Playing in the studio today.

[Texas Dave]

A friend of mine here at work brought me a treat to play with in the studio. In knowing that I want some challenges behind the lens and knowing that I'm currently trying to understand lighting my subjects other than brochures laying flat on the ground, he pulled his great grandfather's civil war sword out of a box earlier this week. Today I finally got to play with it and the break from the mundane was quite inspiring for me.

It's the first time I've sort of looked at lighting my subject as of playing a game of pool. Seems to me, it's all about the angles in respect to the capture. That may sound a bit overly simplistic but today was the first time I've really caught myself moving the light boxes around and then "hunting" for the reflections to locate where my lens should be.

Granted I still have limited resources but I'm having so much fun and I can't wait to try some more. Anyway, here's what an American civil war sword looks like when I'm behind the lens.









This one was an attempt at "light painting". Open shutter and then I "painted" the sword with a LED flashlight with a piece of paper over the lens for a diffuser and a tube of black paper rolled up over the lens to keep the light somewhat contained. I wish I would of done a better job on the focus but it was a first time to try something this long and falling away from the lens. I want to continue playing with light painting, its fun but without the control of set lighting.



Anyway, that was part of my day. ...and I still have a job.

[DEAN01]

Very well done, David. I like 2 and 4 for the perspective.

[Barbara Ponder]

Nice job! Lovely sword!

[Shadowman]

Nice efforts, that last one with the blade extended towards the lens is something I would want to try. Nicely done.

[IzzieK]

All shots nicely done and processed. I love them all even if I have reservation on the last one...good angle but doesn't work for me...I wonder why but I cannot explain...

[Stagecoach]

Impressive David, the lighting really emphasises the handle shape. No 5 is interesting in that you have got the focus on the 'nick' in the sword making me wonder what caused that?

[Manfred M]

It looks like you had some fun there, and you've had a chance to think about what you've accomplished and what you would do differently next time.

I find that the shots look a bit "disembodied", just hanging there. I wonder how these would have looked had you shot using either a white or gray background that would have allowed you to play around with shadows to anchor the sword to it.

There's always next time...

[Mike Buckley]

People who haven't photographed this type of subject (shiny metal with lots of rounded surfaces) have absolutely no idea of how difficult it can be and how you have made the process appear deceptively simple. Exceptionally well done!

One of my few wishes is that in the last one you had included the point of the sword in the depth of field. My thinking is that that one has the most potential for being the most creative, so I hope you'll consider a remake of it making just that one small change.

In the next to last one, consider positioning the tabletop and background material (I think it's carpet) with the rows on a diagonal for a slightly more dynamic, less static image.

If the tabletop of the last image isn't the same as the next to last image, I sure would like to know what it is. It works perfectly!

Oops! I just noticed in the next to last photo that your field of view exceeds the limit of the background on the right side. That's a big no-no. It also appears that you used two pieces of material to form the tabletop and background. If you could use just one piece, that would be ideal.

[Mike Buckley]

Your images are so good that I took a third look at them. Notice in the first image that you're missing separation between the handle and the background in a couple small areas.

[Mike Buckley]

I find that the shots look a bit "disembodied", just hanging there.

I can see on my system the background on all but two of them. People using a different browser (I'm using Firefox) and/or a monitor that isn't profiled and calibrated may not see it. I realize that your monitor is profiled and calibrated but I wonder if our browsers are different.

[bnnrcn]

Very nice trials David, keep them coming

[Texas Dave]

People who haven't photographed this type of subject (shiny metal with lots of rounded surfaces) have absolutely no idea of how difficult it can be and how you have made the process appear deceptively simple. Exceptionally well done!

One of my few wishes is that in the last one you had included the point of the sword in the depth of field. My thinking is that that one has the most potential for being the most creative, so I hope you'll consider a remake of it making just that one small change.

In the next to last one, consider positioning the tabletop and background material (I think it's carpet) with the rows on a diagonal for a slightly more dynamic, less static image.

If the tabletop of the last image isn't the same as the next to last image, I sure would like to know what it is. It works perfectly!

Oops! I just noticed in the next to last photo that your field of view exceeds the limit of the background on the right side. That's a big no-no. It also appears that you used two pieces of material to form the tabletop and background. If you could use just one piece, that would be ideal.

Thanks everyone for taking the time to critique and advise! I appreciate it and have come to realize, I need the input and feed back.

Mike, the reflections from the curved metal made me realize I need more lighting options...and maybe an assistant! It takes considerable effort to observe the best reflections doing this solo. I so wish I had someone to move the lights while I observe the reflections and could command where the light source should be. This really was an eye opener and I also realize I need some booms and reflectors.

The #5 shot was done with "light painting" and I agree, I think my depth of field is to shallow. This was a results of me needed to open up the aperture due to the lack of light I had. I should of just painted longer with a smaller aperture. I'll work on it!

The background in the light painting shot was just a piece of foam core. We use it to mount our presentations to when presenting to clients.



As far as my light source I just used a cheap LED flashlight with some paper cutout and placed between the lens and the LED diode to somewhat diffuse the beam.



I then wrapped a piece of black and opaque material around the flashlight to channel my light where I want it. I think I need two of these where one flashlight is even more focused for "detailing" parts of the subject.



The light painting is fun, but somewhat random between shots. I do want to continue exploring this method though. I first learned about light painting when shooting buildings at night. Really allot of fun!


As far as my set up and oops with the backdrop, I found a piece of material that was part of an old cubicle divider in our store room.



As far as the "hanging there" look, it was a deliberate attempt to mimic this guy, http://www.garyophoto.com, take a look at his objects. There are some shots in his portfolio that I was trying to mimic. Maybe it over simplifies the shot but I like how it puts the focus, (obviously), solely on the subject.

The nick in the sword's edge did capture my attention as well and I did find myself using it for a focal point and attempting to get a kicker light to reveal it's presence. I need more lights.

I will pay better attention to my backdrop next time.

[John 2]

I know nothing about table top lighting David and so I can only pass on how the images impact me. Like the first one for quality. Like the last for creativity.

[Mike Buckley]

Thanks for the detailed explanation of how you accomplished everything. I'm really surprised to learn that the tabletop in the last one is simply foam board. Your lighting and depth of field brought out a texture that made me think the material is something different.

You mentioned the possibility of light painting for a longer period of time to make the last photo, allowing you to use a smaller aperture. I'm not sure that would be necessary. I was thinking that you could use the same aperture but include the point of the sword in the depth of field for really dramatic results.

Depending on the composition and size of your subject, you could turn your cubicle piece 90 degrees so one half of it makes a narrow, tall tabletop and background that are seamless. If the sword's length is smaller than the smallest dimension of that piece, you could shoot image #4 again using a scene that would be improved because the seam would be eliminated. If that's not physically possible, you could lay the sword at a 45-degree angle to the rows in the tabletop part of the fabric without using the vertical part that becomes the background. Doing so would create very nice diagonal lines underneath the sword and also eliminate any seam.

Relatively small improvements to scenes that are already executed quite well! Handling the metal so well is the really difficult part; the rest is comparatively far easier.

[chauncey]

playing a game of pool.

Gonna brag a bit because you dredged up an old, old memory from fifty years ago...back when I was
young, and stupid, and trying to hustle pool for grins and giggles.

Luther Lassiter had an exposition scheduled in my favorite emporium when his opponent failed to show
up and, some cretan yells out...go for it Chauncey. Ya right I said, but was pushed up front anyway.
Was so nervous and choked up...couldn't make a ball. Old times best forgotten.

[AlwaysOnAuto]

David, thanks for the pictures of your studio.
Nice sword shots too.

[selig1656]

Well captured , terrific exposure and love the varied angles , pic#5 is really very creatively done.

[Loose Canon]

Cool piece David and you have done a nice job with it.

I find this interesting…

Seems to me, it's all about the angles in respect to the capture. That may sound a bit overly simplistic but today was the first time I've really caught myself moving the light boxes around and then "hunting" for the reflections to locate where my lens should be.

Typically, the composition is decided on and set (subject/camera relationship), then the lights are moved to light the composition and adjust angles/highlights/shadows, etc.

If I’m reading this right it seems you have done just the opposite!

Whatever works I guess and this seems to have worked for you!

BTW? I am a huge fan of the “hanging there” look! Plus there are a lot of advantages to using it. Lighting from all angles, no worries about a textured or patterned surface competing, no worries about cleaning up a surface in post, bouncing unwanted light or creating unwanted shadows, and some cool effects are possible just to name a couple. Like anything it doesn’t work for everything but it definitely has its place.

I don’t have anything as cool as your sword but I do have a couple of things around the studio that I managed to draw blood with!

[mknittle]

Very nice work David,

[JBW]

Do you think your friend would approve of sending me the sword for a month or two? If i had to pick a favorite it would be the last one.