I use Spotmatics (mainly a Spotmatic II) with one of three lenses:
SMC Macro Takumar 50mm f/4.0 (1:2) (auto, open aperture metering)
Macro Takumar 50mm f/4.0 (1:1) (preset aperture, stop-down metering)
SMC Macro Takumar 100mm f/4.0 (1:2) (auto, open aperture metering)
The two 50mm lenses give me a choice between different maximum
magnifications without close-up tubes or bellows, one being more convenient
to work with than the other. The 100mm gives me the same max. magnfication
ratio but doubles my working distance making it easier to deal with lights
etc. "Handy to haves" are eye-level magnifier and right-angle finder, not
to mention a cable release.
I use a Vivitar 283 with remotely mounted auto sensor - the flash is located
overhead in a light box and the sensor is mounted on the camera, using an
extention cable and socket for the auto-sensor. Since I shoot near maximum
magnification, I compensate for exposure by opening up a little from the
recommended highest power auto setting (trial and error based on a
mathematically calculated starting point). With 400 speed film at 1/60
second (flash sync speed) I usually shoot at about f/11~f/16. Power
supplied by a Quantum rechargeable battery pack. It is real budget table
top studio stuff. But it works for what I shoot.
I also have a Lester Dine ring-light with kicker and variable power supply
that I use to fill in shadows when a reflective card is not enough to
minimize shadow.
It goes without saying that I use a tripod and light stands, and a set-up
table that is very high off the floor so I don't have to constantly bend
over or kneel down. I leave it set up permanently as I shoot for
publication three or four times per month.
The two most important things in this are the evenness of lighting and the
proper choice of focus point. Everything from front to rear must be in
pretty sharp focus and so a lot of checking is done to make sure the depth
of field at taking aperture is going to work. When forced, I will let the
most distant points fall out of focus since that is less bothersome to most
viewers.
Of course you can take all this and choose any brand of camera, and the same
type of lenses, a like-powered and remotely controlled auto flash and
accomplish the same thing. See my work on my web site under the "Articles"
page. All of the photos associated with the last several issues of "Toy
Shop" and "Toy Cars & Models" were done using this setup, then scanned for
the web site with a cheesy scanner. (Well it is not that cheesy but it isn't
an expensive one either).
ppro
http://whitemetal.com
> -----Original Message-----
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED]]On Behalf Of William Robb
> Sent: Tuesday, August 14, 2001 3:32 AM
> To: [EMAIL PROTECTED]
> Subject: Re: Product Photography
>
>
>
>
> ----- Original Message -----
> From: "Paul Jones"
> Subject: Product Photography
>
>
> Hi,
>
> I'm interested in doing some product photography, mainly shots
> of smallish objects like camera equipment, models and similar.
>
> I'm wondering what equipment i will need, i'm prepared to buy a
> few bits and pieces and how i should go about doing it.
>
> I can use either an LX or MZ-S and i have enough lense to cover
> most focal lengthes. The only flash i really have is a cheap
> haminex which is not ttl. altough i was considering buying a
> AF220T, as i can use this for macro work also.
>
> Any help appreciated.
>
> Big topic. Unless you want to go out and spend mondo dollars for
> lighting, forget about flash. For product photography, you need
> WYSIWYG lighting. You need modeling lights at the same plane
> exactly as the flash tubes if you are going to use strobes. The
> only lights I know of that provide this are Photogenics. We call
> them Photo Genies in the trade, because they are magic.
> Conventional camera type flash units contain a surprise in every
> picture. This render them useless for small product.
> Yoy can do really good lighting with ordinary quartz halogen
> yard lights, available relatively inexpensively at most any
> hardware or department store. Get 2 or three of them, then go to
> a theatrical supply house and pick up some diffuser sheets
> designed for hot lights.
> For specular effects (great with jewelry) you can make a soft
> box out of a largish cardboard box covered on the inside with
> crumpled then flattened aluminium foil.
> You are on your own for mounting all this stuff to the lights,
> and do be careful about heat build up, especially if you are
> using flamables such as cardboard for building light modifiers.
> Theatrical diffusers and gels should be mounted at least 18" in
> front of a yard light with lots of ventilation between. Don't
> ever enclose one of these things, they build up a lot of heat in
> a hurry.
> Also, you will need an 80A filter to correct the colour of the
> light to match daylight film. This also matters for black and
> white film, contrary to popular misconception.
> Also, common daylight with a few reflectors can be a pretty
> darned good light source. Put a gobo over the product to diffuse
> the sunlight and then bounce light in from the side to get the
> effect you want. Pieces of foam core of varying sizes, some
> covered with crumpled then flattened aluminium foil make great
> reflectors.
> Have fun
> William Robb
>
>
> -
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