Photo Post by Donna
Yes-I shot the spoon twice. Is that dedication or what? Michael didn't think this first attempt showed the angle in which he uses to scoop with, so, without rolling my eyes, I went back to it. And I'm glad I did because I learned that light can be an interesting design element.
It was a cloudy when I started shooting, but then the sun came out and I saw the design of light coming through the shutters was making on the table. Not very noticeable on dark wood so I grabbed a piece of foam core, put it under the spoon and moved things around until I had a composition that I liked. The blue (have I said this too much?) is because the white balance is set to bulb. The blue gives color to an otherwise B&W image. Here it is balanced to daylight. Not as pretty.
I responded to Mike privately, but will now respond here. If you can’t get yourself out of the reflection, best to wear dark clothes and keep the light off of you. I would often photograph art work under glass for artists and you have to shoot straight on. I would light evenly on both sides, placing the lights as much to the side as possible to not get a reflection off the glass. If their is daylight you need to block it out of the room so you and your camera are not lit. For close shots, the same things apply. I once saw a photog. cut a whole in a black board for which he could place his lens through so instead of getting the reflection from his shiny camera, he got a black square. Much easier then to photoshop out whatever is still there. Hope this helps.
On Oct 19, 2009, at 5:19 PM, typepad@sixapart.com wrote:
I like the question by Mike as well – it can be very hard to control what is reflected on shiny objects. Do you have a strategy? I often have to crop the side of a pan out entirely because I realize the photographers baggy pajama pants are in the shot
Donna,
How do you controll reflections when shooting spoons? I always end up with the camera reflected in the image.
Love your work. Looking forward to the Lola book.
Thanks,
Mike
Donna, thanks for your thoughtfulness, you are most kind.
I guess I obsess, a little, about getting a clean image that is in focus and helps sell the story of the post. I am an amateur photographer at best however, I’ll be looking at adding a few pieces of equipment to assist with lighting.
Don’t underestimate the power of your images, they are truly magnificent and the perfect complement to Michael’s incredible writing.
The dynamic duo, yes?
Michael, you’re email made me realize how easy I have it. All I have to think about is the visual while a lot of you out there are doing it all; creating & writing about food—and then also find time to click off some photos so we can see your work.
On Oct 16, 2009, at 8:19 PM, typepad@sixapart.com wrote:
Damn you’re good, you think of everything!
I can see why one might prefer the shot balanced for daylight better—I myself went back and forth on it, but I have to say, there is no “correct” balance here because there are 2 different colors of light, yellow bulb and blue daylight—so one is always not going to be white.I wonder what it would look like balanced for fluorescent?
Gotta say, I think the “correct” white balance is better too.
The top photo is a lovely piece of work, but I can see where it emphasizes the art of the lines more than the art of using it.
I can see your point ofview, Donna, that the bluish hue is probably a better photograph, but I must say the warmer balance speaks more to me about the feel of a kitchen. There is a sort of ‘home’ in the warm light, in my eyes.
The foam core, however, totally makes the shot. I can see the spoon getting lsot on dark wood.
the first shot speaks volumes to me…that reflection is priceless to the entire aura
I spent several hours over a couple of days trying to photograph a single grain of kosher salt. The worst part for me was finding myself with a handful of salt trying to pick out “a good one” to take a picture of.
I kind of like the warmer tones in the discard shot but I can see why you like the cool blue; it plays better with the subject matter.