Basic Photography Course

glass, rather than as they appear to the eye from the
camera position. Attempt to arrange them so they fill the

picture area in an interesting manner. Do not arrange
them in a long, narrow line with black space above and
below them.

Exploded view photographs provide the viewer

with positive identification of the many parts and pieces
that make: up a given machine, instrument, or
manufactured assembly. When photographed on a light
box, you can illuminate the shadows. The various parts,
shown in order of assembly, appear to float in the air in
correct alignment and perspective.

A substitute for the light-box background is a sheet

of plate glass firmly supported approximately 20 or 24
inches from the floor. Two floodlights, directed from
either side of the glass, bounce light evenly from the
white seamless paper on the floor up through the glass.

Preparing the Parts

Disassemble the parts carefully so they can be laid

out in order of assembly. Clean each piece thoroughly,
removing any lubrication or foreign deposits. Lay the
parts out as they are to be photographed, and study each
piece before you proceed. Large areas of stainless steel
or bright metal should be sprayed with a dulling spray
to prevent objectionable "hot spots." Smaller areas can
be treated with an eyeliner.

Where edges or screw holes do not show readily,

they can be edged with a black grease pencil.
Conversely, when the part is dark, white pencil or chalk
can be used to define it.

Setting Up the Parts

Place the parts on the glass in order of assembly. To

stand small parts up, mount them on a small strip or
square of acetate with a little beeswax supporting the

piece from behind. Even the smallest screw should be
mounted on a base so it can be slid into exact position
later. The base should be cut as small as possible so it
does not interfere with other parts lined up close to it.
Heavier pieces can be mounted on small squares of
glass.

To obtain an illusion of height, you can move the

parts away from the camera There is a limit to this
procedure, however, and when a part becomes too small
in relation to others, it should be elevated. Various size
blocks (painted flat white) and, in some cases, glass
shelves or long, narrow strips of glass are sometimes
used.

Camera Angle

For the majority of subjects, the most desirable

camera angle is 45 degrees above and to the side of the

assembly. From this vantage point, you can see the top,
side, and end of most parts.

PHOTOGRAPHING GLASS

In photographing glass, it is the background and

reflections from the background that light the glass.
Glass objects can be pictured clearly by lighting them in
such a way that they stand out as dark outlined shapes
against a light background or as a light outlined shape
against a medium or dark background. These techniques

of lighting are actually variations of a basic silhouette
method.

The Set

The setup for photographing glass products consists

of white seamless background paper. The background
paper is curved forward on the floor so it is completely
underneath the area containing the setup. Place two
supports, such as sawhorses or tables, on the forward
part of the background paper. The supports should be
spaced to hold a sheet of plate glass. The plate of glass
gives you a transparent worktable through which light
bounced off the background paper in back of and
underneath the glass product will pass. Strips of colored
or black paper can be attached, out of camera view, to
the background paper for edge effects to the glass

products.

Because the light reflected from the background is

usually the only source of illumination, the film
exposure is relatively long. Proper camera equipment
and a sturdy tripod are necessary to prevent movement
during the rather long exposure.

The height or camera angle varies for different

subjects and showing the ellipse or oval of the rim adds

depth and roundness to the picture, since most glass
items you photograph are three-dimensional.

Lighting

You should be able to darken the studio completely.

An overhead light, an exit sign, or even a light leak
around a door can cause problem reflections. And not
eliminating unwanted reflections results in much time
and effort wasted.

Lighting glass products (fig. 6-15) is mostly a matter

of personal taste. It can be learned by practice and by

6-30

contents

Basic Photography Course

<- previous page

next page ->


DOFMaster for Windows On-line Depth of Field Calculator DOFMaster for Mobile Devices On-line Depth of Field Table Hyperfocal Distance Chart Articles FAQ Recommended Books Support Contact Links Home As an Amazon Associate I earn from qualifying purchases.	contents <- previous page next page -> glass, rather than as they appear to the eye from the camera position. Attempt to arrange them so they fill the picture area in an interesting manner. Do not arrange them in a long, narrow line with black space above and below them. Exploded view photographs provide the viewer with positive identification of the many parts and pieces that make: up a given machine, instrument, or manufactured assembly. When photographed on a light box, you can illuminate the shadows. The various parts, shown in order of assembly, appear to float in the air in correct alignment and perspective. A substitute for the light-box background is a sheet of plate glass firmly supported approximately 20 or 24 inches from the floor. Two floodlights, directed from either side of the glass, bounce light evenly from the white seamless paper on the floor up through the glass. Preparing the Parts Disassemble the parts carefully so they can be laid out in order of assembly. Clean each piece thoroughly, removing any lubrication or foreign deposits. Lay the parts out as they are to be photographed, and study each piece before you proceed. Large areas of stainless steel or bright metal should be sprayed with a dulling spray to prevent objectionable "hot spots." Smaller areas can be treated with an eyeliner. Where edges or screw holes do not show readily, they can be edged with a black grease pencil. Conversely, when the part is dark, white pencil or chalk can be used to define it. Setting Up the Parts Place the parts on the glass in order of assembly. To stand small parts up, mount them on a small strip or square of acetate with a little beeswax supporting the piece from behind. Even the smallest screw should be mounted on a base so it can be slid into exact position later. The base should be cut as small as possible so it does not interfere with other parts lined up close to it. Heavier pieces can be mounted on small squares of glass. To obtain an illusion of height, you can move the parts away from the camera There is a limit to this procedure, however, and when a part becomes too small in relation to others, it should be elevated. Various size blocks (painted flat white) and, in some cases, glass shelves or long, narrow strips of glass are sometimes used. Camera Angle For the majority of subjects, the most desirable camera angle is 45 degrees above and to the side of the assembly. From this vantage point, you can see the top, side, and end of most parts. PHOTOGRAPHING GLASS In photographing glass, it is the background and reflections from the background that light the glass. Glass objects can be pictured clearly by lighting them in such a way that they stand out as dark outlined shapes against a light background or as a light outlined shape against a medium or dark background. These techniques of lighting are actually variations of a basic silhouette method. The Set The setup for photographing glass products consists of white seamless background paper. The background paper is curved forward on the floor so it is completely underneath the area containing the setup. Place two supports, such as sawhorses or tables, on the forward part of the background paper. The supports should be spaced to hold a sheet of plate glass. The plate of glass gives you a transparent worktable through which light bounced off the background paper in back of and underneath the glass product will pass. Strips of colored or black paper can be attached, out of camera view, to the background paper for edge effects to the glass products. Because the light reflected from the background is usually the only source of illumination, the film exposure is relatively long. Proper camera equipment and a sturdy tripod are necessary to prevent movement during the rather long exposure. The height or camera angle varies for different subjects and showing the ellipse or oval of the rim adds depth and roundness to the picture, since most glass items you photograph are three-dimensional. Lighting You should be able to darken the studio completely. An overhead light, an exit sign, or even a light leak around a door can cause problem reflections. And not eliminating unwanted reflections results in much time and effort wasted. Lighting glass products (fig. 6-15) is mostly a matter of personal taste. It can be learned by practice and by 6-30 contents Basic Photography Course <- previous page next page ->	As an Amazon Associate I earn from qualifying purchases.
	WWW.DOFMASTER.COM © 2006 Don Fleming. All rights reserved.