CajunPowder
Moderator
Uberti 1858 Remington New Army Stainless Steel Target photo documentation
Doc Hoy:
Thank you for your lightness of heart, your knowledge and your focus in this thread. It's a pleasure to be introduced to everbody and learn so much on this first go round. We enjoyed your company. Let's head back outside and flip those chops!
mykeal:
Thank you for keeping us grounded in reality and bringing our expectations into line with reality so that when we do get the sweet deal we will appreciate it much more. When all of this comes down to brass tacks these are serious matters, thanks for remaining serious. You make me think, Doc makes me laugh and the others are just as strong and unique characters as any of us. A fine lot of gentleman ... (and ladies).
Thank you for the compliments on the photography as that has been a passion of mine for many years both at the professional and the amateur level.
As I talk about the photography techniques I used all of this is more or less specifically technique for Macro photography of a technical nature.
I could have spent much more time and effort in the sessions but I am a believer that both quality and content are specific for an audience. I could do as well as the vendors pictures but that would ruin the whole point of the thread. I wanted REAL and I wanted a touch of that "shop look".
When I get my beauty, I'll pull out all the stops like ClemBert did, that's a nice shot ... and everybody seems to have some nice ones as well.
Lighting:
4-foot, 2-tube, shoplight with T-8 fluorescent tubes. The tubes were "daylight" tubes, a little more expensive but worth it for photography. The interior of this shoplight is sprayed flat gray.
I had a small pulley and stout string attached to the end of the shoplight, (which was suspended from the cieling), so that I could pull the string and pulley to raise and lower one end of the shoplight. This gave me the ability to change the lighting on the subject very rapidly so that I could find a "sweet spot" of light to work with. The pulley was connected to a hook in the cieling.
The shoplight was about 2-3 feet from the subject, (surface). The backdrop was a rough weave, black shirt on top of a cardboard box. The 12'x16' room I was in has 4 windows that are about 3.75 feet wide by 1 foot tall and they are on the very tops of the wall, the cieling borders them. So they are kind of like skylights. They let quite a bit of ambient light in to mix with the special fluorescent tube.
Most camera settings on this nice Sony Cybershot, (10 megapixel), were automatic. I did change the light metering to pinpoint, (spot metering), and then back again to "center spot" metering as needed and some of that was experimentation. Photographing stainless steel in Macro mode is a fun challenge. I also used both pinpoint or "spot focus", as well as "center focus". I had the camera half in auto mode so to speak or "Program/Auto" mode. Anything I did not directly set manually is taken care of automatically.
For many of the over 400 pictures I took, (and posted only the best), across 3, 1-2 hour sessions ... I handheld both the revolver or cylinder AND the camera. I didn't use a tripod. I do tend to "make" a tripod with my fingers to mold to the surface I'm near.
I made one tool. I cutout, (from the whitest cardstock), a square just larger than the camera and set the lens down near the middle and traced around the lens. I then cut out a hole for the lens, cutting on the inside of the line so the hole would be nice and tight. I fed the lens through that hole so that I then had a shield in front of the camera. The stainless reflects EVERYTHING even the warmth of fleshtone nearby. This allowed me to work very close and directly in front of the subject. Importantly, the cardstock acts as a "close reflector" and assisted in getting the deep shots into the cylinder chambers as well as other places.
Only use the cardstock shield/reflector if your camera meters and focuses "TTL or Through the lens". Most modern digital cameras are TTL.
The actual action I use to take a picture in Macro mode is very much like squeezing off a round when you want to make an accurate "shot". I literally hunt my photo down, I stalk it ... and I bait the trap.
I get in position, take a few breaths and settle in, close my eyes, relax, open my eyes, readjust ... then I gently 1/2 depress the shutter of the camera and allow it to both focus and get a light reading, I then release the shutter and "move the whole body in a bit tighter". I become the camera, ...
All this time I am breathing regularly and aware of my heart beat and pulse.
I 1/2 depress and release the shutter a few times, making sure that the focus will be true and spot on. I then take a photo and watch for the "quick review" on the back, and then continue taking photos until I begin to fatigue in that position. I 1/2 depress and release as needed to support my confidence during that series of shots.
I then stand up, stretch if needed, take a few breaths and go directly back to that position and do another set of photos. I'm not determining whether I'm getting good shots or not, I'm confident in my position and lighting, etc ... the magic just "happens", you have to get enough shots to increase the chance of getting the magic.
The real patience is when you are in position 1/2 depressing the camera shutter to determine if the shot is going to go well technically. The rest of it is relaxed control moving only the muscles necessary to depress the shutter. The rest of it is "task".
After each session I reviewed what I had and made some mental adjustments for the next session.
I come from a family where Mom was a professional children's and portrait photography and I was in a color darkroom working before I had my first date. I hauled her equipment around on jobs for "allowance money". I was photographing dioramas at that time and hanging them in the local hobby shops using a Nikon 35mm. My Dad was a photography nut also.
In 1999 I took Macro photos for a wireless communications company of over 5,000 cellular accessories for one of the first websites to have images of cellular accessories for sale. They were promptly pirated by other companies. I've been digital ever since. The Nikon Coolpix 950 I took those pictures with cost $800.00. The Sony Cybershot I took these with cost ... $229.00, it's one of the good ones from that series. The coolpix was 2.1MP.
I look forward to seeing more photography on The Firing Line and hope my contributions will continue.
Hopefully, my next session that I bring to this website will be of my sweet Remmie.
Doc Hoy:
Thank you for your lightness of heart, your knowledge and your focus in this thread. It's a pleasure to be introduced to everbody and learn so much on this first go round. We enjoyed your company. Let's head back outside and flip those chops!
mykeal:
Thank you for keeping us grounded in reality and bringing our expectations into line with reality so that when we do get the sweet deal we will appreciate it much more. When all of this comes down to brass tacks these are serious matters, thanks for remaining serious. You make me think, Doc makes me laugh and the others are just as strong and unique characters as any of us. A fine lot of gentleman ... (and ladies).
Thank you for the compliments on the photography as that has been a passion of mine for many years both at the professional and the amateur level.
As I talk about the photography techniques I used all of this is more or less specifically technique for Macro photography of a technical nature.
I could have spent much more time and effort in the sessions but I am a believer that both quality and content are specific for an audience. I could do as well as the vendors pictures but that would ruin the whole point of the thread. I wanted REAL and I wanted a touch of that "shop look".
When I get my beauty, I'll pull out all the stops like ClemBert did, that's a nice shot ... and everybody seems to have some nice ones as well.
Lighting:
4-foot, 2-tube, shoplight with T-8 fluorescent tubes. The tubes were "daylight" tubes, a little more expensive but worth it for photography. The interior of this shoplight is sprayed flat gray.
I had a small pulley and stout string attached to the end of the shoplight, (which was suspended from the cieling), so that I could pull the string and pulley to raise and lower one end of the shoplight. This gave me the ability to change the lighting on the subject very rapidly so that I could find a "sweet spot" of light to work with. The pulley was connected to a hook in the cieling.
The shoplight was about 2-3 feet from the subject, (surface). The backdrop was a rough weave, black shirt on top of a cardboard box. The 12'x16' room I was in has 4 windows that are about 3.75 feet wide by 1 foot tall and they are on the very tops of the wall, the cieling borders them. So they are kind of like skylights. They let quite a bit of ambient light in to mix with the special fluorescent tube.
Most camera settings on this nice Sony Cybershot, (10 megapixel), were automatic. I did change the light metering to pinpoint, (spot metering), and then back again to "center spot" metering as needed and some of that was experimentation. Photographing stainless steel in Macro mode is a fun challenge. I also used both pinpoint or "spot focus", as well as "center focus". I had the camera half in auto mode so to speak or "Program/Auto" mode. Anything I did not directly set manually is taken care of automatically.
For many of the over 400 pictures I took, (and posted only the best), across 3, 1-2 hour sessions ... I handheld both the revolver or cylinder AND the camera. I didn't use a tripod. I do tend to "make" a tripod with my fingers to mold to the surface I'm near.
I made one tool. I cutout, (from the whitest cardstock), a square just larger than the camera and set the lens down near the middle and traced around the lens. I then cut out a hole for the lens, cutting on the inside of the line so the hole would be nice and tight. I fed the lens through that hole so that I then had a shield in front of the camera. The stainless reflects EVERYTHING even the warmth of fleshtone nearby. This allowed me to work very close and directly in front of the subject. Importantly, the cardstock acts as a "close reflector" and assisted in getting the deep shots into the cylinder chambers as well as other places.
Only use the cardstock shield/reflector if your camera meters and focuses "TTL or Through the lens". Most modern digital cameras are TTL.
The actual action I use to take a picture in Macro mode is very much like squeezing off a round when you want to make an accurate "shot". I literally hunt my photo down, I stalk it ... and I bait the trap.
I get in position, take a few breaths and settle in, close my eyes, relax, open my eyes, readjust ... then I gently 1/2 depress the shutter of the camera and allow it to both focus and get a light reading, I then release the shutter and "move the whole body in a bit tighter". I become the camera, ...
All this time I am breathing regularly and aware of my heart beat and pulse.
I 1/2 depress and release the shutter a few times, making sure that the focus will be true and spot on. I then take a photo and watch for the "quick review" on the back, and then continue taking photos until I begin to fatigue in that position. I 1/2 depress and release as needed to support my confidence during that series of shots.
I then stand up, stretch if needed, take a few breaths and go directly back to that position and do another set of photos. I'm not determining whether I'm getting good shots or not, I'm confident in my position and lighting, etc ... the magic just "happens", you have to get enough shots to increase the chance of getting the magic.
The real patience is when you are in position 1/2 depressing the camera shutter to determine if the shot is going to go well technically. The rest of it is relaxed control moving only the muscles necessary to depress the shutter. The rest of it is "task".
After each session I reviewed what I had and made some mental adjustments for the next session.
I come from a family where Mom was a professional children's and portrait photography and I was in a color darkroom working before I had my first date. I hauled her equipment around on jobs for "allowance money". I was photographing dioramas at that time and hanging them in the local hobby shops using a Nikon 35mm. My Dad was a photography nut also.
In 1999 I took Macro photos for a wireless communications company of over 5,000 cellular accessories for one of the first websites to have images of cellular accessories for sale. They were promptly pirated by other companies. I've been digital ever since. The Nikon Coolpix 950 I took those pictures with cost $800.00. The Sony Cybershot I took these with cost ... $229.00, it's one of the good ones from that series. The coolpix was 2.1MP.
I look forward to seeing more photography on The Firing Line and hope my contributions will continue.
Hopefully, my next session that I bring to this website will be of my sweet Remmie.