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Switching on Studio Lights
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Building a Light Tent for Reflection-Free Pictures
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FIGURE 4.7 To further diffuse the light and remove any chance of reflections from surrounding objects, I built a light tent around the helmet.
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can see the dramatically improved results on Page 17 of the color insert. Note that the white sheets are reflected in the helmet, but the reflection is soft and even and likely won t be noticeable to most viewers.
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For the helmet images, I wanted a backdrop that meshed with the racing theme, so I went to the fabric store and bought a remnant of gray leather. Well, okay, pleather. (Did I mention that this book is about budget solutions ) I don t know if real leather wrinkles, but pleather sure does, and it stretches out of shape to boot. In the first four helmet images shown in the color insert, the warp in the backdrop creates distracting shadows and highlights. I couldn t remove the wrinkles with an iron, so I pulled the fabric taut and used hardware-store spring clamps to hold it in place before shooting the rest of the images.
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After I got the light tent built, I shot the same image at several different EV compensation values. When you go to this much trouble to set up a shot, bracketing exposures is a no-brainer; you don t want to have to return to the studio to do everything again if you decide that you want a lighter or darker exposure. As you can see from the examples in the color insert, the shifts in exposure affected not just the relative brightness and darkness of the images, but also the colors in the helmet. For all the images, I worked in aperture-priority autoexposure mode, setting the aperture to f/2.8 so that the background would be slightly less focused than the helmet.
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CHAPTER 4: Exploring Product Photography and Other Still-Life Adventures
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Building a light tent is easy enough to do with sheets, shower curtains, or drop cloths, but if you need one frequently, save yourself some hassle and buy a commercial light tent or dome. Figure 4.8 shows two such products. The Cloud Dome (www.clouddome.com) has a bracket designed to hold your digital camera in place while you shoot, removing the need for a tripod. An optional extension collar enables you to increase the size of the dome and alter your shooting angle. For larger objects, manufacturers produce light tents in a variety of sizes; the two in the figure are from Westcott (www.fjwestcott.com). The Cloud Dome, bracket, and single extension collar sell for $225; Westcott s light tents range from $59 to $160 depending on size.
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FIGURE 4.8 The Cloud Dome (left) provides a portable light dome for shooting small objects; the Westcott light tents (right) are designed for larger products.
Using a Polarizer to Reduce Reflections
A light tent combined with diffuse lighting works great for eliminating reflections indoors. But what do you use outside, in strong sunshine, with an immovable subject say, a storefront window like the one featured in Figure 4.9 and on Page 18 of the color insert The answer may and I emphasize, may lie in a polarizing filter. For reasons explained in the sidebar How Does a Polarizing Filter Work , the filter may completely eliminate reflections, slightly reduce them, or have no effect at all. The outcome depends on the
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FIGURE 4.9 This storefront window reflects the sky, buildings and trees on the opposite side of the street, and a large Open flag hanging just outside the window.
angle of the sun, your camera position with respect to the sun and the subject, and the reflective nature of your subject. In the storefront example, the polarizer reduced reflections almost entirely, as shown in Figure 4.10 as well as in the color insert. (The window frame you see just behind the lettering is a stained-glass window hanging inside the building, not a reflected window.) I was standing at about a 35-degree angle to the front of the window, with the camera
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