph than most people would assume until they try doing it themselves.

I agree that sometimes the so-called defects should be left in images. I'm sure your sisters would love having a print of this.

[wilgk]

Having no experience in this medium, I won't attempt c&c other then to say, I am glad the experience has bought back memories which gave you joy. That is a very good start.

[Geoff F]

By brightness, Marie, I was thinking along the lines of using Curves to give an S type curve, or something similar, to just add a fraction more to the porcelain whites but without over doing the background?

[Rob Ekins]

This subject is a LOT harder to photograph than most people would assume until they try doing it themselves..

So so true. I just bought a table top and some hot light soft boxes that will accompany my flashes to photograph a glass that my wife wants an image of. After six hours shooting on Friday night I think I am about 10% of the way to getting the image I see in my head! I have bookmarked most of your threads Mike. Thanks for the explanations that you write with them.

Marie,
Could you briefly explain your set up if you have time.

[Stagecoach]

Good one Marie.

On a technical point, and more for furthering my own knowledge, you mention that the exercise was to create a seamless environment. In this image I see a distinct line to the background half way up the height of the saucer.

Whilst that line IMO actually enhances this image does it preclude it from being classed as seamless?

Grahame

[Marie Hass]

Terry (Loose Canon) provided the means for me to accomplish this task. The Translum is tacked up as my backdrop and extends across the table. There should not be background lines.

Grahame, lols, now you've got me looking to see what you see. If there are lines, then I have not been successful at my exercise.

Marie

[Mike Buckley]

I see a distinct line to the background half way up the height of the saucer.

I don't see it.

[Mike Buckley]

Rob,

You would do well to purchase Light: Science and Magic to gain a better understanding of the lighting principles I use than I have time to explain in the threads. Keep in mind that the current edition is the fourth one but I learned just today that a fifth one not yet released can be pre-ordered.

[Rob Ekins]

Thanks Mike, I have V3, Do you know if the change in content is worth repurchasing?

I think half of the time I wasted was on trying to decide on going light or dark. It was fun though and a good challenge.

[tbob]

Nice image and idea. I am sure your sisters would love a copy. The chips are like wrinkles in old people; well earned signs of experience.

[Stagecoach]

I don't see it.

Mike, so this raises the interesting question as to why I see it and you don't?

Firstly a definition of what I refer to as the 'line'. To me I see a clear difference (or step) in tonal values when viewing down towards this 'line' going from a darker area to a lighter area, then darker again.

With the image opened in the lytebox and scrolled up and down the screen the 'line' moves with it, so not my monitor. I also put my stronger glasses on, no difference

I opened the image in ACR and it was still evident. Then by increasing either the exposure or highlight slider with the clipping on, as they are raised this 'line' becomes very clearly defined as among the areas that clip first. The same if opened as a Threshold layer in PS.

The line is arched, slightly lower on the left so my assumption is this is due to the lighting seeing as the shot was taken on a sheet of translum.

So technically there is a 'step' in tonal range in the file and it appears there is a clear reason for it, the lighting. But I believe the reason as to whether it is visible to the eye is dependent upon monitor calibration and I'm not using a calibrated monitor.

[Barbara Ponder]

I see the line but don't find it distracting in the least. Nice shot with lovely memories attached can never be a bad thing!

[TonyW]

This is a very nice image. I have tried this sort of shot without success and have some idea of how hard it is.

I can see the line that Grahame is referring to but it is very faint. I think it could easily be removed with PP.

[Mike Buckley]

I'm not using a calibrated monitor.

I am using one. That doesn't mean that my perception of the image is right and that yours is wrong. It does mean, however, that there is no helpfulness in discussing the differences we perceive.

[Mike Buckley]

Sorry, Rob, but I only have version 4 of the book. I have no idea how it compares with earlier versions or, of course, the upcoming 5th version.

[Rob Ekins]

Thanks Mate.