SLC: Same necklace different backdrop C&C?

[JBW]

[Shadowman]

I'm liking this presentation even more than the last.

[JBW]

I'm liking this presentation even more than the last.

I got a much better set up to hang the necklace on and agreed with Myra's suggestion about hanging her earrings. Earlier this evening i was curious how the same shot would come out after dark. looking forward to your feedback on that post.
B.

[JR1]

too much fussy backdrop and poorly lit main subject

[JBW]

too much fussy backdrop and poorly lit main subject

could you perhaps post an example of what you believe to be a good backdrop? And how would you do the lighting?

[Loose Canon]

Brian, I think I have a different approach to lighting a subject than you do.

So I’d offer a quick observation for the BG aspect of this shot.

The cushion/couch/chair whatever is showing in a large part of the bottom right frame.

[Mike Buckley]

It's a far better photo than most people would make. That's because the subject is very difficult for anyone who hasn't studied photo techniques that enhance it and most people haven't done that. That leads to my thinking that it would be a good idea for you to use the Internet to learn the techniques others use if you haven't already begun that process.

In that context, a few basics to think about as you construct future scenes:

• Does the background complement or compete with the subject?
• Does the horizontal format compete with or enhance the vertically-oriented subject?
• Does the foreground material displayed only in the bottom right area of the scene add to or detract from the subject?
• Do the brighter tones on the left and ride sides of the frame draw your eye away from the subject or do they nicely frame it?

[Stagecoach]

Not my area of expertise Brian (that's if I have one) but I would suggest just a bit more time arranging the lighting and softening those stronger shadows before pressing that shutter.

Have you attempted similar using just diffused window light and some sheets of A4 copy paper for reflectors?

[JBW]

Brian, I think I have a different approach to lighting a subject than you do.

So I’d offer a quick observation for the BG aspect of this shot.

The cushion/couch/chair whatever is showing in a large part of the bottom right frame.

I agree. The bottom right snuck past my eyes. One of the odd effects of my M.S. is that occasionally I simply do not see what is actually there. One of the many reasons I quit driving.

Our approaches are different but that may simply be because you have honed your studio skills to a high degree and I have just entered the pool.

I am curious to see if our ideas about lighting and backgrounds come together as I get more experience.
B.

[JBW]

Not my area of expertise Brian (that's if I have one) but I would suggest just a bit more time arranging the lighting and softening those stronger shadows before pressing that shutter.

Have you attempted similar using just diffused window light and some sheets of A4 copy paper for reflectors?

I did try for just natural light but until I put in a skylight there isn't enough. The other option is that when we add in what Myra sees as our Dining Room which already has a 2 meter wide 'Pearl Gate' in the ceiling to allow in sun and moonlight that I use it as my studio. But it might be safer to put in the skylight!

In my garden shots I do lean to dark shadows and it is a habit i seem to have brought with me into the studio. I'll work on it.
B.

[Stagecoach]

Brian, you say there is not enough, what are you basing that on?

With your camera on a tripod, (timer release) have you tried and determined speeds to get a decent exposure?

[JBW]

It's a far better photo than most people would make. That's because the subject is very difficult for anyone who hasn't studied photo techniques that enhance it and most people haven't done that. That leads to my thinking that it would be a good idea for you to use the Internet to learn the techniques others use if you haven't already begun that process.

In that context, a few basics to think about as you construct future scenes:

• Does the background complement or compete with the subject?
• Does the horizontal format compete with or enhance the vertically-oriented subject?
• Does the foreground material displayed only in the bottom right area of the scene add to or detract from the subject?
• Do the brighter tones on the left and ride sides of the frame draw your eye away from the subject or do they nicely frame it?

I have started learning the theory. One of the recommended starting places was CLASS GLASS. A very nice and inspirational site.

The points you raise are all valid and I shall keep them in mind as I set up the next learning curve shoot.

But there is one of your points that needs no pondering. It is the same one that Loose Cannon also rightly pointed out. The bottom right corner is horrible. I looked at that shot for quite a while as I worked on it and I just never noticed the problem with the folded over edge of the cloth.

One of my challenges with studio work is my M.S.. Occasionally I will simply not see what is right in front of me. One of the many reasons I no longer drive!

Another challenge, and one which will hopefully allow me to create some beauty, is that I would like to create in the style of the Old Masters of paint. Scenes of beauty with depth, varying degrees of detail and multiple layers of eye catchers. Sadly my life has not included an education in the techniques of the Old Masters. But in Feb. I will be starting an EDx course that addresses this very issue.

B.

[JBW]

Brian, you say there is not enough, what are you basing that on?

With your camera on a tripod, (timer release) have you tried and determined speeds to get a decent exposure?

Yes with the caveat that I am finding all sorts of areas in my camera that I have not explored in the garden that may well allow me to shoot in less lighted areas than i currently think of as outside my range.

But with my capabilities as of now the studio shooting needs at least a little bit of artificial lighting.
B.

[Stagecoach]

Yes with the caveat that I am finding all sorts of areas in my camera that I have not explored in the garden that may well allow me to shoot in less lighted areas than i currently think of as outside my range.

But with my capabilities as of now the studio shooting needs at least a little bit of artificial lighting.
B.

The reason I asked Brian was that when I started playing around trying to shoot small static subjects I found it a useful exercise to use available natural light, place a finger/pencil in position to determine angles of light from the shadow direction, use this to position reflectors (white card/paper) to soften shadows or enhance light on areas.

Have fun.

[JBW]

The reason I asked Brian was that when I started playing around trying to shoot small static subjects I found it a useful exercise to use available natural light, place a finger/pencil in position to determine angles of light from the shadow direction, use this to position reflectors (white card/paper) to soften shadows or enhance light on areas.

Have fun.

I am having jocularity in abundance. You got me to thinking laterally. And as I f I remember correctly Ajohn(?) pointed out latterly is good. As I type our handyman is putting in a new work bench in my studio. iIt will allow me to catch morning sunlight and maybe even some full moonlight. I put the orange dragon on it and it was nicely backlit by the sun.

The game is afoot!
B.