Alice Cooper at Joe Louis Arena, 1987: According to Ken Fact: “Alice was piercing confetti-filled balloons with a sword in this encore minute, however, he had a surprise for the crowd. A few of the balloons that he pierced delivered gallons of fake blood raining down on the front rows (along with also the photographer!) . I was able to get this opportunity after being completely drenched from the gory surprise!”
Who’s prepared tackle an easy weekend DIY project to boost your studio work and to go to Home Depot? This valuable video will show you how you can construct your own v-flats, a highly versatile and useful (and inexpensive) tool every studio photographer should have.
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The shortlists for the Royal Society of Biology’s (RSB) amateur photography contest are announced.
More than 600 admissions to the contest have been narrowed down to 11 searching for its best prize, and 2 for its Young Photographer of the Year award.
This season’s theme is “The Hidden World”, with photographers capturing those moments not generally visible to the human eye — by the microscopic detail of creating frogspawn, to a Indian Lake seen from 30,000 feet in the air.
Photographer of The Year
1. Two Significant eyes from Miao Yong
The exquisitely piece, shot in China of Yong, celebrities two damselflies.
2. A world only under our skin from James Patterson
It’s not a world. Taken at a lab in London, ” the shot of Patterson is really a light micrograph showing a hair follicle.
3. Ghost crab from Javier Herranz Casellas
Casellas’ picture shows Ghost Crab, or the Ocypode Pallidula. Their camouflage allows them to disappear immediately on a sandy shore by standing still, although the little crabs are able to move at rates of 20kph.
4. The Emerald Lake from Partha Saha
Taken from 30,000ft in India’s Kashmir and Jammu region, the aerial view of Saha indicates an emerald green glacial lake at the Zanskar mountain range.
5. Out of this shadow from Peter Burkill
Blakiston’s Fish Owls are amazingly rare, with a few people. Burkill’s shooter, from Hokkaido, Japan finds the universe not only out of obscurity, of this bird but also their nocturnal existence.
6. Hooks and mimicked from Steve Lowry
Another light micrograph, the time of the skin of the sea cucumber. It’s though that the spikes can discourage predators from eating the sea animals.
7. Life at a drop from Anup Deodhar
This very small egg is. The photograph indicates the froglet inside its transparent home fully developed and ready to satisfy the world.
8. Spawn Development from Amy Bateman
More frogs. Taken at Cumbria, at Croft Foot farm, Bateman’s macro photography shows the neuro method in frogspawn that is common.
9. Springtail from Marc Brouwer
Springtails are merely a millimetre or two in dimension, but Brouwer was fortunate enough to track among those elusive creatures down in an area in Genemuiden.
10. Chara antheridia from Chris Carter
This entry from Cornwall shows a microscopic view of algae, the Chara fragifera. The red spheres are encompassed by a closely-knit selection of defense cells.
11. Welcome to my humble abode from Duncan McNaught
McNaught lives in South Scotland, and this shot shot in Galloway shows an insect infestation out from its home that is fungi.
Young Photographer of The Year
1. Coleman on Fire from Dheeraj Nanda
Taken in Maluku, Indonesia, a female and male Coleman shrimp sat at a flame urchin — a organism with which they have a real life relationship is captured by the photograph of 17-year-old Nanda.
2. Compact Complexity from Alannah Harding
Harding 17, gives a microscopic view of a mouse embryo’s core, surrounded by other organs. The picture was shot at Queen Alexandra Sixth Form College at North Shields, England.
The Photographer of the Year contest winners will be announced in a ceremony on October 12 in The Hatton at London — with all the best trophy winning #1,000 and the youthful winner that an award of #500.
To find out more about the contest, visit the RSB’s website here.
For the last installation of this series we’ll explore the last and third cog into the item photography studio. We’ll discuss the system that will allow you to catalog and edit your images to receive them ready in a hurry. For this we are likely to deploy Lightroom. I am sure that there are programs that may be inserted here because we alterations and are just currently doing some minor alterations. If you’ve Lightroom follow along and fire up it.
I love to shoot tethered when I work from studio for a couple explanations. The first being that I could observe the image I shot on a screen. I can zoom in and watch details that are hard to reach on the rear of a camera screen. The next explanation is that I’ve got all of the shots automatically sorted into the right folders.
SETUP THE TETHER
To begin with tethering from Lightroom go to File > Tethered Catch > Start Tether Capture.
From that point you will enter the settings. I always set the item name as the session name, in this instance “Stan Lee” because I’m shooting action characters. Next is that the naming, I let the filename remain the component number (or product name) but include a number sequence to the end. You are able to certainly do whatever works for one to differentiate the shots.
Next choose the location where you want your images to be stored by Lightroom. In this scenario I am going to have each of the shots go into the folder for the client “XYZ” so I make a folder called “XYZ Product Images”. Lastly include the metadata information, in this instance my copyright and contact information. Then hit OK.
Next you will find a display that you can place anywhere on your Lightroom screen, I like to put up it . It demonstrates that the camera is connected.
*TIP* If nothing is showing up check that you camera is switched on and that the cable is attached. If this fails, then reboot your camera, reboot Lightroom and then remove and reconnect the cable. This clears up 99 percent of tether problems. Is the component number and the remainder of your camera settings.
(You may read all about my camera placing in my other DPS article here; strategies for Fast and Powerful Studio Product Photography. Now that you have your tether record all installation you can start taking photographs.
THE PHOTO SHOOT
With this shoot my client wants two angles of the Stan Lee action figure. So I utilize our basic lighting installation (discussed in this article; Equipment strategies for Quick and Efficient Studio Product Photography) and choose the very first shot.
Let’s take a look. Hit the D key to input the module, or click Create at Lightroom’s very top. Ensure hitting the J key turns on your clipping discovery.
What I am attempting to achieve here is to dismiss the background. If it had been blown out we would be showing red (trimmed) in Lightroom. We aren’t seeing this, which means I want to decrease the shutter speed to let in light. Let’s try 1/3 of a stop for a little more additional light and shoot.
Establish the vulnerability
Now we are cooking with passion. All of our subsequent shots will be dialled in creating work that is less. It’s not crucial to have the whole backdrop clipping. For some areas, actually it will mean you’ve lost a ton of contrast from the image. This quantity of red is okay for this topic.
Remember reflective and white products will end up overexposed should sooner than darker ones, so place your exposure. In the event you have zero red on the background there Lightroom. But remember that each and every bit of work you do later in Lightroom costs time try to get it right in camera.
*TIP* With this product photography studio installation it is really easy to receive many merchandise angles in such a brief amount of time. It’s always wiser to take extra angles now instead of have others are asked for by a client later. Now that we have four angles of Stan Lee let us change to the item.
Change the Item
Click the tiny gear icon on the tether tool that will bring up the Tether Capture Settings and you’ll be able to change your session name into the brand new item number, in this instance, “Wookiee”. Hit the tab key twice, taken number 5 is read by it and as, as you can observe the string number is retained from the last shot. Hit the number 1 key and hit OK or Enter.
You are now setup to take the next shot and each of these new images will go into the “Wookie” folder but stay in the home job for XYZ Products.
We’ve got enough, as before, we’ll take four angles for the client to be sure.
If we enlarge the navigator pane you’ll be able to observe that we have two product folders, “Stan Lee” and “Wookie” and there are four images in each. We can see all of the images by selecting the “XYZ Product Images” folder. So that you can close it, we are now done with the tether tool.
This is where I export them and will capture all of the images from the shoot. The client selects and then these are edited by us. Let’s pretend they’ve already given us their record and start the edits.
Create the background white
Hit the D key to input the module, or click Create at Lightroom’s very top. The very first thing I’d like to do is be sure that the desktop is blown out (pure white without any detail). To try it, make sure your clipping highlight feature is switched on, (hit J on the keyboard if it’s not).
The whites will increase with an adjustment brush since a little assistance could be used by our shot at the base. Hit the K key and with a fresh brush input +1.00 on vulnerability and also +40 on whites (I’ve saved this preset because its brush referred to as “blowout”). Turn on Car Mask, it really does a great job of keeping those settings in case you receive a little too close from inadvertently bleeding on the subject. Only paint the white background and it will clip the whites. Finish painting if it does not, then put in a fresh brush and paint again.
Hit your K key once more to return to image alterations. Switch clipping off highlights by hitting on the J key. This gives you the capability to focus through the alterations on the subject. With this image I included +20 contrast, -30 blacks, +30 clarity along with +20 saturation.
By bringing up the filmstrip at the base of 23, these settings can be easily synced by you into the remaining part of the item image. If you do not see your filmstrip, click the small up arrow at the base of the module that is develop. Choose your image, hold you Shift key and then click the image. Click the Sync button in Lightroom to use the settings to all of the selected images.
We’ll select Colour, Clarity and standard Tone to sync just those effects on the rest of the images.
Just click Synchronize and the rest of the goods will find precisely the exact alterations. Remember that you still should return to each image and make sure their backgrounds are trimmed as well. The Adjustment Brush feature can be used by you too. Our Stan Lee goods are now on white wallpapers and they look fantastic.
I will show you a method that is marginally faster albeit occasionally much less precise. Input the Create module, and see whether the Whites slider will automatically clip the background. Into the Whites slider I included +93 for this image.
Worked like a charm. Let’s finish giving some love that is additional to this tiny man. I included +20 clarity, -30 blacks, and +20 contrast. I also added any sharpness seen in the Detail pane. This time, once we pick all of synchronize and our goods I will click the Check All button.
While I do a quick look at the remainder of my Wookie goods that they all look good. These are prepared to export and it took me less than two seconds to edit each of four images.
Assuming you already possess a calibrated screen, the only other thing you might want to do is put in a custom color profile to get you camera into Lightroom. This will make sure that your product colors remain accurate, which is extremely important. You can see the best way to do this with this dPS article; How to Use the X-Rite ColorChecker Passport to Obtain Perfect Color.
This finishes my three part series for studio photography and also to inject some pace into it. I hope you enjoyed it. Thank you.
The post Post-Processing: The Final Phase of Studio Product Photography from Jacob Macias appeared first on Digital Photography School.
Erin Laughlin as Mama, Directly, along with Rachel Borwein as Jessie during a rehearsal of The Studio Players’ production of ‘night, Mother in the Golden Gate Community Center at Naples on Monday, Oct. 16, 2017.