AJM published an article on jewelry photography last May that
describes how you can make your own setup for jewelry photography
(As well as giving hints on getting good results). Gary Dawson,
who wrote the article,created his own jewelry “studio” with a bed
sheet and other inexpensive materials, plus appropriate studio
lighting. A ready-made set up might still be easier and more
appropriate for you, but the article might give you some ideas
about what to look for.
The article is called “The Right Image” by Gary Dawson, and
appeared in the May 1998 issue. You should be able to get a copy
by dropping an e-mail to AJMMagazine@compuserve.com. You can also
cruise over to their Web site at http://mjsa.polygon.net/ajm
I attended the SNAG conference in New Orleans a few years ago.
Robert Liu of Ornament Magazine did a talk and slide demo on
photographing jewelry. He demonstrated the superior qualities of
Fuji’s Velvia film. Colors are more saturated and the detail is
incredible. Just thought I’d pass that along.
The best way to hold jewelry in place is a miracle called “prop wax.” Used by pro photographers and available from your better
photo supply houses. About $8.00 for more than you’ll ever need.
Very sticky. Works on glass, if you’re shooting on glass. Felt
removes it well. Works on paper, but will stain the paper.
Regarding Camera in a Box…if you build your box out of wood,
you can add an expensive Bogen bracket. The bracket attaches to
the camera, and to the box. Your camera stays appropriately
focused all the time. You walk over, put the jewelry down,
arrange it, and shoot. In this set up the box is a rectangle,
standing on its short end, with one of the long ends open to
you. It is on this long end that the bracket and camera go.
Less flexible than some other systems, but if you’re primarily
interested in consistant results and documenting jewelry, it’s
ideal and very easy.
When we photograph any small products, we use a variety of
techniques and gadgets. We use high powered strobes. However,
if you’re photographing in 35mm you probably can get by with
photo floods. Just make sure the film you use is balanced for
the color temperature of the lights that you use.
We usually tack items in place with something called Tackiwax.
If you do any casting, you probably have a wax in your studio
that does the same thing as this stuff. We also use little
pieces of mirror or aluminum foil to reflect light to either fill
shadows or create highlights. Occasionally we, particularly on
silver flatware, use a dulling spray made by Krylon.
If you don’t want to improvise, you can get all these odds and
ends from a company in the Chicago area by the name of Calumet.
Their number is 1 (800) CALUMET. That’s 1-800-225-8638.
If you are going to purchase a camera, get one with a depth of
field preview button. That way you can stop the lens down to the
taking aperture prior to taking the shot to see if everything you
want in focus is actually going to be in focus.
Hope this helps. Let me know if you have any other questions.
I have only glanced at the contained in the above web
site. However, my impression is it’s probably pretty complete.
I have experimented for quite some time with different methods
of photographing small objects. I even got a very helpful camera
store to order on approval a macro lens to try out. I took one
roll of fim with that lens and another roll with my standard 52mm
lens (Canon AE1) with 1+, 2+, and 4+ lens filters. The only
differences I could see when I got the film back, was a
difference in lighting, as I had not compensated for the changed
requirements with the macro lens. The detail was IDENTICAL,
clearly saving me money when I returned the macro lens.
Additionally, I mounted by camera on a copy stand, pointing down,
with the object to be photographed flat on the base. the copy
stand has 2 lamps attached to it, with goose neck stems, one on
each side. I use blue bulbs in them. To diffuse the light, I
bought white lamp shades in several sizes, and choose one
depending on the project. The jewelry is surrounded by the
lampshade, with the lights outside and the camera above. I have
a cable attached to the camera to trip the shutter, and don’t use
a flash. I hope this is clear. It works very well for me.
Additionally, I have used this method outside on a bright but
hazy day, without the lights, and it works just as well. If I
need a warm highlight, I point a flashlight!
Fuji’s Velvia is a beautiful film, but it does not have a
neutral color balance. If accurate color reproduction is
important, you might prefer one of the Etkachromes.
Dear Ruth: Thanks very much for your advice. It tickled me to
find someone who used the very same camera and filters I do. I
tried the flashlight trick and found it to work rather well. For
my general lighting I use two large flourescent lamps as
incandescent light seems to be too yellow. I recently took
several photos using the Cannon with the stock 52mm lense and the #4 filter. Mounted the camera on a tripod but will use a cable
attachment ro trip the shutter from now on. Sure was fun to
experiment and with the 1hr. photo, don’t pay if you don’t like
it option, it went rather well. Don’t know what I would do without
the generous help of all my friends on Orchid. Seems that as in
life, a little help offered comes back ten-fold.
When photographing jewellery or anything stationary with your
camera on a tripod just use the self timer on the camera to trip
the shutter, saves using a bulb and airline release.
) with 1+, 2+, and 4+ lens filters. The only