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You may also be able to hang a temporary fabric background by clamping
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When all else fails, use your camera s largest aperture to throw the background
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out of focus as much as possible. The examples on Page 13 of the color insert show you the impact of this adjustment. You need to switch the camera into either aperture-priority autoexposure or manual exposure mode to control aperture. (Remember, to get a larger aperture, you choose a lower f-stop number.) If your camera doesn t offer either mode, try using the portrait scene mode, which also results in a large aperture.
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Small wrinkles in a fabric backdrop will look like major hills and valleys in your picture. (See Page16 of the color insert for an example.) Keep a steamer or iron handy to smooth the fabric before you shoot. Similarly, use a lint brush to get rid of flecks of dust or dirt, which also will be more noticeable in the photo than they may be in real life.
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Avoiding Moir Patterns
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Objects and backgrounds that feature strong linear patterns can sometimes result in a distortion known as a moir pattern. The top set of images on Page 32 of the color insert shows two examples; Figure 4.5 shows portions of those images in black-and-white.
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FIGURE 4.5
The wavy lines in these two pieces of fabric are a distortion known as a moir pattern.
CHAPTER 4: Exploring Product Photography and Other Still-Life Adventures
The fabric in the first image is a rough silk in which the threads are running diagonally through the picture; the moir distortion creates the wavy lines. The second example shows black-and-white checked fabric, a design that is probably the most challenging for a digital camera. Here, the problem shows up not just as a ripple of waves but also stray bits of green and purple throughout the color image. Many newer digital cameras have built-in moir -removal filters that automatically attempt to correct the problem. So even if the moir distortion is visible in the camera s LCD monitor when you preview the shot, it may not prove as significant in your actual image. If you do encounter problems, these remedies may work:
Adjust the angle of the camera to bring the sensors into better alignment with the
pattern of the subject (or background). Turn on the camera s LCD monitor so that you can preview the image, and just keep moving the camera until you see an improvement.
If your camera offers a choice of sharpening settings, try switching to the setting
that applies the least sharpening. The slight blurring that results may make the moir pattern less noticeable. (Refer to Page 22 of the color insert to see how in-camera sharpening filters affect an image.)
Of course, the best way to prevent moir in picture backgrounds is to avoid
using backdrops that feature strong linear designs. But if you can t swap out the backdrop, shoot the picture at a short depth of field so that the backdrop will become less focused. Again, you can shorten depth of field by opening up the aperture (choosing a lower f-stop number) and zooming in.
More About Moir
Inside your digital camera, the image sensor chips are arranged in a linear pattern. When the pattern of the chips isn t aligned with the pattern in the subject, moir can occur. The same thing happens with a video camera this is why you sometimes see the colors in a television guest s clothing appear to be beating, or twinkling like a tiny movie-theater marquee.
Shoot Like a Pro!
Taming Reflections
One of the toughest challenges in still-life photography is capturing good images of objects that have reflective surfaces, such as the racing helmet featured on Pages 16 and 17 of the color insert. Although in some cases you may want an object to reflect neighboring elements for example, to show the petals of a water lily reflected in a pond for most product shots, the goal is a reflection-free shot. To illustrate the different approaches that you can take when working with metal, glass, water, glazed porcelain, and other highly reflective subjects, the following sections retrace the steps I took when shooting the helmet. Like anyone with a lazy bent, I first tried shooting the helmet using ambient room light only. I knew it probably wouldn t work, and I was right there simply wasn t enough light to record the image, even at a slow shutter speed and wide open aperture. But it never hurts to try, eh Unfortunately, if the ambient room light is bright enough to produce a good exposure, it s also bright enough to cause unwanted reflections.
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