Upload & Sell: Off
Peter Figen wrote:
Are you shooting one chair at a time, or a whole row at a time? That makes a huge difference in how you approach the job. But, let's say you're doing one at a time, start by lighting the background, then add one light at a time - a large soft fill as close to the chair as possible, picking an angle that draws the chair best. Then either a fill card or a fill light, and maybe a kicker to give some pop to the chair.
Yes, one chair at the time. The BG won't be visible in the catalogue. I will remove it in post. So, I don't think it is necessary to make the BG all white. As long as there is enough contrast to make things less difficult in PP.
You have to be careful shooting on white to both get the background white and not have the same background flare back into the subject. And because of this I always keep the background a very light gray as I'm shooting and then push it to pure white in post.
Good point. Another reason to not get the BG all white. Maybe some spill from the key is enough.
How you treat it in post will also depend on how they're being used and whether the client wants a pure white 255 background or something with a bit of tone. The amount of work you have to do and the level of detail will be dictated by how large each image is being printed, and even though it's extra work, I almost always outline each product with a Path in Ps and use that to make sure each image is consistent with ever other one, background wise, but I don't knock out the shadows. I like to keep real shadows on white backgrounds. They look better and are far more convincing than fake shadows, unless you're really great at making shadows.
I am more of a layer mask guy myself. But I get the point on consistency.
Use a seamless paper backdrop and not some cloth with wrinkles, or shoot on a cove in a studio if you have that available.
Seamless it is!
Four lights is limiting, but doable.
Considering the BG won't be lit, maybe 2-3 lights will be enough.