My furniture shoot...

kundalini · Feb 26, 2010

Awesome craftmanship on the furniture Don. I'm guessing you're a 'no hardware' kinda guy with joints and fasteners. I used to dabble with smaller stuff like jewelry boxes.

I like the photos and see what you mean about the end use of the shot with regard to background and shadow. There is some background blowout that is causing the wash of color, particularly with #2 & 3. Otherwise, nice work.

Don Kondra · Feb 26, 2010

kundalini said:
Awesome craftmanship on the furniture Don. I'm guessing you're a 'no hardware' kinda guy with joints and fasteners. I used to dabble with smaller stuff like jewelry boxes.

Thank you, I do lean towards traditional joinery...

I like the photos and see what you mean about the end use of the shot with regard to background and shadow. There is some background blowout that is causing the wash of color, particularly with #2 & 3. Otherwise, nice work.

Yes, that is the result of the tight shooting set up. When I "saw" the results I decided to concentrate on lighting the object and clean up the background in post.

This photo of my recently completed camera stuff storage cabinet is more along the lines of what I am aiming for as far as shadows.

Note that the lighting is a little on the dark side to emphasize the curl in the panels.

Traditionally lit detail..

This is a snap shot with ambient light and better represents the "true" color of the woods.

Cheers, Don

Don Kondra · Feb 26, 2010

EvaEtheldred said:
I am allowed to move the furniture. couches and chairs anywhere i need to get a good shot. What is suggested as far as moving furniture away from walls for lighting purposes. The floors are wooden. The furniture is victorian.

You might want to start a new thread with your question, chances are you may receive more than just my opinion

Off the top of my head I would have to say that if you are not going to use a seamless backdrop it may be best to just shoot the furniture in situ, ie., against the wall as it would normally appear. The "eye" is used to seeing the junction of the floor and wall.

The most commonly used angle is a 3/4 profile. That is with the camera roughly forty five degrees to the cabinet showing the front and side.

With a dark wood and a dark floor it would be best to use a seamless backdrop. In this case I would move the furniture as far forward of the backdrop as you can while still having the backdrop fully in the frame.

Depending on the end use of the image I would start with the traditional three light set up, a main, a fill and one or two on the background.

Hope that helps.

Cheers, Don

emmajones · Mar 13, 2010

what so ever nice back drops, did you mad your self?

Emma Jones
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journey · Mar 17, 2010

Don Kondra said:
Greetings,

Finally made some time to reshoot some of my work with a proper backdrop..... Alien Bees and "focus gray" paper backdrop.

Lacquered side table...
....

I only had room to hang a 6' backdrop, the shop is choked with an order of custom sprayed work. In hindsight I should have waited till it was delivered. Then I could have hung a 9' backdrop, moved the pieces forward and not blown the background in a couple of the shots, sigh...

Let's call it a work in progress or a test of my strobe set up

Cheers, Don

Wow, It is so exquisite, I like these furniture

Garball · Mar 19, 2010

Ok, it's time to separate the men from the boys.

You've dealt well with the basics of position - leveling - and camera alignment.

Now it time to add some sparkle and class to your images.

By the look of things you're using two lights at 45 degree angles. If I'm wrong let me know.

You need to move one of the lights around behind the piece and begin to render the texture and surface of the materials being photographed.

A third light, if you have it, would be ideal. It's more difficult without the third light but can be done with an aggressive reflector placed properly where the previous "light" was located.

The idea is to render the product in 3D instead to flattening it with twin 45's. Get it?

If you attempt this, the products will come to life and all else being equal, you presentation will sparkle. Suddenly the texture and finish will become visible and exciting to the viewer.

You don't need much power from the "Skim" light as it is very efficient compared to the others so don't over do it. Just need enough to create the 3d illusion.

g

Don Kondra · Mar 19, 2010

FYI, all shots with the exception of the last two images are with three lights and are straight out of camera.

After appropriate processing they are intended for portfolio/grant proposals and/or submission for publication in woodworking magazines.

As such, they would not benefit from a treatment such as your example.

To expand on what I mean, I do not want to confuse my potential clients with colored backgrounds and tilted angles. They should "see" only the object.

Craft jurors are going to be looking at form, texture and detail to determin technical competence. Shadow placement may have an initial unconscious visual impact but they will soon focus on the object.

Woodworking magazines generally lean towards the standard 3/4 profile studio shot, one magazine in particular prefers in situ shots.

Thanks for taking the time to reply.

Cheers, Don