Thread: Last off the MC900...

TTIT, an absolutely stunning piece!!
Beautiful combination of colors, woods, style, and talent;
Obviously the work of a pro.

Terrific .

Great job Vern.

woodcutta

One way to control the flare is to use double polarisation. I used when I was set up to photograph oil paintings and also for my turning pieces.

Basically you polarise the light source with polarising sheet material and also put a polariser on the camera lens then simply by adjusting the polariser on the camera you can remove the hotspot. the onlt problem is that you 'loose' a lot of the light, approx 3 stops approx - 1.5 of the lightsource and 1.5 through the polariser on the camera. Definatly works. I have posted a old pic of a cypress pine box that I used this technique. I will be setting up the photo studio in the next month or so.

And what a great piece - very nice!!

Peter

Would have thought a simple light tent would do............

try bouncing the light off a wall or a sheet of paper .and try different back grounds neuteral grey is good. nice work.

a light tent is ,see through white material tent with a clear perspex frame , it has a hole cut in it for the lens to poke through , the light source is on the out side of the tent , coat hangers and tracing paper work well
a light tent wont get rid of the reflections of a high gloss finish , it will just make the reflections plane with no detail

the polarizing filter over the light source and another one over the lens will totally get rid of the reflections ,but mucks with the contrast of the pic , if you do use this method take several pics moving the filter on the lens slightly each photo ,. it works best with gem stones / opal , i once tried to put a polarizing filter over a 12 volt down light , it burnt the coating off the filter ( there not cheap ) lcd screens ,watches , hand held games , laptops have them over the glass if your looking for salvagable polarizing sheet( 2 pairs of polarizing sun glasses turned 90 deg from each outher will be black )

a neutral grey card ( 18% black ) is best used to meter off , most cameras take there light reading when the shutter button is lightly pressed , if the gray card is filling this frame at the time the exposure will be perfect ,under the same light source ( green grass works well ) might need a hand from some one else
a camera will expose black as grey , white as grey , and gray as gray , how many times have you seen wedding photos , where the white dress is light grey and the suite is dark gray , when they stand together , its white and black ? ( light meters are dumb )worse if you have a polar bear on ice or a coal miner in a coal mine

oh nearly forgot , well done ttit , nice work , great finish , are the finials your signature ?

There's a physical limit to the range of light (contrast) that film or sensors can cope with so we're on about reducing that range.

Another option is to shoot the piece with less finish on it so it has less highlight.

I did some googling on light tents and found a thousand different ways to put one together - now if I can just get myself away from the lathe long enough to make one, I could show you some of the stuff I've done on the Stubby
Thanks for the ideas and comments.

Originally Posted by SawDustSniffer

are the finials your signature ?

Not so much a signature as an obsession Love Cindy Drozda's work and hope to achieve finials as elegant as hers at some stage.

Vern,

I sent a pm to your private mail box with a couple of ideas on light boxes etc.

[quote=TTIT;443141]I did some googling on light tents and found a thousand different ways to put one together - now if I can just get myself away from the lathe long enough to make one, I could show you some of the stuff I've done on the Stubby I'm pretty sure this has been discussed on this forum before and pretty sure I put up a image/diagram. The double polarisation contrast problem can easily be solved by using multiple light sources and nowdays the high end digital cameras utilize raw files that offer a high degree of image adjustment. I have used the double polarisation technique with colour slide film where there is little room for error admittedly in a professional studio setup with electronic flash and lowell photo lights. Heat was always a problem with the photo lights, also colour temp varition, electronic flash always offered very good light - matched to daylight (each flash unit was colout temp corrected). But is a hotspot all that bad, it's a property of a highly polished piece and TTIT you can still appreciate your piece and recognise it as a very high quality turning. Peter

Originally Posted by Skew ChiDAMN!!

What's left to say? Greenie launched.

What he said...

Good to see your turning is just getting better and better!

just spotted this vern great work as usual and the finial or whtever you call them allways top youre work off very nicely 9 outa 10 mate

It cant get much better than that.