Photographing Fur

[ReFur]

I can't post anything here, but take a peek at my black sheared mink jacket and knit jacket on ebay. I wish you could have seen them before. The Black sheared mink was just terrible. All you could see was black!

 

Click on my www link and it will take you there.

 

Linda

[ReFur]

I just finished using my photo studio to do a set of ebay pictures using the black backdrop.

 

Tried using different EV settings, and light positions. the last two things I had not tried.

 

I am still not happy with the detail. Get better details outdoors.

 

If you can go to my ebay site and look up the Sexy White Fox listing at $999.99

 

Linda

[Guest]

Linda

 

I checked out the sexy white fox listing (the coat is way cool by the way) and it seems you could use another stronger main light, from the front at about waist or hip high. I've found that with some furs, you need to have your lights at varying heights. Also, maybe the top light (hair light)should be more in front and down at the face as well, to help with the mass of shadows. Other than that, it looks alright. Some coats just do better outdoors, I agree. Hope that is of use.

 

 

Keep at it Linda, you are getting better shots! It does take hands on learning and trying new things. I do change my light positions while shooting certain things to get options when editing.

Edited May 3, 2006 by Guest

[White Fox]

Linda:

 

I have to admit my knowledge of photographic lighting is lacking when it comes to multiple flash or studio lights.

 

I can tell you this. In theater lighting you will generally have one light coming in from the front at 45 degrees to the left and one in from 45 degrees to the right. Each of these will be looking down from an angle of 35 to 45 degrees to cut shadows. Generally you would then use either another from straight on at that angle, or in this case your camera flash. However, you also have to remember that sunlight comes from all directions. So, you would have a light (or reflector) coming in from each side. Facing almost straight into each other although not quite.

 

Remember though that this is theater lighting and not camera lighting. However, if your "normal" camera angles do not work, you might want to start to think of those ideas a bit and work them in a little. If you can find a way to measure light levels I think that would help you a lot. If you put too much light in your studio it will I am sure tend to look washed out.

 

Must be frustrating I know.

J

[White Fox]

Say Linda...

Tell Bob that I was asking who that old guy is that you got in that one picture!

W

[ReFur]

Miss T,

 

I think I need more lights. I am buying a light meter to check.

 

I have both banks of lights positioned at the middle of the coat height.

 

 

John,

 

I think I am suppose to leave one side without lights to create a shadow from that side. If I don't it will lose detail, I believe.

 

Worker, isn't that what you said?

 

 

John,

 

Bob said you should come over and be my male model!

[Guest]

Linda;

 

I think you want to have two vertical columns of lights and I think diffused light from "sheets" to each sidewould work wonders for inside lighting.

 

Contrary to some others' suggestions on background I would look at what was done in hte Grovsenor ads. [see Fox Files]

 

Seldom is there a white or black background but a contrasting one to the fur. A complementary color [technical meaning, not being polite]. Like green to a red fur. Of course the pros were subtle about it. A nice rich olive green for a Red Fox. Not always however. Take a look at the classics. If you look carefully you can almost do a layout of the lighting from the pictures.

 

OFF

[Worker 11811]

Shadow is good if it helps bring out the detail. Just watch where the shadow goes. Move the model or the lights to move the shadow where you want it.

 

Shadow under the chin can make your model look like she has a double chin. Shadow under the eyebrow can make her look like a monster. (Like the old flashlight under the chin trick we used to do when telling scarry stories around the campfire.)

Shadow behind, if properly placed can make the subject "Pop" out of the background.

 

Many pros use 3 lights. I find it too hard. I just use two at 45

[ReFur]

OFF,

 

I think what I will be doing with backgrounds is the computer generated ones. It will be easier than trying to change backdrops.

 

For now I have Light blue and Black. They are professional muslin backdrops that are 10 x 20's so I can create a seamless picture.

 

With the cool florescent lights and umbrellas is there any need for defusing sheets? It is almost like an obstacle course now.

[ReFur]

Worker,

 

For now, I am not using live models. I have so many pictures to take i cannot deal with a live person, or timed shots of me. So, your thoughts on light placement work for me, as well.

 

At the rate I am going, it is going to take six months to get the backlog of photos done.

 

After that I will have a more reasonble listing schedule.

[White Fox]

Linda...

One thing to remember here is that just about every rule in the book is made on the basis of proper lighting for the face of the person in the photo. What they wear is of no consequence really or at least very, very little.

 

In your case what you wear is of total importance. The face of the model is of no consequence really or at least very, very little.

 

Much of the shadowing technique is made to emphasize the features of the face of the model.

 

That is not to say that shadowing may not help. But those rules are made to use shadows to emphasize certain parts of a face and leave out other details. You do not want to leave out any details. You want to show them all... Your technique may seem to break almost every rule in the book when you get things worked out. Because you are filming something different than every rule in the book describes!

 

You want to light the total product. That will likely lead you down a totally different path than filming a face.

W

[Worker 11811]

Much of the shadowing technique is made to emphasize the features of the face of the model.

 

I agree with that.

 

But light similar to what's used to highlight a model's face can be useful in bringing out the texture of fur.

 

The blue Bear was done with two lights. One was to the left, above the photographer's shoulder. The other was just to the right of the photographer's head.

 

The American Bear was done with one light, above the photographer's head and to the left.

 

(Look into their eyes. You can see the position of the lights from the reflection.)

 

With one light I got more highlight in the fur at the expense of too much shadow. When I went to two lights I got less shadows at the expense of some of the highlight in the fur.

 

In the case of a fur coat, shadow might be better. Each hair will cast a shadow and stand out. With a black fur coat you might want to go with a stronger spot light or, as MissTheresa said, try a flash. The specular highlights might be the thing you're looking for to pop the texture of the fur.

 

Maybe, when I get some real photo lamps instead of clip lights from the hardware store, I can try to get better photos. But, now, I have to make do.

 

Like you said, White Fox, shadow technique as it is laid out in the books is for live models whereas we don't want to see the model. Still, I think shadow is important. Just not in the same way the textbooks say.