Jewellery

Thanks to fellow local photographer Anita, I shot Jewellery yesterday, on location in St Catharines. This was the setup in the store:

An improvised table with a curved white background, lit by two speedlites in an umbrella, with an opposite reflector; then one”sparkler” speedlite in a Honl snoot to aim at the jewellery.

I used

  • A 580EX II on the camera
  • Two 430 EX flashes in an umbrella
  • Wireless TTL with +2 stops flash compensation
  • A 100mm f/2.8 macro lens
  • A Canon 1D Mark IV camera.

A few tips:

  • Use aperture in the 5.6-16 range. More is better, except when you go much above f/8-ish, most lenses get blurrier again.
  • Use a tripod!
  • Focus using manual focus. Use Live View and x10 magnification to set this focus accurately.
  • Expose carefully, using flash compensation as needed. Use the histogram and “highlight alert” to verify.
  • Use the sparkler straight on to add life, especially to diamonds.
  • Watch reflections carefully
  • Use a black reflector if needed to add the black reflections in diamonds.
  • White balance carefully.
  • Clean the jewellery well.
  • Use Photoshop to clean up any remaining dust. Jewellery photos need to be finished in photoshop.
  • Use Play-do to mount rings, etc.
  • Consider an acrylic stand to separate jewellery from the background – this avoids shadows.
  • Black acrylic works too – nice reflections. Black slate can work, too.
  • Did I mention you should use a tripod?

This got me shots like this one:

Jewellery can take many hours to shoot, so yesterday worked out well – 20 products shot in four hours.

Tonight:

I just got back from The Distillery District, where today we opened the second ever showing of “IV”. It is raining tonight:

That’s Av and two stops negative exposure compensation, and 5,000 ISO. Here’s another one:

I took this handheld. That meant:

  • Aperture mode
  • Minus two stops exposure compensation.
  • Because of the darkness and the lack of a support I used high ISO of 5,000.
  • This gave me 1/15th second at f/5.6 (I wanted depth of field).
  • The lens was a 16mm lens on a Canon 1D Mark IV, crop factor 1.3, so really 16×1.3 = 21mm.
  • Finally – because it was hand held, I took five or six shots.

Now relaxing a bit… tomorrow, teaching Flash at Henry’s in Oakville, and Monday a PPOC guest appearance at Fanshawe College in London.

Shot of the day

…of yesterday, that is:

I used my 1D MarkIV, and light was two direct speedlights with Pocketwizards on the left and right (full power), and one behind me for fill (also direct, but on half flash power).

How this is done is something I will explain more on the weekend lighting workshop I am holding, with Joseph Marranca, at my country retreat in early April. Details to follow!

A rose by any other name

I took this “grab-shot” at the Kodiak Gallery the other day with a Canon 7D and 50mm f/1.4 lens:

Canon 7D, 50mm f/1.4 at f/1.4, 1/250th sec, 800 ISO

This shows that with the right lens, you do not need flash. You also do not need a macro lens every time. You can use what you have, if you keep your eyes open.

Also note:

  • The secondary subject blurred in the background
  • I used exposure compensation (+) to ensure the white background showed as white, not gray
  • I am not afraid to go to 800 ISO or beyond to get the right fast shutter speed.
  • I am using off-centre composition, rather than Uncle Fred’s “subject in the middle”

Simple. Just keep your eyes open.

C? F? No, K.

K for Kelvin, that is.

If you find that your white balance setting still leaves your pictures yellow when taking pictures in tungsten light even when you set the white balance to Tungsten, try a Kelvin value if your camera supports that. I find, for instance, that in my bedroom 2700K is about right.

If your camera does not support that, use a Custom white balance setting after you shoot a white sheet of paper.  Your camera’s manual will help in this.

Of course if you shoot RAW [corrected]  this makes no difference, but I still recommend doing this: it reduces your post-production work, plus your back-of-the-camera previews look better.

Snow snaps

In preparation for an upcoming two-day Country Photography Workshop I am organizing with a colleague on 3+4 April (ask me about it!), I took a few snaps in the snow yesterday with the 1D Mark IV. Interestingly, it meters more accurately than the 1D Mark III: I needed less exposure compensation since even evaluative metering was biased more towards the selected focus point. (This is odd since focus-point tied spot metering works less often).

Can you tell I like wide angles?

Snow tips:

  • Set exposure carefully for most images, emphasizing background saturation. Use a grey card or spot meter off treees, or off the sky, and adjust starting from that.
  • Bring a spare battery.
  • Careful bringing the camera into the house afterward: use a plastic bag.
  • Meter carefully and use the “highlights” view and the histogram to ensure you are not blowing out the snow – but you are getting close.
  • Use flash to light up close objects (see how I did it?)
  • High-speed flash is needed if the time exceeds 1/250th – it can be left on since the camera will only use it when needed – but it will cut effective flash power by at least 50%.
  • It is very hard to see  your images: bring a Hoodman Hood Loupe and let your eyes acclimatise.

One more snap and it’s back to the order of the day:

Again, flash and careful exposure gives it that nice saturated look.

One light

You do not always need many lights. Sometimes, one light is enough:

f/8, 1/125th, 100 ISO

That is just one studio light, fired through a pocketwizard (but I could have used a cable) – and a reflector on the other side. This leads to this:

Yes, of course a background light, hairlight,and so on, would give me more control.

But we should all be aware that this amount of lighting is sometimes neither possible nor practical. And one light plus a reflector can give you nice light.

Travel Tip

When you travel with a suitcase, bring two camera bags. A small one and a large one.

The trick: one of these bags goes into your suitcase, filled with underwear, socks and other things you were going to bring anyway. That way it takes up no space.

So now when you get to your destination, you have a choice of camera bags every day: the large one, or the small one.

Dull day

On a dull day, with dreary light grey skies, you can consider doing a few things to add interest.

Off the Apache Trail, East of Phoenix, AZ

Technique:

  • Make the background darker by using -1 to -2 stops of exposure compensation
  • Get close to a subject that can add interest
  • If possible, make that a colourful subject
  • Use your flash!
  • Set flash compensation appropriately as needed

You will see that even on a dull day you can make interesting images.

Architecture tip

When you shoot architecture and you want a straight photo, with no distortion, like this:

…then you need to do the following:

  1. Step back. Way back.
  2. Use a long telephoto lens.
  3. Do not aim up or down: keep the lens parallel to the ground.
  4. Consider using a tripod if the lens length is long.

You will now get an “undistorted” picture where the background is enlarged and drawn in to the subject.