We utilize this technique once a while, for the most part for a basic product shots, where shut aperture or tilt-move focal point does not give enough DOF as well as subtle elements. For this instructional exercise, I have shot a silver wrist trinket, situated at around 45 degree from a camera focusing plane and after that utilized Photoshop CS5 to make a last in with no reservations center picture.
Initially, the lighting setup. Despite the fact that it isn’t identified with the concentration stacking technique, I figure it will be cool on the off chance that I clarify it here.
Since the brilliant arm jewelry has dark cast on a portion of its pieces, I needed to ensure it will have effectively appeared on the last picture. I likewise needed to utilize delicate, notwithstanding lighting (Tiffany-like, investigate their silver pieces), yet to demonstrate the harsh surface of the arm ornament surface.
The lighting setup:
To get wanted impact I’ve utilized two froth sheets to conceal the wrist trinket from coordinate light hit from a strobes: First board, white matte reflector is on the abandoned (it is white on the opposite side) and the second one (to one side) is half dim.
To begin with light, WL X-1600 (1) through 20 degree honeycomb framework was making a spot on the correct side reflector and on the table directly before the wrist trinket.
Situated at given point, a few sections of the arm jewelry was mirroring that light spot from the board, while the rest were reflecting dark board. Additionally, light from that spot on a dark board was reflected by the contrary white reflector, creating even and smooth lighting on our protest.
Second light, AB-800 (2) through strip box featured the foundation, including delicate reflected lights from that side.
None of the light sources were hitting arm jewelry straightforwardly.
Presently, the concentration stacking technique:
The thought is like a HDR photography, however rather than presentation sectioning, we complete a concentration move: for each shot we move camera to cover another bit of the protest, combining pictures in one amid the after production.
The right method to change a focusing point is to change a separation between the camera and our subject by moving the camera: focal point focusing point ought not be changed (later I’ll reveal to you why). In this way, some kind of full scale focusing rails (I utilize Manfrotto 454 Micrometric Positioning Sliding Plate) enables a great deal; without it to will be hazardous to move the camera toward that path. Clearly, we shoot totally manual: manual presentation, manual core interest.
For what reason not to just re-center the focal point? Re-focusing focal point will work, yet there is a few disadvantages of this technique, underneath are my contemplations:
- When we re-center the focal point it will marginally change a viewpoint and bokeh will be changed also, while moving the camera does not transform anything aside from the focusing point. Consider this: when focal point center gets balanced, a portion of the inward components of the focal point being moved moderately to each other and aperture sharp edges, isn’t that so? This definitely (depending from a specific focal point configuration) change bokeh and viewpoint, as the separation between the focal point front component and a focusing point will be changed (which means we’ll change a focusing separation).
- Rather, by moving the entire thing (camera and focal point) we ensured moving just focusing plane through our subject, while the focusing separation stays unaltered.
- Some of you may imagine that refocusing the focal point does not change the measure of the picture, but rather this isn’t valid.
- Re-focusing the focal point will change the picture estimate also. Attempt it yourself on some large scale protest and you’ll perceive how picture gets extended when you will re-center from the nearest to most distant point regarding the matter. In the event that we re-center focal point we move inside components in it: it works the comparative route as we’ll move the entire focal point, which means protest size will change.
- In this way, indeed, when we move the camera, picture estimate gets changed. Be that as it may, the concentration stacking programming handles this exceptionally well. When I need my subject as close as could be allowed, I regularly begin shooting focusing from a nearest (to a camera) some portion of the subject, moving to a most distant. Definitely question gets expanded so toward the finish of the succession the front (nearest, out of concentrate) some portion of it doesn’t fit edge any longer. Photoshop (I trust some other stacking program) handles this exceptionally well, stacking the entire thing accurately: It basically utilize just centered piece of the picture, sewing just territories that are in a core interest. Anyway, the entire grouping of “usable” regions will have the very same extents, as the separation amongst focal point and focusing plane (focusing separation) will be the same, isn’t that so?
This implies the measure of the concentrated piece of the protest will be dependably the same, and programming won’t experience any difficulty sewing it together.
I’ve utilized F11 aperture for the shoot: this is right amidst “sweet spot” for the focal point I’ve utilized, Canon 180mm F3.5L large scale. Here is the reason:
- As we as a whole know, DOF gets expanded when we shutting aperture (bigger number on F stop esteem). Be that as it may, each focal point loses complexity and measure of noticeable subtle elements (straight determination) when aperture gets shut: diffraction begins assuming a major part when light goes through a pinhole focal point…
- Every focal point has it’s own “usable” range (you need to “ace” your focal point to establish it), yet even most costly ones makes not complete a decent showing with regards to with it’s greatest F-stop number. You can see cases of how picture gets changed when we go from F8 to F16, than F22 and f32.
I totaled of 12 shots for the wrist trinket: by completing somewhat more at that point required, covering concentrated region on each shot, we understood that additional sum subtle elements on the last, combined picture. Photoshop does incredible occupation of pulling all the usable data from each shot and joining it on one last super-picture.
Those additional shots does not cost me much time, but rather the final product… that measure of subtle elements you can’t get even with 50+ megapixel medium arrangement camera picture done in one shoot.