Low Cost Product Photography Strip Lights

Low Cost Product Photography Strip Lights

If your studio is small, you don’t need and don’t have room for big expensive lights and light modifiers.  My space is so small I don’t think a 53″ octobox and I would fit in my office/studio at the same time.

For lights I have what I think are two of the least expensive monolights you can buy. They are 150ws Westcott Strobelite Monolights that I bought in a kit with an umbrella and a 2×2 foot soft box.

I’ve done quite a lot of shooting with these lights and they have plenty of power for what I have been doing. That plus at $149.00 they are cheaper than most flash guns and have three times the power.

I can do quite a lot with the umbella and square soft box but there are sometimes where an more defined light is needed.  In the past I’ve flagged the soft box with some black cloth to make a strip box (about 9″x24″) that does work for really directing the light as in like in this mixer shot.

Mixer

But it is a bit awkward attaching the cloth and because the panel is flush mounted it is hard to get it to lay flat.  My kingdom for a inexpensive strip box.

When you spend $150 on a monolight it doesn’t make much sense to spend $200 on a modifier, the necessary Bowens style mount, and ideally a grid for some directional control.

The other day I discovered a rather inexpensive strip box that met all my needs (or so I hoped) at a very reasonably $50 per unit which included the mounting hardware and a grid. I ordered two. For that price I wasn’t sure if there any quantity to the materials but I figured I could always return it.

Two days later and I was a real photographer! I am very happy with the quality of the LA Softbox 8″x36″ soft boxes that I received. The units come  unassembled (of course) in a nice travel bag that included all the promised parts.

Assembly was a lot easier on the second box once I figured out the correct way as the instructions were written in some language other than English and somewhat translated. The materials in the box are sturdy and the ribs are quite strong. The Bowen adapters were a bit rough and challenge to fit into the lights especially if you try turning them the wrong way.  I’m not sure how many times I want to assemble and dis-assemble these lights but you can if you need too.

The units are advertised as hair lights, to be put behind a portrait subject to kick some light on the hair, but work just as well in product photography as a main light and or fill light.

Fujinon XF 50-140 F2.i R LM OIS WR

Here is the setup I used  although not the final position of the lights on the lens above. I moved them in and more at an angle.  You will also see that I need to get rid of the card table for something more of a pedestal for holding my subjects.

LA Softbox 8" c 36" with bowen moungIf you are doing product photography you can get by in a small space and you don’t need a lot of expensive lights and modifiers.

Doing small product photography of things like lenses and bottles or most thing cylindrical really requires a long narrow light source.  The LA Softbox is a good inexpensive choice.

Confidence

Confidence

Photography, like most things in life is better when you are confident. I’ve processed several images lately that gave me confidence that I can create the image I see before I press the shutter button.  The confidence comes not only from the ability to get the composition correct in camera. It also comes from the camera being able to capture the detail I want. And to present the tonal range the I saw with my eyes.

Flimflam's Lanterns
Flimflam’s Lanterns

These images were taken at maybe 4:30 in the afternoon so the light was rather contrasty.  I apply the Provia/Standard camera profile to all my imported raw files and add a bit of sharpening as needed.  I bracketed the shots to plus 2 stops and minus 2 stops and processed them with Lightroom’s Photo Merge HDR. I also passed them through Photoshop where I applied some Nik Software By Google Color Effects 4 Tonal and Pro Contrast filters.

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Gringot’s Dragon

The images were shot with the Fujifilm X-T2 and XF 16-55mm F2.8 R LM WR lens. I could only have one camera and lens this would be the  combination I would chose.   The images are only 1600 pixel jpegs but if you click on them you can see the texture in the wings and the texture of the window frames, it’s just spot on.

It is nice to know that you can put the camera to your eye and get the images you see. Gives you confidence.

Keeping It Clean

Keeping It Clean

When you are practicing your skills by doing a product shot setup it pays to use a lens as subject matter. This give you a shiny/matte surface to light and shoot as well as a really good look at how clean your glass is.

This is a shot of my Fujinon XF 100-400mm 1:4.5-5.6 R LM WR OIS lens. What you think is lint and dust free isn’t really when you get in close. You will need a lint free cloth to clean your lens.  I don’t suggest a paper towel as that may end up putting more dust on the lens than you started with. Cleaning your subject saved lots of time in post production.

So get in close and really look at how clean your lenses are. You may be surprised.

XF 100-400mm f/4.5-5.6 R LM OIS WR

Product shot with my new 8″x 36″ strip box on Strobelite ISO 200 F11 1/200 second.

Timing

Timing

Dragon's Breath
Dragon’s Breath

Timing is everything.  I’ve tried to get this photo on more than one occasion but never quite nailed it.  After each of the failed attempts I learned a little more about when the Dragon (at Diagon Alley at Universal Studios Orlando) was about to spout flames.  The dragon makes several growling noises before he turns on the flames. It just a matter of being in the right place and waiting for the timing to be right. Shot with the Fujifilm X-T2 and the XF 16-55mm lens.

Beware of Hitch Hiking Ghosts (Shooting a Night Time Parade)

Beware of Hitch Hiking Ghosts (Shooting a Night Time Parade)

Saw the night time “Boo to You” parade at the Magic Kingdom during Mickey’s Not So Scary Halloween Party.  Because it was night and dark I was thinking about not taking my camera.

Hook

Normally i set my camera for auto ISO with a max of 3200 which is good for most all round shooting I do. But when you are trying to shoot at night 3200 might be a little to low to get the shots you want, so I thought about leaving the camera behind. I was so fixated on the 3200 ISO that it wasn’t occurring to me that I could  go higher. I am using the new Fujifilm X-T2 which, it turns out, does a pretty good job at 6400 ISO.

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I even got Captain Jack staring at me. Yes, the images had noise, and most times noise is to be avoided, but shooting for perfection does limit you. Besides shooting is supposed to be fun, isn’t it? So I cranked the ISO to 6400 and found a place on the parade route that had some street lighting and fired off some shots.

Hitchhiking Ghost

There are no secrets to shooing images, there are no rules, just go out and get the shot. If it doesn’t work out (you think I only shot 3 images?) determine why the images failed and use that to make your next shots better. Images processed in Lightroom with a copious amount of noise reduction when needed. Oh and remember, “Beware of Hitch Hiking Ghosts”

jr

All The Same

All The Same

All The Same

On its own this is a totally unremarkable image but it does teach us something about light and reflectivity. Each of the placemats are exactly the same color and pattern.  Because of the angle the light hits each mat differently and reflects more or less depending on the angle of the weave of the mat. Six mats, six different tones of gray.   Shot with the Fujifilm X-T2 and XF 16-55mm f/2.8 R LM WR lens.

Using Camera Profiles In Lightroom

Using Camera Profiles In Lightroom

Lightroom’s Camera Calibration Panel may be the most under discussed feature of the whole Lightroom/Adobe Camera Raw processing engine. Camera calibration allows you to control how Lightroom pre-processes imported raw images. By default the Adobe Standard profile is applied when raw images are imported into the Lightroom catalog. Available profiles depend on the make and model of camera that captured the image. These profiles are active only when processing raw files. When jpeg files are imported the profile assigned in the camera is used to create the jpeg in camera and can not be changed by Lightroom.

Digital cameras come with a set of predefined profiles for processing images you can choose to create jpeg as output to the camera’s SD or compact flash. Some adjustments can be dialed in to allow for more or less contrast, sharpness, and color rendition. Even if you are exporting as a raw file the currently selected profile is applied to the internal jpeg created to display to the camera’s LCD screen.

In a number of cameras the profiles are pretty generic in their description. For instance the Nikon D600 includes the following 5 profiles:

Neutral
Vivid
Monochrome
Portrait
Landscape

Even if you record in raw format the profiles are used and the images are processed to the current camera profile for viewing on the LCD on the back of your camera.

I know a couple of well known photographers who usually just shoot jpegs and do only minimal processing in Photoshop or Lightroom. The in camera processing of images to jpegs can get pretty sophisticated with the modern digital camera. In camera you can use these profiles to determine how the camera software converts the image. The profile may be based on the type of shot it is or it like on the Nikon or can be based on a replication of an analog camera film as provided by Fujifilm.

Actually all cameras always capture in raw mode even if the users chooses to only save the jpeg. Once the image is processed, if saving only the jpeg image, the raw data is thrown away. To me it makes sense to import the images into Lightroom as raw files and apply the camera profiles after import.

If you are using Lightroom to retrieve, catalog and develop your images you gain quite a lot from importing your images in raw format. Lightroom allows you to apply any of the camera profiles to your raw images once you have downloaded them to your computer. Using virtual copies of a single image you can have profiled images for all the available profiles that your camera provides. Applying a different profile does not make any changes any of the develop modules sliders.

Once you enter the Lightroom develop module with your selected raw image you can open the camera profile panel and select any of the profiles. Please note to use the latest Process Engine (right now that is 2012 (Current)).

My Fujifilm X-T1 has the following profiles available:

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You can try all the profiles until you find one you are happy with or like I said create virtual copies and apply one to each. Remember the profile is applied to the image without changing any of the develop module sliders so you can have a clean start at making adjustments beyond the applied profile.

But wait there is a better way. You can create presets for each of the profiles. Then you don’t even have to go to the camera profile panel. One advantage to creating the profiles is that when you scroll over a preset it is applied to the Navigator image so you can see how the image will look with any of the presets. You can also apply a preset when importing images so your preferred profile is automatically applied to each imported image.

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To create a preset go to the Develop Module and click on the plus (+) sign next to the Preset Panel to add a new preset. The New Develop Preset dialog will display. I would suggest you create a folder for the presets for each camera you have. Name the preset with the profile name. Uncheck all the settings except the Process Version and Calibration check boxes. Click the create button and the preset will be added to the Preset panel under the folder name you created.

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The advantages to processing images from a raw file are many. Applying camera profiles as provided by the manufacturer is a great starting point for getting the most out of the image. Here is the same raw photo with 4 different profiles applied.

Classic Chrom
Classic Chrome
Monochrome
Monochrome
Provia/Standard
Provia/Standard
Velvia/Vivid
Velvia/Vivid
Shooting Night Skys

Shooting Night Skys

With the recent meteor showers those of you that could stay up late (or get up early) not only had to deal with possible clouds but with all the light pollution we live with.  Thursday night I thought I would set up just in case I could try and catch a meteor or two after the moon went down.  I set up my camera on a tripod with a manual focus 8mm lens and tried some default setting that I had rattling around in my head.

ISO 1600 at F2.8 with a shutter speed of 30 seconds. My first exposures captured way too much of the leaking light pollution in the sky.  It was around 10:30 with the moon still in the sky.  I reset for a more reasonably ISO of 800 and a shutter speed of 15 seconds.  Looking at the back of the camera I was not seeing anything worth getting up at zero dark thirty for. Way to much light or so I though. So I just put it all away and gave up for the night.

When I finally got around to processing the image I was more than surprised to see how many stars I actually did capture. It did take a little fiddling in Lightroom to get the image to so itself but I was happy with the result.

It just goes to show that you need to practice, practice, practice. If I’d done this more than once or twice I would have known that it is possible to get the image and I should have stayed on it rather than giving up. Click on the image to see full sized.

 

Eastern Skys

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