Woodworker's Journal 1985-9-2, страница 13

fused or indirect lighting, since any direct lighting will probably be reflected on the finish as bright spots. Although pieces with matte finishes also photograph better with indirect lighting, you may use direct lighting in situations when more light is necessary, such as with an unusually dark finish.

Second, consider the piece itself, and the intended use of the photograph. Is it for promotional purposes, perhaps to illustrate the object's function, or is it for a portfolio? However you wish to present the piece, there are two basic options: you may shoot the object in a natural, also called "ambient" setting, or you may present it in a studio setting. Although the ambient setting may be useful in some instances for purposes of advertisement, most experts agree that a studio setting is nearly always a more effective and direct presentation.

If you choose an ambient setting, you must pay close attention to the composition of the photo, and be aware of every detail that could have impact on it. Bric-a-brac, for instance, may draw the eye away from the central piece, and therefore detract from the success of the photo. Small details such as a cigarette butt in the ashtray, or a stray object on the floor can also ruin a photo. If you use a model or props there is a host of other variables to factor in. Because of these considerations, plus the difficulty in controlling lighting and the problems with composition, ambient settings are the most difficult to photograph, even for the professional.

Most photographs are taken in a so-called studio setting. Very simply, with a studio setting, the piece is shown alone, against a white or neutral color background. The purpose of the studio setting is to maximize the visual impact of the piece. By presenting the piece alone, in a setting where variables such as lighting and background are closely monitored, the piece can be shown at its very best.

Without question, the key to professional looking photos is lighting. Effective lighting seeks to illuminate the piece on all sides, while striving to eliminate shadows, glare and reflection. The best way to accomplish this is with diffused lighting, a technique which in effect evenly distributes and softens what would otherwise be harsh and direct light.

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Diffused lighting works by either shining the lights through a frosted, semi-transparent material (Fig. 1), or by r-.-urrjig" the light onto the object indirectly (Fig. 2). shown in Fig. 1, lights are located in several positions, :r. either side in front, and directly behind the piece. If you have more lights, use them. The semi-transparent material (continued on next page)

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