Cross Polarize Your Light

For those who have never heard of it, cross polarization is a rarely used (anymore) but effective technique at eliminating reflections from light sources.  It is a valuable yet simple tool for any tabletop photography with non-metallic reflective objects, such as liquor bottles like the one above.  Why?

The primary problem with producing a striking bottle shot is how to light the label without creating an odd reflection.  Lighting a bottle is all about reflecting light (or black cards) at the edge of the glass, separating it from the background.  This means all the lights for the bottle are behind the set and never illuminate the label.  So the label needs to be lit with an additional light from the front, which will produce a reflection. 

Notice the dim reflection of a soft-box at the top of the bottle just before it had been spun into the exact position to be cross-polarized.

In the today’s digital world, typically this reflection is removed in post, or the label is not lit but airbrushed and/or cut out from another picture and dropped in.  For simple bottles and labels, the additional post-production can be minimal.  However, for complicated bottles/labels, advanced lighting scenarios, or images that need to be captured in a single shot, that post-production can add on significant cost and time.  In these cases, cross polarization is a much better option and requires minimal setup.  Here's how. 

After all of the lights are in place, apply a polarizing filter on the lens and spin it so it effects the reflections of the lights for the bottle as little as possible.  Next, place a sheet of polarizing gel over the light for the label and turn on the modeling lamp.  Then, while looking through your viewfinder, spin the light modifier for the label.  You will see the reflection progressively get dimmer until it completely disappears, which is when you stop.  Now that light source is cross-polarized to the lens and will not create a reflection regardless of how bight.  

Now, of course, this method does have its drawbacks.  Polarizing gel is expensive, a special order item and progressively looses it effect, especially when it becomes creased or warped from heat.  Also, placing a polarizing filter on the lens eats up a stop and half of light, requiring all lights to be at least 3 times brighter.  For the light being cross-polarized though, it is being filtered twice and will need to be 8 times brighter. 

However, if you have the strobe power, and the little extra money and patience to purchase the gels, it will certainly save time, and money, in post. 

Staying Connected in Cuba

If you ever travel to Cuba, you’ll notice that the Internet is like rocking horse manure.  Even though they do have a cell phone network, which you’ll be charged excessively to use, there is no data through the network.  If you want to get connected, it’s like going back to AOL. 

First, you need to buy an Internet access card that cost 1.50 CUC (about a $1.50).  This gives you one hour of Internet at any hotspot in Cuba, most of which are in Havana. 

Then comes the task of finding a hotspot, none of which are labeled.  Fortunately many parks are hotspots, along with some intersections.  Moreover, as it gets later in the day, you’ll happen across an odd scene, groups of people all looking at their cell phone.  This is an obvious sign you’re in a hotspot. 

(I say odd, but as I am writing this, I realize you can’t swing a dead cat here without hitting at least a dozen people on their cell phone.  Makes me think who got it right?) 

The final undertaking is actually getting and staying connected.  If you found a hotspot by searching for the crowds, good luck, it’s overcrowded.  You might as well light up a cigar; you’re going to be a while.  Also, I believe the Cuban government gives priority to Cubans.  I have no proof, but while I was struggling to get and stay connected I saw many Cubans face timing with ease. 

It’s better to find the hotspots, remember where they are, and visit in the early morning when very few are connected.  Then you should be able to check Facebook, send tweets and read emails with comfort. 

Havana is changing fast though!  Now that I am planning a return visit for next winter, I have to wonder if connectivity will improve by then.  Part of me wishes it will not.  Traveling while being so far removed from the constant nagging of social media was blissful.   

The Lady & The Linens

I was recently in Havana, Cuba for a personal project and spent the better part of 4 days photographing the city.  I got many great images and, so far, many great responses.  The image above though really captures and intrigues people. 

When I was planning my trip to Cuba, I wanted to make sure I visited at least one very good restaurant.  So I did my research and found la Guarida in Central Havana.  Unfortunately I did not book early enough to secure a dinner reservation, and had to settle for lunch, which may have been for the best. 

The restaurant is on the third floor and roof of this old building, and to get there, one must walk through this 2nd story landing.  Now in Cuba, modern amenities are sparse, including laundry driers.  Most Cubans dry their clothes on their balcony, which you'll see all over the city.  However with a restaurant, there just is not enough balcony space for all the linens.  So the owners of la Guarida simply decided to hang them to dry in this unused landing. 

What you see her hanging is actually the table cloths for the restaurant.  Directly behind where I am standing are all of the napkins.  Here are two more (less interesting) images showing a little more of the story. 

So in the end, maybe only being able to get lunch was worth it, since I am sure no one would have been hanging the linens to dry in the evening. 

Back Label? Leave It, Sometimes!

            Typically, whenever we do a bottle shot, the back label is removed.  This is because in order to make the bottle glow we need to reflect light through it from behind with either silver foil or bounced light off of the background.  If the back label was left in place, it would shade that reflection and make the trick look obvious, not to mention it would be distracting.  Sometimes though, it is best to leave it in place.  Such was the case with this Bulleit Bourbon image. 

            Unlike most liquor bottles, the Bulleit Bourbon label only has one label that wraps around the bottle.  To remove the back label would mean we would need to cut the label in half at exactly the point where the label turns to the back, which would be dependent on the angle of view.  If we cut just a little before or behind this point, the cut would be seen, so we would need to be very precise.  Being this precise is always an issue, not to mention it cements our view and keeps it from changing. 

            Another issue is that those who know Bulleit Bourbon know the label wraps around the bottle.  Altering the label would not look right to the aficionado and could be distracting in itself. 

            So we decided to leave it in place, and, with this bottle, it works very well.  First, the back label is not overly large, so it only blocks a minimal amount of light from coming through.  It is not really that distracting.  Second, because of how the bottle is light, the front of the label is bright where the back of the label is dark, and vice versa.  This creates a nice contrast, adding dimension, and helped accent the dye cut of the label.  

The Hybrid

            Usually when you see a liquor ad in a real location, the bottle was shot in studio and dropped into a stock image.  There are a couple reasons for this.  First, properly lighting a bottle requires 5 to 12 lights, depending on the effect, and at least one diffusion panel.  This takes up space, which real life locations rarely have.  Second, if you have a generic bottle shot on white (or black), you can drop it into many different stock images, giving you some variety. 

            However, you will never be able to reproduce the nuances of how the bottle fits into the environment.  The image will look somewhat fake, maybe not enough for someone to articulate why, but enough for them to feel. 

            In some cases though, the bottle was actually shot on location for that nuance.  However, since real spaces are small, you usually can not light the bottle as well as you could in studio. 

            To solve this, I prefer a hybrid method, shooting the bottle on location and in studio, and compositing them in post.  This gives you a nicely light bottle while still maintaining some of the nuances of it being in a real environment, and you will still have a studio bottle shot in case you need to change it up later.  Here is how it works. 

            For the image above, we first started with the location shoot.  Working on a tripod, we composed and styled our image, and then lit the bottle with one light.  This light’s main purpose was to illuminate the reflector behind the bottle so the bottle would reflect on the bar.  It was not flattering, but all we wanted was that reflection.  We then proceeded to light the rest of the image, capture the final, and measure the exact placement of the bottle to the lens. 

            Then, in studio, we carefully replicated the bottle and lens placement and lit the bottle correctly, which required 6 lights.  Specifically we used three rim lights, one side light shooting through a diffusion panel, and two snooted lights, crossed polarized to the lens, hitting the main and neck labels.  We also paid mind to the colors of the location image and gelled the lights accordingly.  Now it was off to post-production. 

            Anthony, from Pixel House, helped me with the post production by layering the studio bottle shot over top the location image.  Then, to add even more depth, I also had him layer in some car light streaks and a brighter left bar from two additional location captures.  A little tweaking in PhotoShop and we ended with a well lit bottle shot that seamlessly fits into its location.   

Classroom Management

            When looking at my images, many think I just show up the magic happens.  However, often, the logistics of a shoot can account for more than half the work.  Such was the case with a recent project of the new School of Business at LaSalle University.  My client, Kimmel Bogrette Architects, not only wanted great images of their project, but wanted most to have students and staff, including in an image of a classroom.  This took some planning and coordination on my part. 

            To start, after getting through the usual stuff (contacting the VP of facilities, sending over my certificate of insurance, reaching out to security, etc.), I also contacted the dean of the School of Business, Dr. Gary Giamartino.  I discussed with him our need to photograph the building while in use, which he was apprehensive about at first.  I explained for all the images, but one, everyone would be unrecognizable.  However, with the classroom, I would only capture this image if I got permission from him and a professor, and would bring model releases to be signed by all.  This put him at ease and he referred me to his secretary, Joanne, to get the ball rolling. 

            After obtaining permission from the dean, my client and I decided on two possible classrooms and that morning light would be best for each.  I then sent this information to Joanne, she looked at class schedules for both Mondays & Tuesdays and reached out to professors.  After a week, a few professors gave us permission, so long as we would only be there for the first 5 to 10 minutes of class.  I worked this into the overall shot list and scheduled the shoot. 

            A couple days prior to the shoot, when the weather forecast was more certain, I contacted the dean’s office again to give them the exact day.  Joanne confirmed with the professors and found out if any were giving exams.  Of the four classes we had access to, two were giving exams and one overlapped with the timing of another image, which meant our best option was Professor Meghan Pierce’s 11 AM. 

            We arrived at the classroom at 10:45 AM, when the prior class ended.  I quickly composed and setup the camera, while my 1st assistant straightened the desks, chairs and whiteboard.  My 2nd assistant explained to the students what was happening, had them sign releases or sit on the other side of the room if they were uncomfortable. 

            Since we wanted as natural of a look as possible, I choose to use no additional lighting.  People tend to anticipate flashes and look awkward, and continuous lighting for photography is bright and uncomfortable.  Plus, I had little time for setup.  To make up for this, I captured an HDR bracket, at base ISO, prior to the room being filled.  Then, my exposure for the class in session was ISO 100, f/8 at 1/15 second, fast enough to freeze the seated students and to ensure at least a handful of captures would (mostly) freeze the professor. 

            All this ensured we could create a balanced image in post with sharp subjects.  Also, a week prior, Capture One (my raw processor of choice) version 9 was released with a new color editor that helped me seamlessly correct any color shifts and casts from our mixed light environment, which are more noticeable when no professional lighting is used. 

            At the end of it, my client was happy with the image, along with all the others, and all of the work paid off. 

Mad Men Lighting

            As an artist, inspiration can come from almost anywhere at unsuspected times.  Such was the case with a recent image I created of a Bourbon, Neat. 

            A Bourbon, Neat is a relatively simple drink; just bourbon in a rock glass, minus the rock.  The propping is minimal, so the lighting needs to be intriguing and flawless.  I was not quite sure what I was going to do, and eventually put my efforts into another drink, an Old Fashion (see below). 

            Since I knew an Old Fashion was Don Draper’s favorite, I decided to look at Mad Men stills for reference on propping.  This is when I saw a still of Betty Draper sitting in a smoky bar silhouetted by the sun (click here) and instantly knew this was the look I wanted for the Bourbon, Neat.  Now it was just producing it. 

            To start I decided to allow the rock glass to take up most of the image, making it, and the black coffee table, the center of focus.  This also sent the background almost completely out of focus, giving me the advantage of creating a believable set from simple supplies.

            The background is just a chair and a black sweep with a large square hole cut in it.  A piece of fabric was hung in front of the hole to simulate a window, and 1/8 diffusion was tapped to the back of it.

            To light the image, I first concentrated on shaping the glass and the front of the set with strobes.  A strip light was placed to the right, accenting the side of the glass, and a large soft box was placed on the left, angled behind a diffusion panel, producing a sweeping gradient on the front of the glass.  A small gridded soft box lit the chair, and a slight ceiling bounce provided overall fill.  The color temperature was set to 5600K, producing a slightly warm tone. 

            For my “sunlight,” a 650w tungsten Fresnel was placed behind the window zoomed onto the glass.  Aside from silhouetting the glass, this light also produced a slight glow in the 1/8 diffusion but was not enough to brighten the “window” to my liking.  So two 750w tungsten floodlights were placed behind the set, out of view, to further brighten the 1/8 diffusion and window.  Last, to reinforce my sunlight, a scrimmed 150 tungsten Fresnel was used to light the base of the glass. 

            The exposure was for one second, which gave dominance to the tungsten lights.  Also, I did not gel or color correct any of the tungsten sources, which is how I produced that orange sunset glow.  And, for the final touch, I lit a dozen candles on the floor and blew them all out right before capturing the final image. 

Bring On The Heat!

            In the words of Emril Lagasse, “lets kick it up a notch!,” which is exactly what we did on a recent Maker’s Mark 46 shoot by bringing fire to the table.  Why?

            Well, for those of you that don’t know, bourbon has to be aged in new charred Oak barrels, and to get that alligator skin inside, they torch the hell out of them (click here).  So fire is very much a part of making bourbon, and, hence, a sensible addition to this image. 

            Now, you can’t add fire to just any bottle shot; there are a few things you needs to keep in mind otherwise it becomes a gimmick.  First, the bottle design needs to be strong and domineering.  Second, the label needs to be minimal and allow the fire to shine through.  The Maker’s Mark 46 bottle satisfies both of these!  Now ... off to production. 

            For those of you wondering, “is that real fire?,” it is.  Although rendering in fire is an option, predicting and simulating the nuances of the real McCoy would be hard and time consuming in post.  So first, we needed to find a safe place for this production.  A studio with high ceilings (and fire extinguishers), or outside on a nice windless day works best.   

            Second came bottle selection and prep.  Since dipping bottles in and making seals out of wax is not an exact science, we reviewed a dozen or so bottles to get one that was photogenic.  Then, the back label needed to be removed.  Usually a razor and Goof-Off is all you need, but, like all painted labels, this was screen-printed enamel and kiln fired on.  This bottle needed to be partial submerged in acid to dissolve the label.  (Easy but takes a day or two.)

            Next is staging and lighting.  The set is just a dark piece of wood with two pieces of slate roofing tiles on a sawhorse, slightly raised.  Behind the slate, and just out of view, is a 2x3 wall stud used for the fire.  The lighting comprised of two soft boxes, a strip box, two snootted lights, a gridded light, bounce/black cards, and a couple of reflectors.  It’s really important that the bottle look just as good without the fire as with to be successful. 

            Now it was time to add the fire, which was the simplest part.  Before lighting up the entire stud, we did tests to see what shutter speed would work best; 1/125s was perfect.  Then, rubber cement was spread on the stud and lit, and repeated.  Also, keep in mind, fire is not matter; it is a form of energy, which neither absorbs nor distorts light, meaning it only added, not subtracted or blocked, light.

            Post product was also easy.  A slight blend of the image with the reflector (without fire) was layered into the main shot with the fire, and the lettering was brightened a little.  Also, the overall lighting did not do the wax seal justice, so we shot that separately and dropped it in.  And last, the faint remnants of the back label were completely removed. 

Up Close & Extra Hoppy

            Beer snob?, well … um, I like to think of myself as a beer aesthete, or maybe gastronome.  I enjoy tasting different beers, especially local ones, and photographing them is also fun.  So last Friday I was perusing the isles at my local market, looking for something to enjoy, and I noticed that Troegs Brewing redesigned the packaging and label for their Perpetual IPA, a favorite of mine. 

            Actually the box really caught my eye, and when I looked at the label, I decided this could be a fun personal project.  So I bought a six-pack, walked home, and started conjuring up ideas. 

            To start, I decided on creating a bright lively image that gave the impression of a couple of friends enjoying a cold IPA.  The bottle was to be to center of the attention, and, to give a little depth, two pint glasses were placed in front of and behind the bottle so neither was in focus.  Now the box and label were very similar, so there was no need to have both in focus, but I still needed to show the box to complete my vision.  So the box was placed in the back, but close enough to be legible. 

            Now, it was just a matter of getting the lighting right, adding some condensation, and, for the final touches, a spent cap and an almost finished beer. 

            Next, since the label was so eye-catching, I decided it was time to get close, really close, like 6 inches from the bottle close.  This really highlighted the label, but did crop out the brewery’s name.  Luckily though, the spent cap was able to provide a creative solution for that. 

            Once again, I added condensation to the bottle, reflected some light onto the cap, and placed an almost finished beer in the background.  However it was still missing something, until I noticed the spay bottle I keep for my window plants and decided to mist the slate surface.  

Know The Aspect Ratio!

            For those of you who don’t know, the aspect ratio of an image is the ratio of the length to the width.  For example, most digital cameras, including all 35mm formats, have an aspect ratio of 2:3, very rectangular.  Medium format cameras have a ratio of 3:4, so more square.  1:1 would be perfectly square, and so on. 

            Usually, images work great in one ratio, but when cropped to another loose part of their strength.  All this is due to how the image was originally composed. 

            Most of the time when I shoot, if a ratio is not specified, I will compose the image to work best at 3:4, the native aspect ratio of my camera.  For example, this image of a kitchen (right) works great at 3:4.  Now you could crop it, but parts of the design would start to be lost, such as the anchor of the chandelier or the molding on the left, and the image becomes less impactful. 

            Sometimes though, clients have a preferred aspect ratio they like to work with.  Such is the case of a client of mine in New York who only ever wants square images.  This family room image (left) was composed with that mind, and does not really work in any other crop. 

            The end use of an image can also dictate what ratio to use.  For instance, this Absolut image (below right) was composed knowing it would be used as a full spread.  The dimensions of this spread were 13.5 x 21.5 inches, which is the crop I set when composing it (with an extra quarter inch added on for the bleed of course).

            So, if you are hiring a photographer and you know how the images are being used (or most used), giving he/she the aspect ratio can help greatly in making sure the images are most impactful.