Advice Required - Lighting Metallic Parts

Spiderdudeuk · 30 Sep 2014

Hi,

I'm looking for some straightforward advice and by clicking through a few posts I am hopeful you guys 'n gals can help.

We sell metallic spare parts, they vary in length up to 550mm and we are wanting to photograph them for our catalogue. We may just photo a small section of them to use for illustration purposes, or the full item.

With them being in some cases Chrome, they do reflect a lot, so getting consistent image quality has proved difficult.

So the questions is; what is the simplest set-up for this type of photography or is that one those "million dollar" questions?

Thanks in advance. If I haven't provided enough detail to enable an answer, I can try to elaborate more.

Garry Edwards · 30 Sep 2014

All is explained here
Totally different subject, but identical principles

Spiderdudeuk · 30 Sep 2014

Garry Edwards said:
All is explained here
Totally different subject, but identical principles

You're a star thank you very much... I shall give this a good read and see where I come out at.... Very much appreciated for pointing me in the right direction.

sk66 · 30 Sep 2014

Spiderdudeuk said:
With them being in some cases Chrome, they do reflect a lot, so getting consistent image quality has proved difficult.

Reflect "what?" If it's the studio environment then you need black curtains.
If it's highlights you need *very* large/ soft light sources. Your other option is to polarize the light sources and remove the reflections w/ a CPL.
The polarizing film may be the cheapest/easiest method at ~ $15 (assuming you already have a CPL/LPL), but I wouldn't necessarily consider it the "best" option (highlights and shadows are "GOOD," removing all of them is "BAD").

JennyGW · 30 Sep 2014

Spider, I highly recommend this book, Light: Science and Magic. It is as comprehensive a guide as you will find.

http://www.amazon.co.uk/Light-Scien...95794&sr=1-2&keywords=light+science+and+magic

JennyGW · 30 Sep 2014

sk66 said:
Reflect "what?" If it's the studio environment then you need black curtains.
If it's highlights you need *very* large/ soft light sources. Your other option is to polarize the light sources and remove the reflections w/ a CPL.
The polarizing film may be the cheapest/easiest method at ~ $15 (assuming you already have a CPL/LPL), but I wouldn't necessarily consider it the "best" option (highlights and shadows are "GOOD," removing all of them is "BAD").

It's not polarising the light sources. The reflected light from the subject will be polarized and a polarizer on your camera will cut this out.

Steve T · 30 Sep 2014

Hi Mark, first of all, there are a few questions to be asked of where you are at the moment.
What camera, lenses and kit have you got to use and are you already taking product shots etc.
Are you thinking of selling these items on line, in addition to your (existing?) catalogue where the (printed) image quality is important.
Is accurate colour vital? or is monochrome better?
What physical area will you be, or have been, using as a studio/setup area.
What lighting kit do you already have.

There are some very good photographers on this site and if you give them a focussed and precise idea of where you are and what you want to achieve, they will get you there. There are so many aspects of photography that dont apply to a 'particular' product, that can lead you up the garden path, it is very important to be as precise with what you want to achieve and with what kit, and not the least important, whether as an amature you can acheive that in a cost effective way.

From what you posted i would say that your shots are a lighting joy, no worry about accurate colours ( this is a massive stress if citical to a business's product presentation) wheter printed or via the web!.

All you seem to have to control are the shadows and highlights!
From the size of your product I would say you should be able to construct a fairly simple tabletop setup that has more or less fixed aspects of shots with a well thought through background (very important for continuity) and a nice easy learning curve

I would say more or less any entry level DSLR with a kit lens would be good enough, as your shots will be taken on a tripod in a fixed mini set.

If you are going to invest any serious money I would suggest you invest in lighting tutorials, preferably 1 on 1 with your own products.

Hope I didnt misunderstand your question, but product photography was an essencial aspect of my business that I had to learn, so I empathise

Steve.

Garry Edwards · 30 Sep 2014

JennyGW said:
It's not polarising the light sources. The reflected light from the subject will be polarized and a polarizer on your camera will cut this out.

On metal?

Phil V · 30 Sep 2014

sk66 said:
Reflect "what?" If it's the studio environment then you need black curtains.
If it's highlights you need *very* large/ soft light sources. Your other option is to polarize the light sources and remove the reflections w/ a CPL.
The polarizing film may be the cheapest/easiest method at ~ $15 (assuming you already have a CPL/LPL), but I wouldn't necessarily consider it the "best" option (highlights and shadows are "GOOD," removing all of them is "BAD").

JennyGW said:
It's not polarising the light sources. The reflected light from the subject will be polarized and a polarizer on your camera will cut this out.

Light reflecting off a metal surface isn't polarised.

As above, check the book 'Light Science and Magic' it's fantastic for tips on things like this.

Although, to be honest, I was reading a bit earlier, and I picked up tricks spending a few hours with Garry that are more effective than the suggestions in the book. (though I still haven't bought honeycombs).

simonbarker · 30 Sep 2014

A light tent might not be a terrible idea if the reflections are a real problem...

sk66 · 30 Sep 2014

simonbarker said:
A light tent might not be a terrible idea if the reflections are a real problem...

TBH, light tents are rather limited.... IMO, they do one thing ok. And getting one that will accommodate 550mm is going to cost more than it's worth (also IMO). They're fine for small product shots that don't matter much; but a proper tabletop setup is much better and easy enough to construct.

Garry Edwards · 30 Sep 2014

simonbarker said:
A light tent might not be a terrible idea if the reflections are a real problem...

It might not be, except that the reflections won't be a real problem...
I don't know what these products are, what sort of shapes they have etc - but I do know that every lighting challenge has a lighting solution, it never comes down to anything more than identifying the problem and overcoming it by using the right tools at the right angles.
Reflections are not in fact part of the problem, they are part of the solution because they are essential to the appeal of the product, as are shadows and surface texture - all of which are virtually killed by a light tent.

So, we don't want to eliminate reflections - if we did, chrome would end up with as much appeal as a steel car wheel that's been painted silver. Instead, we control the size and position of those reflections, and often introduce new reflections too, for example reflections of black shapes

sk66 · 30 Sep 2014

Garry Edwards said:
Reflections are not in fact part of the problem, they are part of the solution because they are essential to the appeal ..., as are shadows and surface texture - all of which are virtually killed by a light tent.

It seems like there has been a real trend toward "flat lighting" being considered "good/soft" lighting... I don't know when/how it started but it seems more common than not anymore.

I guess maybe it's just the huge increase in "photography" and people learning lighting...at least it is *better* than "bad" lighting.

Not that long ago I saw a video on lighting a watch that did a really good job with positive/negative lighting for reflective surfaces (glass/metal). If I can find it I'll post a link...

simonbarker · 30 Sep 2014

You're reading too much into what I said, I wasn't suggesting a light tent as the best solution but I can see it being an option for someone who needs to fill a catalog of reflective items easily.

Garry Edwards · 1 Oct 2014

simonbarker said:
You're reading too much into what I said, I wasn't suggesting a light tent as the best solution but I can see it being an option for someone who needs to fill a catalog of reflective items easily.

Actually I agree, a light tent does have its uses for that.
It's good for illustrative shots, i.e. "This is what a left handed helical coiled stainless steel wotsit looks like" but useless for creating images that show the products at their best.
Horses for courses

sk66 said:
It seems like there has been a real trend toward "flat lighting" being considered "good/soft" lighting... I don't know when/how it started but it seems more common than not anymore.

I guess maybe it's just the huge increase in "photography" and people learning lighting...at least it is *better* than "bad" lighting.

Not that long ago I saw a video on lighting a watch that did a really good job with positive/negative lighting for reflective surfaces (glass/metal). If I can find it I'll post a link...

I think that flat lighting is really just a consequenace of the de-skilling process, e.g. "Look, I've bought a big camera and some lights, I'm a pro photographer now and I specialise in everything"

sk66 · 1 Oct 2014

simonbarker said:
You're reading too much into what I said, I wasn't suggesting a light tent as the best solution but I can see it being an option for someone who needs to fill a catalog of reflective items easily.

I don't think anyone said it was necessarily a "bad idea." I didn't mean to imply that anyway...

IMO, it has one large advantage... there's not much to learn/know in order to get 1/2 decent results from one. But I would also consider that a "disadvantage."