Black Foam Core Projects
I'm certain there exists many creative methods that will yield similar results. I'm providing the methods I use to achieve these types of shots and I hope this information proves helpful should you decide to give it a try. I'll include a couple of my favorite flower shots using the same techniques I use for seashells. Flowers are a great way to practice and learn the importance of strategically lighting the subject to achieve the most dramatic effect.
When these "tabletop photography" projects turn out well, the photos can convey a sense of time consuming, technically demanding "studio" shots, suggesting the use of exotic lighting equipment. Yet in fact, these photos were taken on a card table and the room needn't be terribly dark to create these types of images. Fast shutter speeds and high aperture values along with generous amounts of
negative Exposure Compensation provide enough reduction in ambient light to make that so.
I use sheets of black foam core board, one of which has a small hole punched through it. I place the seashell directly on the foam core and I hand-hold a high lumen flashlight or a Clamp Light with Aluminum Reflector to light my seashells. Foam core board can be found at most art supply stores or online, of course.
For my "illuminated" seashell shots I place the shell over the hole in the foam core and light the shell from underneath. For this effect I use a
LightPad. Of course, it works best with "thin-walled" shells.
I place the seashells on a small mirror, then the mirror on the foam core to achieve the wonderful reflection style images.
Very challenging!
With my flower photos I can even preserve the flower, stem and all, by passing the stem through the hole, take the shot, then return the flower to the vase whence it came!
I use a tripod, select Macro Mode and frame the shot by means of the LCD. Enabling the 10 second self-timer allows me enough time to aim the light source and experiment with various angles until I see the desired effect I want in the LCD. If I'm using my Canon SX50 then I'll temporarily DEACTIVATE the Image-Stabilization, which is recommended in the manual when using a tripod. I just have to remember to activate it before I go back to my preferred bird photography!
The critical factor is simply finding the best angle from which to light the subject. For a
polished seashell it can take a few attempts to minimize "hot spot" reflections on the shell from the light source. In my case, I don't want to work any harder than I have to in an effort to completely eliminate hot spots so I don't use shades or attempt to diffuse or bounce the light and I don't mind a little shine on the shell. I simply position the light source at the angle that produces the most dramatic effect. I find the most pleasing and dramatic results come from "side-lighting" the seashell. I rarely hold the light source directly above the seashell, for example. Also, finding the best angle helps prevent the black foam core from being easily detected. Even if the foam core appears in the initial capture, that can easily be corrected in post by decreasing the "Levels." This style of "side-lighting" of the subject is how I use natural sunlight to begin the process of creating my bird photographs that feature a black background. Working with early morning or late afternoon sunlight, in this case.
I use Photoshop Elements 12. During post-processing the tool I use the most is "Levels." I decrease the levels until the black foam core goes completely black. Occasionally, I'll need to select Auto Levels or adjust Shadows / Highlights to allow the image to really "pop." I don't do these black foam core projects too often so if the seashells have been on display and the foam core stored away, I make extra sure they're completely dust-free. Since these are lighted macro shots every flaw or speck of dust will be captured!
I'd always be happy to provide further instruction if you so desire!
Best regards,
Tony
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Floral Fireworks
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