Light a Drinking Glass

[Scatterbrained]

...........

.............. What is the reason for masking off the white area that is not in the frame?

.........

Rob

It does the same thing as the black cards, while leaving a more open set

Wine Glass by tltichy, on Flickr​

The point of the black cards is really to stop wrap around light from outside of the frame from illuminating the edges of the glass, if there is no light from outside of the frame, but black instead, you eliminate that issue. You can then use the black cards to fine tune even more, this ability will be quite helpful if you are going to use a reflector to light the powder. You can use a white card up high with a black card below it.

 

[Scatterbrained]

Oh this is magnificent. This seems to be all back-lit, is that correct?

I need to build some sort of stand to hold my black foam-boards in place.

If you have a table saw you can take small pieces of wood and cut grooves in them.

 

[rob.trek]

Oh how I would love to have a shop with tools for projects. I'll go to Home Depot today to see what they have that will work

 

[Scatterbrained]

Cheap A clamps, at an angle on the card will hold it just fine too.

 

[rob.trek]

The problem here, as has been pointed out, is that you are trying to shoot a white powder against a white background. While shooting white on white is done all the time, in this case it's going to reduce the visual weight of the powder, making it a much less dominant element in the scene.

If shooting this on white is a must however, I would recommend changing up the tactic a bit. First, frame the scene. Use a longer focal length, like a 100mm or so. Use a low camera angle to help give a dramatic presence to the glass, rather than looking down on it, which diminishes it. If you are using a flat surface and separate wall for a background rather than a sweep, this will also bring the horizon line down below the bottom of the glass, rather than through the middle of it. Once you have the scene framed, mask off any area of the white background that isn't in the frame. Aim a light on the background and meter it about 1.5 stops above your exposure settings. Now you should be ready to turn off the ambient light and take a test shot. If everything looks good mark the location of the glass and start your pour shots. You may need to place a reflector to light the powder as it pours. After each pour, empty the cup and do it again until you get the shot you are happy with. Now you should have a good shot of the pour and a good clean shot of the glass to work with.

The lens I chose is the Tamron 180 macro; this enabled me to get close. lowered the camera angle as you suggested I also set the glass on black acrylic to add just a bit of reflection.

Braineack commented on the white background and I see his point. I tried a black panel for the background I could not figure out how to get the glass lit without reflections. I am sure this would be a no-brainer for most, but this my first attempt to light a glass.

I also added some front light in the form of a strobe pointed up and behind me. The garage walls and ceiling are white so this added a front light without reflection. I did not have any product to pour so here is a photo of the glass and liquid.

 

[rob.trek]

...........

.............. What is the reason for masking off the white area that is not in the frame?

.........

Rob

It does the same thing as the black cards, while leaving a more open set

Wine Glass by tltichy, on Flickr​

The point of the black cards is really to stop wrap around light from outside of the frame from illuminating the edges of the glass, if there is no light from outside of the frame, but black instead, you eliminate that issue. You can then use the black cards to fine tune even more, this ability will be quite helpful if you are going to use a reflector to light the powder. You can use a white card up high with a black card below it.

Scatterbrained: I put black cards on the white panel just outside the frame, as you suggested. This seems to have made significant difference: the sides of the glass are more defined. I also increased the light on the back panel and added a white panel across the top to bounce the light down from my on camera strobe which is facing up toward the back wall.

 

[Scatterbrained]

Do you have a large softbox? If so then shooting a single glass on black should be really easy. Make a black card that fills the frame and put it behind the glass, then put the softbox behind the card. Where the softbox sticks out on either side will light the edges of the glass. This will give you the white silhouette, just as the reverse gives a black silhouette.

 

[rob.trek]

Do you have a large softbox? If so then shooting a single glass on black should be really easy. Make a black card that fills the frame and put it behind the glass, then put the softbox behind the card. Where the softbox sticks out on either side will light the edges of the glass. This will give you the white silhouette, just as the reverse gives a black silhouette.

I have a large softbox. I am curious to try what you suggested. What are your thoughts on the last image I posted? I am new at this, but to my eye, it looks good. I will try the pour later this week.

Rob

 

[Scatterbrained]

It's definitely getting better. Rather than use black acrylic, if you have some clear acrylic, or glass, you can put them over your white posterboard for a seamless white with reflection; rather than the grey that you get from black acrylic.

 

[rob.trek]

It's definitely getting better. Rather than use black acrylic, if you have some clear acrylic, or glass, you can put them over your white posterboard for a seamless white with reflection; rather than the grey that you get from black acrylic.

Here is the glass with clear acrylic over white foam-board.

 

[rob.trek]

It's definitely getting better. Rather than use black acrylic, if you have some clear acrylic, or glass, you can put them over your white posterboard for a seamless white with reflection; rather than the grey that you get from black acrylic.

Scatterbraned: Thank you very much for your help. The blocks on the side made a big difference. I changed to clear acrylic as you suggested. It has been a few weeks since I have been able to work on this. My set is improved. I used angle brackets bolted to the black boards; now they are stable and can be shifted with ease. I used a black panel on top in the hope that it would enable more of the rim to show; can't tell if it made much difference. I also added a diffused strobe on camera to add just a bit of front light; it is directed to opposite wall. In my previous shots I attempted to wash out the line between the acrylic and panel; this time I left the line. I am not sure which is preferred by the experts. If I add more light, the rear rim is not visible, so I tend to like the line.

I look forward to your suggestions before I pour the product. Thank you. This thread has been a great help.

Here is what have so far.

 

[D-B-J]

Do you have a large softbox? If so then shooting a single glass on black should be really easy. Make a black card that fills the frame and put it behind the glass, then put the softbox behind the card. Where the softbox sticks out on either side will light the edges of the glass. This will give you the white silhouette, just as the reverse gives a black silhouette.

Porto by f_one_eight, on Flickr

I made this shot with a similar setup.

Jake

 

[rob.trek]

Here are some shots of my set:

 

[rob.trek]

Do you have a large softbox? If so then shooting a single glass on black should be really easy. Make a black card that fills the frame and put it behind the glass, then put the softbox behind the card. Where the softbox sticks out on either side will light the edges of the glass. This will give you the white silhouette, just as the reverse gives a black silhouette.

Porto by f_one_eight, on Flickr

I made this shot with a similar setup.

Jake

I have a large softbox and I will attempt to do as you suggested. I would like to wait for comments on the white shot before I dismantle the set to added the softbox. I know I will like the black, but I need to complete this shot first and then try something difference. Thank you for this idea.

 

[Scatterbrained]

Here are some shots of my set:

View attachment 76910View attachment 76911

I'm curious, how are you going to pour with a box over the glass? When I was talking about flagging the background around the area that is in the frame, I meant all of it. Or at least the top and sides . Then you won't need to make a fort around the glass (even though we all know how much fun it is to make a fort). It's also helpful to prevent light from hitting the wall outside of the flagged area. If you have some grids or barndoors that'd come in handy, or even some cinefoil for a makeshift snoot. You should only need one light on the background.