![]() If you look at all this surface on top of the metal here, this little card right here just gradated it out just a little tiny bit. That knife is going to go almost completely black now.įrom here we’re going to pull a couple of things out. And that’s going to give us, that is what really brightens up that knife. ![]() This card right here was on an incident angle to that knife to the camera lens. So that knife has now become almost completely silver.īut now, the next thing I’ll pull out is I’ll pull out this card right here. I put this in to just create some black and some dimension in the knife. Okay, the first thing I’m going to do is I’m going to pull out this little bit of black card. That salt shaker is the only thing I’ll composite in from this last shot. From here on out it’ll be everything in the scene. That’s going to give me the option, so that salt shaker, I’ll composite with the rest of my scene. So I’m going to take a couple of images here. And that is because that’s the only way I can get some highlight on the side of that salt shaker. And there’s a reason this card is in the shot. Every card is in place and there’s a card in the shot. That makes it so we’ll composite that into our final piece.Īll right, so here’s our final setup. Last of all I put a small piece of card on that salt shaker. Then we’re going to put a cut piece of black to be able to give us a little bit of something in that knife so it doesn’t look like it’s all one tone. Then we’re going to put a card in to bring up our knife. That double net is going to bring that silver down.īut it looks a little bit flat so we’re going to put in a cut piece of black and reflect just a little bit of light into that silver bowl so that it’s not all the same tone. So we’re going to add a kind of a double net in there. That just brightens up that silver bowl completely too much. We drop that eyebrow, clip it on the back of the soft box. And it gives us a little bit of light in the silver bowl up front. It opens up the shadows of the pears a little more. It’s going to open up the shadows of the pears. That’s going to open up the side of the salt and pepper shaker. Then we’re going to put in that v-flat on the side. We’re going to put a reflector to cut that light off so it doesn’t get too much on the surface next to the light and does its job underneath the bowl. We then add a little blue light on the camera right side to open up underneath the bowl. We’re now going to add a background light to be able to separate those pears. You see the beautiful light on the pears and things. Then we want the background to give us some deep dimension in the back.Īll right, let’s recap this really quickly. We want the silver to have some dimension to it as well. We don’t want it to just feel flat or plastic. We want the silver to feel three-dimensional. And then we want to control our light on the surface here. So we want that background to be back to give us depth. If we get that background too close to our tabletop we can’t control the light the way we need to. Number two, it just gives us the ability to control the light. We want to be able to see that there is deepness down there and that to get it far away from our table top gives us a couple advantages. That modeled backdrop is meant to be separated from our table up front because we want depth. In the background we have a modeled backdrop. We’ve got a silver bowl that all the pears sit in. To give us just some texture for the surface that it’s going to sit on. These are just a black slate that has a little bit of texture to it. So let’s just talk about what we’ve got set up here. Let’s see how to light shiny metal in a still life and let’s get started see what we can do. So they all look so wonderful and the composition looks so nice now. I was working on it yesterday and the pears were looking pretty sad until Julene came along and fixed the pears. And I must say Julene did the styling of the pears. ![]() Let’s start taking the cards out one at a time and talk about what happened with each one of these cards till we get right back to the very beginning when we put up a single soft box with our bowl of pears underneath. But we also have a still life that needs shape and dimension and needs to look wonderful in and of itself. This is difficult because we have shiny metal that needs its own attention. We’re going to look at how to light shiny metal in a still life. ![]() Today on The Slanted Lens we bring you an episode of the Laws of Light. ![]()
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