Handmade Jewelry by the Window.

 

I shot a little collection of glazed ceramic  earrings. They are and handmade and painted my a Pacific Northwest artist. Every piece is unique!

The art director/artist   wanted  to shoot with natural light and to emphasize the organic feel of the collection, with a minimalist use of props. We used leather, a wood slate and some beach driftwood.

Shot with a wide aperture (f4.0) on an overcast day. Window light and  a white panel on opposite side for fill.

The wide aperture forced me to pay attention to the very narrow focal plane...imagine an inch or two thin slab perpendicular to the lens at about one or two feet away. Where to focus the viewer attention and how to angle the camera compared to the surface on which the earrings rested was the challenge of this shoot. I  handheld the camera rather than using a  tripod was too limiting for the amount of pieces and the time allowed.  I used a shutter speed of 1/80-1/100th and ISO100-200, depending on the light of that moment.

Minimal editing, just cropping and adding some local clarity/contrast and  tone warming.

 

It's a Fine Line

 I had the opportunity to shoot a line of fancy skin care products list for Fine Line .   These are the results. 

I kept post production to a minimum and tried to get a mix of interesting catalog shots and a few more splashy 'hero' shots, where I played with the bottles as if they were skyscrapers.  The one with the incense smoke was a superposition of a few different images.  Keep your windows open before before the studio gets too smokey :).

Diamonds are a photographer's best friend.

 

Yes it has been a while. I recently had the chance to shoot a large jewelry collection, ranging from antiques to gaudy 70ies gold bracelets.  I had not had the opportunity to shoot tiny objects with excessive amount of reflections before so I was excited.  I had to shoot many pieces  in a short time, but I wanted to experiment  and get a few interesting images rather than  the usual clean on white background images for a catalog. 

So I went for a  simple geometric background  and relied on contrast, shadows and bold colors  to highlight the details. I wanted to highlight the 'substance' of these not so subtle pieces.  So I used:

- black plexiglass

-white marble slab samples (from a bathroom remodeling project!)

- dark grey paper background

 I also went for a macro lens, a  stabilized Canon 100mm f2.8 which was super fun to use. I even used it handheld for a few shots (I know I know)  and  images were still quite sharp. 

Set up: One softbox on top and a gridded strobe 1-2  stop down and behind the object, opposite to camera. (remember: the further  away this light is  the harder the shadows will be)   Just remember that  with a macro lens depth of field is truly  minuscule so dial up your flashes, close down  the aperture to  f20+ and beware of glare. Minimal post processing, but make sure to clean up your set from dust!

Take the Bread and Run

Last Spring I went to the Painted Hills, OR with a small group of photographers to shoot some new images for our portfolios. These are a few from my set.  They are  good examples of a current
trend in commercial photography  and short videos: suggesting a mood rather than telling a clear story. The landscape, the colors and the key objects combine with the movement of the subject to originate tension and to create an image able to hold attention long enough to be remembered.  However,  the details of the story are best left to the viewer's imagination.  Why is our hero running through a frame, holding a red bag filled with bread? Why is he carrying a camera? What role is the woman playing? The point I am trying to make with this image is.. he could be holding anything as long it is colorful or shaped in a way to immediately capture the attention of the viewer. The other clues (the camera, the old cowboy boots) just further enrich the image, without being too distracting. This is what a commercial client 'd ask from a set like this.

The lighting is similar in all three images , a softbox to camera side, high and close to the subjects, scene cross lit with the sun. However the images look very different. In the first and second photos the flash overpowers the Sun. Coupled with some post processing that alters the original palette it creates a dreamier,  more staged look. In the third  image the  flash is used only as fill,  to give more of a structure to the floating vest. I noticed that often clients love the first set up and then ask you to 'tone it down' a bit to achieve the second. So it is good to show that one can create a range of images with the same tools.

Heavy Metal Shoes. Shiny Background. First test with the Canon 7D

I needed a second image of the patent black boots I photographed some weeks ago, so I went for a different, more metallic style. This time I shoot from above (camera was rigged on a boom). Lights: Diffused top flood, two strip lights very (very) low on the table to give edge to the shoes. And a small softbox from below. The difference? I used a metallic, sheer textile over a plexiglass as the surface on which the shoes lay down. The image on the left uses a similar set up, but adds a blue/yellow color palette and the top light is harder.
Small trick: I used a few small plexiglass cubes to angle the shoes the way I wanted. I used photoshop layers to increase the contrast on the background and usual details clean up.
Shot at ISO 100, f11, 1/125th. 35mm, with a Canon 7D.