Blending-Merging Images for Correct Exposure in Photoshop CC

[Roger3006]

Depends on the finish. I normally use 2 Medium soft boxes. The lights would be about 3 feet from each side of the shotgun at about a 15 degree angle.

The first image of the revolver, the light was behind the camera about 3 feet.

The second image was a 2 light setup. The light on the right was about 18 inches away at a 90 degree angle. The second light was placed four feet away pointing right down the barrel. I wanted to fill the shadows on the front of the cylinder and the front of the grip.


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[tirediron]

Try pulling your lights in closer; say 50% closer, (and dropping the power accordingly) and consider double-diffusing them. You might find things improve.

 

[Roger3006]

I have done that and often use a diffuser between the soft box and weapon; however, when you move in say 18 inches the mussel and rear of the stock will be overexposed and the center of the firearm will be underexposed. My rule of thumb is to keep my lights as close as possible keeping even exposure.

I have even used large soft boxes, which fill my studio, achieving very little if any gain.

I have 3 Speedotron 2400 w/s power packs normally using 2. Depending on the shot, I run them between 600 and 1200 watts. It is nice to be able to independently vary each light source without changing plugs.

I use additional diffusers, reflectors, and many other homemade gadgets.


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[Roger3006]

You would be amazed with what you can do with AC filters of different colors and textures.


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[tirediron]

I have done that and often use a diffuser between the soft box and weapon; however, when you move in say 18 inches the mussel and rear of the stock will be overexposed and the center of the firearm will be underexposed. My rule of thumb is to keep my lights as close as possible keeping even exposure.

I have even used large soft boxes, which fill my studio, achieving very little if any gain.

I have 3 Speedotron 2400 w/s power packs normally using 2. Depending on the shot, I run them between 600 and 1200 watts. It is nice to be able to independently vary each light source without changing plugs.

I use additional diffusers, reflectors, and many other homemade gadgets.


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That sounds like an awful lot of light for a job like this to be honest. I love my Speedotron gear, but it would NOT be my first choice for this sort work because of it's lack of fine control. No problem for portraits in the studio where you can move a light this way or that by 6" to get that 1/3 stop control, but honestly for this sort of work, would be using either speedlights (my first choice), or small <150w/s monolights with infinitely variable rheostats. Elinchrom makes some really nice units.

Having thought about this (because I really enjoy trying to figure out how I would light <whatever>), I think my first setup would be a home-made strip box about 8x60 with probably three lights to ensure even illumination and at least 2, and possibly 3 layers of diffusion. I would mount this above the rifle, as close as possible, but not directly overhead, rather angled maybe 10-15 degrees off the vertical so that you get some wrap on the rest of the weapon (assuming a standard size rifle as the subject). If there were especially reflective areas, then dark cards on the strip box would help. I would then have a bounce card about the same dimensions as the face of the strip box on the work surface, in front of the weapon, and angled to bring some light (my initial thought is 1 - 1.5 stops below key) underneath the weapon. If necessary, this could be filled by having a couple of speedlights behind the weapon firing toward the bounce card; again use light and dark cards to flag the light as appropriate for highlight control. It might also be worth considering cross-polarization for this sort of work.

Understanding that it will take a day or so to get this worked out, I think that once you do, you will be able to produce finished images much more quickly than your current processing regime allows, and that all that will be required most cases are slight adjustments to angles and position of the light/dark cards as appropriate.

 

[Roger3006]

I have tried the method you mentioned before with a strip box but only one light. When I have time I will give it another shot.

At ISO 100 I shoot around F8. I can crank things down and remain at that F stop when I remove the polarizer. I have given mono blocks a lot of thought.

I will post an image ASAP of the problem I often encounter. It is not major but annoying.

Thanks,

Roger


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