jewellery photography kit This is a topic that many people are looking for. bluevelvetrestaurant.com is a channel providing useful information about learning, life, digital marketing and online courses …. it will help you have an overview and solid multi-faceted knowledge . Today, bluevelvetrestaurant.com would like to introduce to you Jewelry Photography – Lighting and Focus Stacking. Following along are instructions in the video below:
“Gang commercial photographer tony rosalind. Here again in the studio. Today. We re going to to do a little diy project with you followed by an actual product shoot stay alright guys welcome back like i said.
We re going to do a little diy project and then follow it up with a jewelry shoot for catalog. We approach catalog photography. A little bit differently than we do with hero photography or advertising photography. The idea behind catalog photography is to be efficient.
We want to be consistent in our lighting in uniform and how we present each piece. There s typically a lot of pieces that we have to get through in a short amount of time to make it cost effective for us and the client. So i ll show you how we approach that today. You may hear a little bit of background noise.
Today. I apologize for that i have my daughter in the studio with me today. She s two and a half and she s playing with a bag of marbles it sounds like so yep. There s one at the floor.
So i apologize in advance about the background noise. We ll do the best we can to get it cleaned up and edited out in post but in any case when we shoot jewelry rings in particular we typically glue them down to central board. You can put them on matte board. As well either one will work sentry.
Usually cleans up a little bit better we use a standard hot glue gun. You d find in any craft store and we glue them so that they stand up just like this wedding band is here is the engagement ring and we could position that any way you want to with the wedding band and then once it s on this piece of central board. We can put this in front of the camera and we can maneuver this at any angle. We want to to get the best light in the best angle on the particular ring set today.
We are going to be shooting. A pendant. This is the pendant that we re going to be shooting. Generally want to shoot these straight on for catalog work.
Whereas with an advertiser hero. We may shoot them laying on a surface of some sort. There may be other props in it for catalog. Photography.
Usually pretty heads up and straight on. So the way we do that is by putting it into some sort of frame to hold it up in front of the camera. This is a pre cut piece of mat board. You can get it any art supplier or framing shop.
They re a little flimsy. Sometimes you can get double walled thickness. Which would be better and we clamp this to the mat board. So that we can stand it up in front of the camera.
We can light the background with whatever color generally white because we re going to do a ko or some kind of knockout or retouch or will do that if you don t want to buy a pre cut one you can cut one yourself plain mat..
Board is very very inexpensive. This is black on one side white on the other and i m going to show you how we cut this out and make our own little stand for pendant so the tools. We re going to be using today in addition to our mat. Board our pencil a straight edge.
A small a clamp. An exacto knife and a couple of c 47. Clamps. I ll show you how we put all this together.
Here. Now okay. We ve got our map. Board cut.
And so now the way we get this to stand up in front of the camera is just by putting a small a clamp on the bottom. And it will stand up by itself. And then we can have our pendant clipped with the clothes pins or c. 47s.
So that it hangs just where we want it to in the frame. You may want to play with these a little bit to adjust the angle of the chain. You may want it more obtuse or more acute depending on what the standards for the catalog that you re shooting for but this will give us a good start we can get this in front of the camera. We can get it lit up and then you know we can position it as we need to so let s head on over to the set.
And do that alright guys now we re over here on set. And i just want to take a minute to run through the equipment that we re going to use today for this shot starting with our phase. 1 camera. This is an iq series digital back we re using a maybe a 120 millimeter macro lens.
We have a number 3 extension tube on here to get us even closer to our subject. I am mounted to a really rite stuff l. Bracket and on top of that or underneath that i m mounted to a really right stuff mac macro. Focusing rail.
A focusing rail allows us to make my new focus adjustments rather than having actually turn the lens. The reason we need to do that is because we re so close to a product. We re using medium format camera and a telephoto lens our depth of field is very narrow. So we end up taking anywhere between 6.
And 15 shots. When we do something like this we do a what s called focus document we take a shot. We move the sled just a little bit we take another shot. We move the sled again we take another shot.
We ll do that like i said maybe 15. Times. We put them into a piece of software called hillock on focus. Which handles all the focus stacking and makes one sharp image out of all those exposures.
Photoshop has this built into it as well..
But in our experience. We found the gila compote. There s just a little bit better at it so that s the route that we take we re going to mount this on our really wright stuff ph 55 ball head. Which is attached to our fobus stand this gives us a rock steady platform to shoot with and we don t want to have any movement in this when we re shooting draw because we re so close the finest movements will both cause it to be completely out of focus so the last piece of the puzzle is our tether tools cable.
We re tethered directly into the computer. So that we can check focus and composition on a bigger screen than trying to do it on the back of the camera. So let me get it mounted up here and let s show you the rest of the set all right guys onto the heads and packs that we re using in this studio. We use profoto packs and heads.
This is an ax profile. This is a profoto acute. D4 head this one on the front has a zoom to reflector with a grid. I think it s a 20 degree at 20 degree grid in it and this honeycomb grid.
Just helps focus the light narrow the spread of light onto particular area of our subject. The one here is used just punch a little bit of light right into the front of our pin. It helps bring out the fire in those diamonds. Secondly.
We have a pro photo 5 foot octa box overhead. Doesn t have to be a 5 foot octa. Any large light source overhead. This is just kind of our general fill for the whole scene.
We have another head behind the scene. And it s the same as this it s another acute head with a reflector and a 20 degree grid. And it s firing from the back of the scene and i ll show you what that s doing in just a second they all get tied into this which is our pro photo d4 4800 pack we have several of these here in the studio that we use 4800. Watt seconds.
There s a ton of power here. So it keeps our recycling time quick. We re using three channels with those three heads for now this the beauty of these packs is i basically get four channels in a single pack. Whereas some packs only have two channels.
Some monoblocks only have obviously a single channel. The ones that do have multiple channels typically if you move the or one channel. It moves all the channels together this gives us four independent attenuation you know each channel. We can adjust independently so great packs absolutely love them they re bulletproof and give us a tenth stop increments adjustment.
And we absolutely love them in front of our set. We hang in rosco 3008 diffusion role. This is camera side diffusion this just helps diffuse first of all this light source coming from behind. But also gives us a little bit of bounce from the light that we have behind the set back into the front of our product to help with that general fill.
We have a small hole cut the size of our lens. This keeps the jewelry from reflecting everything else. That s in the studio. So it s basically going to be reflecting the diffusion panel.
Which is essentially white..
Which is always better than all the other stuff in our studio reflecting into this bright shiny surfaces of our jewelry so let s walk around behind the set and i ll show you what s going on back. There okay guys now we re back behind the set. Here and basically our overhead fill again this is. At 5 foot octa here s our diffusion panel.
The rosco 3008 that s hanging as camera side diffusion. The profoto head with the 20 degree grid on it firing at the back of the set like i mentioned before now that s coming through this diffusion panel. This is one of the diy panels. We built a few weeks ago.
If you haven t caught that video search around and try to find that because it s a tells you how to make these things on the cheap. I think they cost about 30 bucks to make these diy diffusion panels. We re using that as a shoot through from behind it also helps soften our overhead light even further here is the frame that we just built actually this is one like it i have several of them laying around. But this is the matte board that we just cut with our pendant hanging in place with our clothes pins.
And then our small clamp on the bottom. Which helps keep it upright. So what we re going to do is just slide that right into the set in front of our camera. And we have to look through camera and make sure we get it positioned just right.
But the central board that we were mounting the rings to earlier on in the video. I have several pieces of that cut as well we use it for all kinds of things. It s great for bounce bouncing fill into products as such the reason. I like this is because it s rigid.
It s more durable than bone core. It s also really white which foam core thins out a little bit of a yellow cast to it so we try to use this as much as we can i have quite a bit of it we re also shooting on a white table. This is just a actually i got this at ikea from the ding and dent section for like 30 bucks. You know i think it was a desk or something at one time that some kid may have nicked in the store.
And they threw him to the clearance. Bin and i picked it up real cheap and we use it all the time as a surface again because it s white. It helps bounce light up into the product and keep everything nice and bright so these cards again. We have little a clamps on the bottom of them.
And we use them to slide into the set as fill kind of on the front of our products. So we ll get a close up here just a second to kind of show you what we re doing under here. But we get them nice and close and i put one on each side just to kind of build a triangle around the front of our product. Which really helps keep light bouncing into those stones.
Which makes them really sparkle and look really really nice so let me put the other side in and then i will show you a close up in the set so we re sliding our one of these bounce panels. These central bounce panels into place was just held with a small a clamp and that just helps us bounce. A little bit of light back into our product. There you can see our pendant is in place here on that matte board that we had cut out earlier and our camera is back here coming through the camera side diffusion hole that we cut and this just kind of straddles.
The camera. So that it helped bounce light back into the scene. Particularly the light from the overhead of five foot octa as well as the gridded behind the set. So okay now we re back around the other side here of our set ready to get shooting first thing.
We want to do i usually loosen up this head coming from camera side..
This is what s given us kind of our sparkle in the diamonds. I loose it at the stand so that with one hand. I can move it around and kind of see what it s doing through the modeling light on i can move it around and see what it s doing while i m looking through the camera at the diamond and or the pendant in this case. And i can see exactly what this light is doing once i get that nice sparkle.
I ll stop and lock it back in place. So i ll do that now okay. That s all set up now if we re focusing on this like i mentioned. Before probably going to do a focus stack here.
So i typically start on the area that s closest to the camera. And then i ll move my sled one rotation at a time as it moves through the product. Snapping a frame each time one of the other things that we certainly do is shoot with mirror lock up. So.
The first shutter click will lock up our mirror. And then from there. I ll fire it on the computer or sometimes i ll use a remote to trigger. It i don t want to press.
The camera. You know i don t want to jiggle the camera again to actually hit that shutter. Because i want to have as little movement as possible on this by locking up the mirror keeps that vibration of this huge mirror and these medium format cameras to a minimum so the next shot would be firing for our shot and looks like we got a pretty good start so i m going to go ahead and move through these capture the exposures. We need dump them into ela con and then we ll show you the finished product.
So hey guys okay so we re back here at the computer. We ve gotten all our shots. We put them all in the gila con focus. Did our focus stack took them from there into photoshop to quick retouch on them.
We didn t really even have to knock out the background. Because of that matte board that we used earlier it s far enough off our background. We re able to over light. The background to get a nice white behind our pendant.
So that saved us some time. It s a lot of contrast in these diamonds. We got good shine on the opal. The client will buy that all day long.
They ll love that for catalog photography. So it s not magic piece of centrum with a clamp piece of matte board with a clamp three lights and a little bit of time playing with some rosco diffusion. You haven t checked out the diy video on our how to build your own diffusion panels for under 30 bucks definitely check that out those things we use them all the time here at the studio and hopefully you pick something up we ll catch you next time thanks a lot. ” .
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