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to manual white balance and choosing the setting appropriate for overcast skies. (The name varies among cameras.) If you re working on a cloudy day, however, the camera s automatic white balance feature will likely have already selected that setting. You can always use your photo editor s color-balancing filters to warm tones after the fact, of course. Again, 8 explores all these options for manipulating colors in greater detail.
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Exploring Product Photography and Other Still-Life Adventures
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Compared to portrait photography, shooting still-life pictures seems like it should be a breeze. When you re taking product shots for your company s annual report, for example, you don t have to worry about a flash reflection causing red-eye, as you do when photographing the CEO. And when you re capturing a city skyline, you don t have to beg the buildings to stop fighting and sit still for just five minutes so that you can get a halfway decent picture for the family holiday cards. Yet, as you know if you ve done much still-life photography, some inanimate subjects can prove every bit as challenging as living ones. Objects with shiny surfaces are incredibly difficult to photograph because they reflect not just the bright light of a flash but also everything else in the vicinity including the photographer. Skyscrapers may be patient posers, but capturing their vertical bones without distortion is often impossible. This chapter offers the best tricks I know for solving these and other common still-life problems. Of course, the solutions presented in other chapters, such as using the EV compensation control to adjust exposure and changing the white balance setting to remove or apply a color cast, apply to still-life photography as well.
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Creating a Still-Life Staging Area
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If you regularly take product pictures for your business or you want to pursue fine-art photography seriously, you may want to build a dedicated staging area for shooting your still-life projects. I shoot most of my still-life pictures in my guest bedroom, so I designed a stage that can easily be disassembled when company comes. Shown in Figure 4.1, this setup involves nothing more than adjustable shelving brackets and supports, a pair of white melamine boards, a curtain rod, and some clip-style curtain rings. Total cost: less than $50 and one trip to the hardware store. Simple as it is, this arrangement offers all the versatility I need. The shelving supports are 48 inches tall, allowing me to raise or lower the base platform to get the camera angle I want. The white boards serve as a good backdrop for many product shots, but if I need a colored background, I just clamp poster board or matte board from the art-supply store to the melamine boards. (To prevent the vertical board from accidentally falling forward onto whatever I m shooting, I run a length of cording through screw eyes along the top and tie the cord to the curtain-rod brackets.) For shots that require a fabric background, I take down the vertical board and hang the fabric from the curtain rod.
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FIGURE 4.1 You can build a simple yet versatile still-life staging area for under $50.
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If you want something more sophisticated, several companies offer commercial solutions for still-life photography. Figure 4.2 shows one such product from Smith-Victor (www.smithvictor.com). Dubbed the TST Digital Desktop Studio Kit, this outfit includes the shooting table and frame, clear and white Plexiglas panels, two lights, and dimmer controls. The kit retails for about $450 and is sold through professional photography-supply stores.
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FIGURE 4.2 This commercial still-life kit includes a pair of lights and interchangeable base and background panels.
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CHAPTER 4: Exploring Product Photography and Other Still-Life Adventures
Choosing a Backdrop
Just as the right clothing can make or break a portrait, the background you use for a still-life picture can enhance your subject or detract from it. Consider the computer cable shown in Figure 4.3, for example. When you re working with a subject that seems visually uncompelling at first glance, your initial instinct might be to use a patterned backdrop to add some interest to the scene, as I did for this image. But rather than enhancing the image, a busy backdrop just draws the eye from your subject. For a better result, switch to a plain background FIGURE 4.3 A busy backdrop doesn t and think more creatively about your composition. make a plain product For the cable image, I decided to play off the idea more interesting it that computer cables are often described as snaking only grabs attention around the office. I from your subject. fashioned the cable into a shape that resembles a coiled snake, as shown in Figure 4.4, anchoring the head and tail in position by using transparent plastic thread tied to my curtain rod. The dark black background provides dramatic contrast to the cable without being distracting.
If you need both a color and black-and-white version of your product shot, be sure that your background provides not just color contrast, but also tonal contrast. A pale blue subject set on a pale pink backdrop may look great in color, but when you convert the image to black-andwhite, subject and background will both appear light gray. If your camera offers a black-and-white specialeffect mode, you can use it to check your composition for tonal contrast before you shoot. See 8 for more tips on converting a color photo to black-and-white.
FIGURE 4.4 To create this snake-like form, I secured lengths of invisible plastic thread around the cable ends and then tied them to a rod above.
On occasions when you can t move a subject to improve the background, you may be able to use these tricks to get a better image:
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