Trouble with reflections

[klpurkett]

A large part of how successful a CPL will be, is dependent how much of the image frame is occupied by the convex glass covering of the pictures and what is the radius of that convex glass ofn the pictures.

WW

The frames are about two feet tall and a foot wide. The entire surface of the glass is convex. I'm not sure what the radius is, but there's significant curvature... I'd never seen anything like it before.

[Mike Buckley]

I'd like to see any photo (good, bad or in between) of the subjects because I've never seen curved glass in a frame that is so relatively large. I actually wonder if the frames have any historical importance.

[klpurkett]

I'd like to see any photo (good, bad or in between) of the subjects because I've never seen curved glass in a frame that is so relatively large. I actually wonder if the frames have any historical importance.

I'll post one, hopefully later this week... I'll be going over this week to take pictures of my grandmother canning pears, and will see what I can do about the portraits.

I am sure they are old... I will try to get a year from my grandpa... I believe one of them is a baby picture of my great grandmother.

[jcuknz]

Kirsty ... Editing using layers is not that difficult and largely common sense as to what ' looks right '. Bear in mind that each frame should be saved and what you are working in each layer is only a copy so if you make a mistake it can be replaced.

My feeling without having ever struck such a problem subject is firstly having the camera locked in position with either a tripod or some fixed and sturdy ;something' with the camera bolted to it using a quarter inch bolt. Then go to the first suggestion in the thread with one light but with a cardboard trunk attached so the light does not spill all over the place, and remembering where the light reflects from move it over the subject maintaining the same distance and you could end up with half a dozen shot and half a dozen layers is not 'that' many. You then start with the top layer and erase it where the light is spoiling it. Then select the second layer and so on down the pile of layers.

The point is you will always be afraid of complicated editing if you do not take the first step to realise just how easy it often is and the more you practice the more confident you will get.

Not your subject but posted to encourage you to try ... this used half a dozen hand held frames of the dog and man ... so each had to be registered with the others and my editor as I expect you permits you to reduce the density of an upper layer so you can see the layer below it so the registration goes 2to1 3to2 etc.

"FETCH !"

[William W]

The frames are about two feet tall and a foot wide. The entire surface of the glass is convex. I'm not sure what the radius is, but there's significant curvature... I'd never seen anything like it before.

Oh! That's not what I had in my mind's eye.

This now appears on the face of it, to be a significant undertaking.

The radius I don't need - but when you post a photo of one of these pictures can you also give an estimate of the height at the centre of the glass relative to the frame's edge - in other words looking sideway how tall is the "bubble" of the glass casing?

I haven't seen anything such as described either.

WW

[xpatUSA]

I see what you're saying here, though my minimal equipment could prove a limiting factor. I have a camera, two cheep lenses, a grey card, and that's it. I'll try this at night down in their basement, as that's the darkest place I can think of for it.

This little project just might be a bit out of my range of ability right now... We'll see. I'll try a few things and see what happens, but I'm not going to hold my breath that the results will be satisfactory. A learning experience perhaps, but that might be the end of it.

Thanks again.

Kristy,

Late to the post but I have the same experience on a smaller scale - watch glasses, many of which are curved. Like a previous suggestion, I use two lamps one each side. In your case, I would think that the radius of curvature of the glass is quite large allowing you to place the lamps such that the light rays are not reflected into the camera at all. In my case, because there are round metal surfaces, specular reflections from those are unavoidable, so I place diffuser sheets between the lamps and the subject which reduces but does not eliminate those highlights completely.

Small 640x640 pic but gives you an idea of what's possible:



The dial shading is by the manufacturer. The glass is sapphire, double-domed (curved underside) and anti-reflective coated which does help. The dark areas on the outside ring are reflections: the one at 20 is a tripod leg; the darker area at top is a darker portion at my side of the bench top. Lately, I've been getting more even peripheral lighting with curved pieces of tracing paper and by placing the lamps further away.

You'll probably get better results using lamp stands. So that the reflected rays don't get into the lens, try to use a longer focal length and bring the camera further away from the subject. Baffles between the lamps and the camera will serve to reduce lens flare. Tripod highly recommended.

This is one of my best shots with the glass almost invisible. You can see more watches and some less successful shots here:

http://kronometric.org/tcw/
.