Marc thought it might be a good idea to post my instructions for how to photograph models. So here it is:
MODEL PHOTOS
1. Shoot outdoors in daylight, but in full shade (such as under a covered patio) on a table, with a seamless backdrop (a roll of paper) taped to the wall or window or sliding glass door onto the table. The backdrop MUST be paper (not cloth), white, no folds, wrinkles, or creases. One piece of paper on the table and a second piece of paper hanging from the wall is NOT acceptable because it will create a ?horizon? line.
2. ALWAYS use a tripod.
3. Use a 100mm lens or the equivalent zoom (e.g., 35-135, 70-200 at approximately the 100mm setting). Shoot at f/22 or f/32 and take additional exposures +/- one and/or two stop(s) on either side of ?correct?. On a typical digital camera, use ?Aperture Priority? and shoot at the biggest f-stop number such as f/11 or f/8. If you can't adjust things manually, shoot where there is a LOT of light so the lens will automatically stop down.
4. Before attaching the camera to the tripod, take it right up to the model and expose on the side of the model (but from the same angle at which the camera will point). DO NOT ALLOW THE LENS TO ?SEE? ANY OF THE BACKGROUND OR YOUR MODEL WILL END UP LOOKING LIKE A SHADOW. You also may expose on the palm of your hand. It will create a fairly accurate starting point.
5. With the camera on the tripod, get as much of the model in the viewfinder as you can while still allowing a little room around the image. Again, use a 100mm lens or the equivalent. A 35 or 50mm lens is inadequate. With a digital camera, zoom the lens between three-quarters and all the way out (telephoto).
6. Shoot from as close to a ?scale man?s eye level? as possible unless, of course, you are showing the roof or underbody.
7. Use at least a 3 megapixel digital camera. Use the digital camera?s finest setting (biggest file size). Remember to set the digital camera?s color balance for outdoor, incandescent, or fluorescent depending on the kind of lighting. Usually, the "auto" color balance is best for outdoors and often very good indoors, too. If you can shoot in RAW mode, send those files instead of JPEGs.
8. Shoot 3/4 front, 3/4 rear (opposite side), side view and, if necessary, bottom view, top view, and details. You must have enough views for a modeler to recreate your work.
9. Do not omit or compromise on any of the above ?rules? or you will lower the quality of your photos.
Russ
Russ,
thanks for these instructions. They are a great help, at least to me, as I struggled to get good light effects.
Jacq
Jacq, anytime you (or somebody else) has a question about how to photograph a diorama, layout, or model, I will be happy to try to answer it.
Russ
Excellent list of tips and suggestions Russ. Perhaps you should make it a sticky topic so it's always easy for viewers for find?
Paul
Good info:
For those that don't know why/understand the benefits/use/purpose of the .RAW format that Russ mentioned in his original post, here are two links with an explanation:
http://www.northlight-images.co.uk/article_pages/why_use_raw.html
http://www.cambridgeincolour.com/tutorials/RAW-file-format.htm
Marc
I wrote this up in regards to a question on another forum, of what set-ups I use to shoot my models...and since it was such a long winded thing to type/compile, I figured I would put it to some use and post it here as well. ;) ;D ;D ;D
Please note that this is all just "improvised" and I claim no real factual knowledge about photography whatsoever. I am completely ignorant when it comes to photography. Everything I do has come as a result of trial and error, and on tips
I have picked up along the way, I wouldn't know the difference between F-stop and apperature if it fell on me. I probably do things that make a real photographer cringe and shake his head....but fortunately with some luck and a bit of post-production work, I seem to be able to produce an acceptable result. ;D
The camera I am using is an older model Nikon "CoolPix 8400", 8 mega-pixel digital (not a digital SLR). It has digital "lense adjustment" from 28-85mm. It shoots in all formats JPG/TIFF/RAW, and can be set to automatic or fully manual, (and many places in between).
_______________________________________
In all my set-ups, I use/suggest using, the following "Basic" principles:
Always shoot with a Tri-pod.
Always use the "auto-timer" or a remote shutter release.
Shoot in .TIFF or RAW format. These produce a far superior image (due to the way the data is handled), that can be better worked//adjusted/corrected with photo editing programs such as Photoshop. These formats are also better for use by magazines in publications. If your camera does not shoot TIFF or RAW, use the highest possible quality/pixel size when shooting JPEG's. Be aware TIFF and RAW images will take up a large amount of space on your card and will need to be converted to JPEGs for use on the web, or for e-mailing.
Shoot on neutral "seamless" photo backdrop paper, (or other "proper" photographic background). These types of backgrounds are specifically made and color adjusted for photography.
My preference is white (any color you use on the backdrop will affect the color balance of the image, as well as "throw" color into/onto the model). A roll of "seamless" from a photography supply store will last you a long time.
For shooting, set your camera to "manual" settings. Adjust for the greatest depth of field you can.
For shooting models up close it is advisable to use the Macro setting on your camera.Beware of using the "digital zoom" function of the camera, as this affects the final picture quality. it is better to move the camera closer or further from the subject, or shoot the whole thing at a higher resolution, and later "crop" to the desired portion of the image in a photo editing program.
NEVER use a flash to shoot a model.
Once you have the photo/shoot set up, remove the model from the scene, and adjust your "white balance" setting. If you are shooting on a non-whit background use a piece of white seamless or heavy-weight white Strathmore at the models location, to set your white balance against. If you move the lighting or camera during a shoot, it is advisable to re-check/re-set the white balance after the move/adjustment.
When shooting, "bracket" your photos. (IE. take at least three shots of the same view with different exposures; one lighter, one medium, and one darker), this way you will have a choice when they are transferred to the PC or sending for publication.
When shooting with artificial lighting, I shoot only at night (as I do not have drapes or shutters) so that no sunlight/natural-light, from the windows in my workroom, will throw off the color balance.
_______________________
My most basic and common setup (lets call it #1) is the following:
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fwww.rbadesign.net%2FTERRAPIN%2FReusser%2FPhotoSetup_1.jpg&hash=e1acf2a324fc5ac51393a61a0966a05770ea6500)
I use this set-up for quick photos when I am in hurry, or am shooting photos that are only meant to be "progress photos" of a project to share on the web in groups/forums/e-mail or for showing SBS's.
I use my standard all purpose backdrop, which is made of an 18" x 20" piece of white "seamless" taped at the ends to a piece of bent/folded piece of corrugated cardboard. The ends of the seamless are taped smooth and flat to the cardboard with double-sided tape. The angle of the back of the seamless is supported /adjusted with a bottle of drinking water (anything heavy enough to support/hold the cardboard will work.)
For lighting I merely use my workbench lights, which are two "Luxo" drafting lamps. These lamps each have two bulbs. (One 60w 'A' lamp, and a 'cool' (standard) fluorescent 8" ring bulb. This gives the light a pretty good/accurate color balance.) These lights are then moved/adjusted as needed to get the desired lighting and shadows.
I then merely rotate the model on the seamless, adjust the lighting, and adjust the camera height/angle as needed for the different shots.
_________________________________
My second setup (lets call it #2) is this one:
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fwww.rbadesign.net%2FTERRAPIN%2FReusser%2FPhotoSetup_2a.jpg&hash=6587c244d5ecc76ff39b2b19df2e222f37089ecb)
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fwww.rbadesign.net%2FTERRAPIN%2FReusser%2FPhotoSetup_2b.jpg&hash=f27ecb22421c2de4b1e0dc6dc1b5596e8b3e732b)
I use this set-up for finished model photos, or for photos of paint finishes.
I use the same seamless backdrop as Set-Up #1.
For lighting this I utilize (3) 500/1000w halogen work lights.
Light #1 is used as "bounced" light, and is aimed up to the ceiling.
Light #2 and #3 are used to light the subject/model, an are generally set at the distances shown in the photo. Whether and which ones to set to 500 or 1000 watts really depends on the effect I am after, or what is needed to properly show the model and detail.
A note of warning: this set-up produces a lot of heat, and it is advisable to turn off, or turn down the lights during breaks/pauses in shooting.
_________________________________________
My third set-up is outside in the shade (this is one I learned from Russ Reinberg of Finescale Railroader) I will do the same seamless set-up (no lights though) as the other shots, and on a sunny day, shoot in the shade of my porch, or in the garage near the open door.
When shooting outside in the shade make absolutely sure that no sunlight shows on the seamless, model, or any object/background that can be seen in the camera's viewfinder; as this will cause color balance distortion in the image.
__________________________________________
My fourth set-up is very basic, in direct sunlight.
__________________________________________
Which set-up I use depends on what is most suitable for the model or effect I am trying to get, and at times what is the most expedient for me. The most common one I use is Set-Up #1, as I can very quickly set-up and break it down, and since I am mostly at the workbench at night it works well in regards to lighting.
I hope this is helpful.
Marc
Here is another page showing a good simple photo setup. This belongs to Michael Rinaldi, who IMO is one opf the best armor modelers out there today. He uses this setup to shoot his models, for web and magazine publication.
http://tiny.cc/Tjip3
If interested his work along with tips and such, can be seen here:
http://tiny.cc/jrERM
Marc
I was tired of dealing with my photo booth thingy, or my larger seam-less set-up, for doing some of the detail/small-part SBS shots...especially since I tend often to shoot the SBS shots right on my workbench as I am going along. What I needed was a small cove that I could easily fit into the only uncluttered space on my work surface.....so that means something with about a 6"x6" footprint.
I built this little thing out of some scrap Foam-core board for the frame, and a piece of 3-ply Strathmore fore the cove surface, the whole thing was done primarily by eye, and glued with yellow glue. Took no time at all to build...and esily supported a 5-lb weight without any deformation. (hot glue would have been even quicker, but I was out of the sticks)
The photos shows the final cove with a piece of white photo seamless clamped/mounted over the Strathmore. This piece of seamless can be quickly changed-out to grey or black (or replaced when it gets marred) depending on what the photo calls for.
Marc,
thanks for this- just what I need- just re-read through to find out the bulb types you are using too- I'll have to have a play with the various bulbs I have here and maybe order some new ones.
James
Now that I get more space in my workshop, this definitely gets a place,
thanks for the idea and sbs.
Jacq
Marc, Russ -
How about some tips for those of us who have only a simple digital point-n-shoot camera (mine is a Nikon Coolpix, 5 megapixels), and can't afford an SLR or anything else fancy.
Russ said "With a digital camera, zoom the lens between three-quarters and all the way out (telephoto)" does this mean 3/4 of the way from "normal" toward full telephoto?
I have a tripod and delay timer, but no f-stop or shutter controls.
I can make a backdrop like Marc mentions.
As you can tell, I'm a photo-dummie/virgin. Is there any hope for me to take "publication quality" images?
Carlo
Carlo, with a point and shoot camera, you need as much light as possible. Since you can't manually stop down the shutter, bright light will force the camera to do it automatically. That will establish the f/stop with the greatest depth of field. Shooting outdoors in the middle of the day is a good way to get a lot of light but use "bright shade" to avoid shadows and a lot of contrast.
Typically, a digicam zoom lens is somewhere around the equivalent of a 35mm camera's 28-135mm zoom. As you probably know, 28mm would be wide angle. You want something like 100-135mm so the lens should be sticking almost all the way out (as you would use for shooting something far away, i.e., with a telephoto lens). You could shoot with the lens zoomed all the way out but sometimes that triggers a macro feature that may affect your depth of field. Try it both ways and use whatever looks best.
Remember to fill most of the viewfinder with the subject. Too close and you lose depth of field. Too far and you lose resolution. So leave just a little "air" around the subject.
At least in theory you should be able to achieve publication quality results using those tips.
Russ
Why the zoom instead of wide angle? I'm guessing less distortion, but I'd like to know for sure.
Carlo,
I don't have an SLR either. I have an old/last generation, 8-megapixel camera, just before the SLR's hit the market.
I don't use the zoom to shoot my models, but I do always use the "Macro" setting.....which most 'point-and-shoot' cameras tend to have as well.
Interestingly....my wifes small inexpensive Nikon 'point and shoot' camera takes better "general photos" than my camera.....I have not tried shooting models with it...but it might make for an interesting experiment.
Marc
Wide angle lenses tend to distort subjects, especially if you shoot close to them. Most cameras shoot with least distortion between 70 and 100mm. That's why I suggest shooting with the lens zoomed out part of the way.
As for the newest point and shoot cameras, for typical snapshot photography they are really terrific now. The color and exposures are first rate. They usually are lousy for action photos because of the slow autofocus but they may work okay for closeups. I haven't tried any post 2005 models.
Russ
Greetings Gentlemen,
I recommend the following website for some very "cool" perspective photography.
I only recently stumbled upon the work of Michael Paul Smith.
I believe the cars are stock standard Franklin Mint Limited Editions (1:24 scale) however the buildings are scratchbuilt and the photography is some of the best I have seen.
Unfortunately, he does not indicate to us the precise techniques deployed in his photography, suffice to say most is shot outdoors in daylight conditions, with suitable backdrop borrowed from mother-nature.
Regards, Harry.
http://xtremecarzone.com.au/index.php?showtopic=523 (http://xtremecarzone.com.au/index.php?showtopic=523)
FWIW
I built one of Marc's quickie backdrops this weekend.
I made mine 8" x 8" and about 12" tall with an 8" radius.
Works great and is easy to stash by the workbench.
-Marty
Well, I'm kinda out of patience. I need to be able to photograph inside for eBay purposes. (Can't lug stuff down three flights of stairs on the OFF CHANCE that the sun might stay out.) So, I went to Ritz and bought two nice 250 watt lights with the little umbrella diffusers. Bought a roll of white paper (48 in. wide) for a seamless backdrop. Spent THREE frickin' hours working with my Canon point-and-shoot digital trying to get acceptable photos. NOTHIN! best I cam seem to get, even at about 400 ASA, is 1/100 at f8. Wish I could set this baby manually, but I can't and the idea of FINDING, much less using, my old 35mm is a non-starter. I set the white balance manually and the colors are fine, just too dark!
Gave up last night at 11 pm and went to bed. Still stumped today.
Fred, give me a phone call. I'll get you going. -- Russ
One of the things I have found to work really well for the photographer with little gear and a digital camera is a florescent light source. I did a lot of testing two years ago for a clinic I was doing on photographing models.
Would be happy to put together a tutorial. My background is in commercial photography since 1982. Have had my own studio since 1986 and have done everything from catalog in a production environment for Sears, The Hudson Bay co, Simpsons (Canucks may remember), Toys'R'Us. The nineties I spent shooting mostly jewellery and shoes, along with crystal, and electronics for clients like DeBeers, Royal Doulton, Sony, Bryston, Timex and countless others.
I found the challenge is to devise a method that is easily reproduced and affordable. Marc's previous post of a background system is great and works all the time. I keep it even simpler and use a piece of paper card stock (usually printer paper 13X19) super white and curved as per Marc's photos. I did also find that the sensors respond to florescent lights really well. In the early digital days there were several manufacturers that made florescent based professional lighting systems. With practice you can do a lot with a simple camera and there is no substitute for the SLR. If you are serious about photographing your models and dioramas you need an SLR. I do also recommend a macro or micro lens. Zooms are great and will do if you are on a budget, however nothing beats a purpose built lens. I use the 65mm and 105mm nikon micro lenses. They are sharper at macro distances and stop down to a minimum f stop of 36. The other item that is a modellers must have is a tripod. It will always be sharper with a tripod. If there is interest I would be happy to share tips and tricks learnt along the way.
cheers Ferd
http://www.fbm-studios.com (http://www.fbm-studios.com) is my work site. Although it has not been updated for a while. The pics below are from a recent shoot. The springs are under 3mm tall and the other units are small enough to fit in your ear. Each unit in the second image is made up of multiple exposures. In the days of large format keeping them sharp from front to back was easy, digital sensors do not quite react like film and have a much shallower depth of field. So the digital medium is used to make the impossible possible.
Quote from: marc_reusser on April 29, 2010, 02:28:15 AMWhat I needed was a small cove that I could easily fit into the only uncluttered space on my work surface
Great Idea! For pics needing a white BG I use a piece of white styrene and just lean it up against the fence and deck.
I set this up on an overcast day. I clean them up a bit in photoshop as needed.
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fi191.photobucket.com%2Falbums%2Fz60%2Fj6studios%2FCUSTOMS%2Fphotoshoot02.jpg&hash=5e772f8fbf64538bcdbc908a7bc223138164eb27)
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fi191.photobucket.com%2Falbums%2Fz60%2Fj6studios%2FCUSTOMS%2Fphotoshoot01.jpg&hash=d48b6fd0cfd9b86d0c5298337ecc265342a8e5bf)
-
I actually made one tonight. Pretty easy. Took about 10 minutes once I had the goods.
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fi191.photobucket.com%2Falbums%2Fz60%2Fj6studios%2FCUSTOMS%2Flightbox_sm.jpg&hash=4551badc0e4d44164f586ec5ef1bc51bf9d7fe7a)
What is the recommended method to photograph white styrene, such as for SBS pics of models under construction? I've been shooting it against a white background but I'm not really happy with the results. On the other hand, shooting against a darker background tends to wash out the surface details in the styrene.
Ray .. found this tutorial on How to Photograph white objects on white background (http://photo-help.com/blogs/photo-photography-blog/photography-tips-for-beginners/how-to-photograph-white-objects-on-white-background/)
White on white is easy. Try it with a boxcar or, worse, a black locomotive. If you follow his directions you'll end up with a black blob.
The solution? Take your exposure on ONLY the boxcar or loco. Set the camera to Aperture Priority and f/32. Remove the camera from the tripod, bring it up so it only sees the dark object, note the exposure time. Then put the camera back on the tripod and set the exposure time manually. Use that as the starting point for bracketing shots. Presto. Perfect exposure.
Russ
Happened to have this photo today so FWIW......
Because I need to, and like to, do quick SBS photos, I will frequently use my improvised spray enclosure, and/or a small cove base. Both built out of foam-core. The cove base has white photographic seamless paper on it, that can be easily changed out as it gets dirt/marked up, and the white from the spray enclosure provides a sufficient amount of bounced light when needed. The lamps are my workbench lights, simple 2-bulb drafting lights, with 100watt-equal, 5300K flourescent bulbs. This setup is quick and easy to set up and remove, to resume work.
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fimg827.imageshack.us%2Fimg827%2F1988%2Fshootg.jpg&hash=bc105ed0a8c29d6b3b519222a3524a7bc67f0023)
As simple and elegant as that is, do you actually think may here will take the trouble to emulate it? -- Russ
Guilty , as charged .............. will try harder
Quote from: marc_reusser on February 20, 2012, 08:32:46 PM
Happened to have this photo today so FWIW......
The cove base has white photographic seamless paper on it, that can be easily changed out as it gets dirt/marked up,
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fimg827.imageshack.us%2Fimg827%2F1988%2Fshootg.jpg&hash=bc105ed0a8c29d6b3b519222a3524a7bc67f0023)
Where can one procure this white photographic seamless paper?
I've just been using white posterboard. But, if there is something specifically suited for this purpose I'd like to try it.
Thanks.
Jaime
Quote from: finescalerr on February 21, 2012, 01:22:27 AM
As simple and elegant as that is, do you actually think may here will take the trouble to emulate it? -- Russ
I spent part of my weekend building two softboxes to get better indoor lighting. I think the odds are good someone else around here will try something similar.
White seamless photo backdrop paper is available from B&H in New York: http://www.bhphotovideo.com/ (http://www.bhphotovideo.com/)
But for most photography, you don't have to spend that kind of money. Just pick up a roll of white sketch paper at an art store or at Michael's craft store. See the Sticky on photography for additional information about how to take pictures.
Russ
I buy my seamless at the local photagraphy supply shop,...the type that caters to professional photographers. I bought a small roll 3 years ago, and still have enough left to last me through the end of this one. The nice thing about the seamless is the surface quality, and the neutral white color. The closest I have seen in normal papers would be a good quality white strathmore from an art store.
This reminds me that I need to go down there, as the photo store also carries "Neautral Grey" boards and sheet, and am thinking this might make an outstanding background to shoot white styrene on.....and most likely some of the finised models as well, when you dont want a white background.
Quote from: marc_reusser on February 21, 2012, 03:17:58 PM
I buy my seamless at the local photagraphy supply shop,...the type that caters to professional photographers. I bought a small roll 3 years ago, and still have enough left to last me through the end of this one. The nice thing about the seamless is the surface quality, and the neutral white color. The closest I have seen in normal papers would be a good quality white strathmore from an art store.
This reminds me that I need to go down there, as the photo store also carries "Neautral Grey" boards and sheet, and am thinking this might make an outstanding background to shoot white styrene on.....and most likely some of the finised models as well, when you dont want a white background.
" Finis(h)ed models" ? Interesting concept , I've heard of it , but could you please explain what you mean by it .
Many thanks ,
Nick
Quote from: finescalerr on February 21, 2012, 01:22:27 AM
As simple and elegant as that is, do you actually think may here will take the trouble to emulate it? -- Russ
Or even precede it!!! ...................... ;)
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fi180.photobucket.com%2Falbums%2Fx248%2FAndismodelpages%2FBelle%2520Lane%2FGn15crane-015.jpg&hash=58f74358319178cf2c98684183e9229adec9b501)
As can be seen a less organised and much less professional looking set-up. But pretty much the same thing using old vanity mirrors and judiciously placed magnifying lenses, bit of clean-ish cartridge paper for a background. Only concession to any kind of professionalism is both lamps are fitted with daylight balanced bulbs [fluorescents].
Posted really to give those folk this far down the food chain the notion that we can do nothing if not aspire - or perspire - or something!!
.................................................................................... ;D
Quote from: shropshire lad on February 21, 2012, 05:30:02 PM
" Finis(h)ed models" ? Interesting concept , I've heard of it , but could you please explain what you mean by it .
Many thanks ,
Nick
I have no idea to explain such a concept to a person that has never witnessed such in his own endeavors. Sort of a chicken or egg conundrum. ::) ;D :P
Andi, your setup is far more organized and sophisticated than how I generally do things! Besides, the only thing that counts is what the camera sees.
Suggestion: Instead of mirrors, use foil reflectors or white cards to diffuse the light.
A white card is exactly what the term suggests. You could use styrene sheet, white foamcore, white cardboard, anything. The area requiring highlight determines the size of the card.
Make reflectors by crunching up aluminum foil, flattening it out again, and gluing it to a piece of cardboard. Sometimes you want the shiny side to reflect light; more often the dull side is preferable. Again, make various sizes.
Russ
So Russ, this is an excerpt of some photo rules you once posted:
Quote
3. Use a 100mm lens or the equivalent zoom (e.g., 35-135, 70-200 at approximately the 100mm setting).
Shoot at f/22 or f/32 and take additional exposures +/- one and/or two stop(s) on either side of "correct".
On a digital camera, use "Aperture Priority" and shoot at the biggest f-stop number such as f/11 or f/8.
5. With the camera on the tripod, get as much of the model in the viewfinder as you can while still allowing a
little room around the image. Again, use a 100mm lens or the equivalent. A 35 or 50mm lens is inadequate.
With a digital camera, zoom the lens between three-quarters and all the way out (telephoto).
7. Use at least a 3 megapixel digital camera. Use the digital camera's finest setting (biggest file size).
Remember to set the digital camera's color balance for outdoor, incandescent, or fluorescent depending on the kind of lighting.
So my question is....what happens/do I do, if my lens is only 18-55mm....and I can't drop another $500 for a second lens at the moment? Does it matter/help that I can shoot at 16+ MP. Should I simply shoot from further back and then crop in closer in post production? (I can shoot up to f36.)
Nother question;
.....Would there be a benefit to using a clear UV filter when shooting under flourescent lights?
M
Second question answer: If your camera shoots RAW, you don't need any filter at all because software can balance the color. Nor have I ever needed a UV filter under fluorescents. That's one great thing about digital cameras.
First question: Yes, shoot from farther back if you have a short lens. The closer you move toward the subject, the greater the distortion -- kind of a "fish eye" effect. That is minimized by backing off. The high resolution will let you crop the image and still end up with a good size.
Russ
Thanks.
The RAW, and any correction is not a problem. Both in RAW and JPG, in all the different manual, and semi-manual modes, (as well as some of the presets), a can do pretty darn good WB and other correction and clearly see the corrected image on the screen, before shooting. It wil also allow me to bracket the WB. I was curious what the effect purpose of the clear UV Filter was....and if there was any benefit to be gleened from it.
Being a complete photography dummy, I realized the lens mistake too late. My old digital camera that I had been using for 10 years apparently had a standard zoom/lens range of 24-85. On the new DSLR camera, I was focused on the body.....and even though most reviews said don't use/buy the "kit" lens (not that it is bad, simply that it is not the same level as the body)....but had to cut my costs, so I went with the kit one.....and thus only realizing later what the whole "lens mm" thing was about....so am now for the time stuck with an 18-55. (And I need to make it work, or my wife will kill me.) The plus side of the debacle is that the lens work better for interior rooms/spaces (for work/busines website) than my last one did.
Out of interest what camera did you buy Marc ............... trying to convince my wife that I may need a new one and it would be sort of convenient to blame you ;)
Gordon,
I bought the Sony A-57.
http://store.sony.com/webapp/wcs/stores/servlet/StoreSearch?storeId=10151&langId=-1&catalogId=10551&in_dim_search=&Ntk=&Ntx=&Nrt=&Nrr=&Nrk=&Nrm=&keyword=a+57 (http://store.sony.com/webapp/wcs/stores/servlet/StoreSearch?storeId=10151&langId=-1&catalogId=10551&in_dim_search=&Ntk=&Ntx=&Nrt=&Nrr=&Nrk=&Nrm=&keyword=a+57)
I was considering the A-65, but that had more than I was likely ever going to need, especially on the video end, which I do not use at all.
After reading reams of comparisons and reviews, in-store comparison, and now after a week of shooting IMO, and for my needs, it stands well above the Nikon and Cannon in the same price range; and the translucent mirror technology is fantastic (allows me to see the effect of setting changes I make, show instantly on the display screen, and in the view finder, before I take the shot.) The number of sensors, and the fact that it has a setting for reading/sensing "full frame" were definite selling points.
It fits and feels very comfortable in my hand (not so important for model shooting, but because it does it will make me use it for many other things.)
Also nice that the camera has in-body stabilization, (which also allows you to use older compatible lenses, and aftermarket lenses that do not have in-lens stabilization)
The handheld twilight shooting mode is a really cool feature, in which it will shoot 5 frames in rapid succession and stitch them together into one clear sharp image.
I could go on, and on, and have only just started to scratch the surface of what this thing can do, and has to offer.
I was also lucky today...after some more help/input from Russ, I went back to the store to check on the price of a second lens, and they gave me a discount that came out to be 50% off, on a 55-200mm lens, since I was buying it within two weeks of the camera purchase.
...so I should be well set to go for another 10 years.
FWIW...I did PU transparent UV filters, as it will help protect the actual lense surface (and is easier to clean dust than the actual lens ;D ); and also hoods for the lenses to eliminate any cross light issues on the lens (which I often got on my old camera)
Quote from: marc_reusser on May 27, 2012, 12:53:20 AM
FWIW...I did PU transparent UV filters, as it will help protect the actual lense surface (and is easier to clean dust than the actual lens ;D ); and also hoods for the lenses to eliminate any cross light issues on the lens (which I often got on my old camera)
Marc your so right about protecting the lens.
I guess now that you have this new piece of artillery you'll be posting pictures of all the projects that you have started and finished. ;D
Jerry
Thanks for the info Marc, think even blaming you would not be be enough to hide the cost ................... bit over of my anticipated spend.
I just need to convince my self that a fairly ordinary point and shoot job will do me as long as it lets me shoot in RAW format which current camera does not ................. anyway it all sounds a bit complicated, may occasionally try to model complicated but I certainly don't understand it
If any of you has a specific question about cameras, please feel free to shoot me an e-mail or phone. -- Russ
Russ, when moving back to take the shot if your lens is too short, what kind of distance are we taking about? Inches or feet further back?
Alas my 10 year old Sony Cybershot has taken it's last photo. I am currently waiting for a Canon Powershot ELPH 300HS which research told me was a good camera for macro photography in a p&s digital. Hopefully I will be getting rid of the grainy postcard shots now. I am a bit concerned that the manufacturer claims a close up shot with macro is effective from 3cm. I have been listening to many say that they can photograph down to 1 1/2 cm. Any words of caution or encouragement on this purchase are welcome even though it's too late to change my mind.
Pat, with a short lens it's usually necessarily to back off only about a foot -- just enough to get rid of the "fish eye" distortion.
Chester, with any point and shoot digicam you will need bright light for model photography. The idea is to force the aperture to get as small as possible. Small aperture equals greater depth of field.
Russ
Rick Lawler posted a very good, and easy to follow tutorial for photographing your models, and post-editing in photoshop, over on the AK forum.
http://akinteractive.foroactivo.com/t1170-photographing-models#16188 (http://akinteractive.foroactivo.com/t1170-photographing-models#16188)
Marc
For those that don't go to the AK forum, here is what my two redundant cents wre posted as:
I constructed a very sturdy portable cove (I actually have 2, a 50x30x30cm, and a 20x20x20) out of black foam-core. Onto this is clipped a piece of white photo seamless, that is changed out whenever needed. The sides are white strathmore board, and can easily be removed.
I use two drafting lamps each with 5500K (90 Color Rendition when I can find them), 100w spiral flourescent, AND a 5500K/Daylight flourescent "ring" bulb. I like my shadows a bit harder, so I do not use a diffuser on the lamps ( I also like my light to come more from front/above, down onto the model). When I need some more top "fill" or bounced light; I place a board with some wrinkled foil (dull side out) mounted on it at an angle over the rear top of the cove; or hold/clip one low in front, for front/low shadow fill.
(https://www.finescalerr.com/smf/proxy.php?request=http%3A%2F%2Fimages14.fotki.com%2Fv390%2Fphotos%2F2%2F921732%2F11392876%2Fphoto-vi.jpg&hash=3cf38c536e185408905cae88dc3a2901d1aa2374)
When I shoot white styrene parts (especially small parts that can be shot without needing a cove; like above), I place them on a photo "Grey Card".
I shoot with a SONY SLT A57, 18-55mm lens, I almost always use a lens hood, to prevent cross light on the lens. Indoors with the above set-up, I set the camera to "Aperature Priority", white balance at 5500 to 5600K (I check/set the white balance before each shoot). "F-stop" is usually 29 or higher, ISO-100. I set my shot format to bracket the white balance (original, cooler, warmer.)Depending on what the photos will be for I shoot either JPEG ("Fine" setting)...or like Rick, JPEG/RAW. Both will give a 350pix resolution.
I always use either a timer-release (when both hands need to be in front of the lens for SBS); or a cable, or remote release otherwise.
I also like to connect the camera to a power source (that way the screen stays on much longer, and I do not have to worry about messing around setting stuff up, while the screen keeps going dark, or the battery runs out).
Lastly, I will often also keep my laptop nearby, and connect the camera to it, before changing a set-up/cleaning up; that way I can see the image(s) in a large format/screen as soon as I have shot them.
The nice thing about the portable coves is that they are very light and easy to move, and allow me to shoot directly on my workbench, as well as easily take them outside when I want to shoot in the sunlight.
In the German buntbahn forum you can find some tips about photography too.
Click here (http://translate.google.com/translate?sl=auto&tl=en&u=http%3A%2F%2Fwww.buntbahn.de%2Fmodellbau%2Fviewtopic.php%3Ft%3D8780%26postdays%3D0%26postorder%3Dasc%26highlight%3Dfotografie%26start%3D0).
It's just a google translation, but maybe there are a few ideas for one or the other.
Original: in German (http://www.buntbahn.de/modellbau/viewtopic.php?t=8780&postdays=0&postorder=asc&highlight=fotografie&start=0).