Part 2. Let's look into the subject !

First, let's master how to copy a printed matter. Please take photos of a printed matter by the methods shown below and check the difference of each by your own eyes.
If these methods are mastered, most plane can be copied, regardless of whether an illustration, a painting or a photo.

If the built-in speedlight (electronic flash) is used, the reflected light of the speedlight is exposed as Photo 1. and 2.
It is a basic manner to cancel the speedlight in case of copying. As the room light or a desk lamp is not so light, the shutter speed will be slow. So, use a tripod.
If a tripod is used, a minute adjustment of the camera position can be made easily.

Step 1.: Take a right angle as a right angle

Photo 1.
The light of speedlight is reflected

Photo 2.

 

Photo 3.
A little distorted......

Photo 3. is a photo of a printed matter located on a desk taken at the ordinary eye-level.
As the illumination is made only by a fluorescent lamp of the room, it can be said as the simplest method. But there is a decisive difference from a copy made by a copier or an image scanned by a flatbed scanner. What's that ?
It's so easy. "A right angle is not taken as a right angle." The original is a rectangular but the photo shows a little distorted rhomboid.

Then, how can "a right angle be taken as a right angle" ?

It is a little difficult to write an exact answer, but in short, it's all right if "the camera and the plane are placed parallel".
More exactly, they should be located so that "the optical axis of the camera lens and the center of the plane cross at right angle".
It will be more easily discerned by reviewing in the LCD monitor screen than explained by words (it is hardly possible to make a minute adjustment with using the direct optical view finder).

If it is required to take it more precisely, it is recommended to use a level shown in Photo 4. (sold at a "do-it-yourself (DIY)" shop).

Photo 4.
Using a level......

Photo 5.
The plane is placed parallel to the camera......

Photo 5. was taken that way. This was taken with a fluorescent lamp of the room alone.
It looks like a copy made (scanned) by a flatbed scanner, doesn't it ?
When a camera and a plane are placed closely, attention should be paid to avoid the shadow of the camera or the head or body of the shooter dropping on the plane.
It will not be shown so clearly if they are set again considering the lighting equipment or the zoom lens of the camera is set at tele (T) side and the camera is located apart from the plane.
If the plane is large, it is difficult to fix the camera position. In that case, the plane might better be stuck on the wall.

Step 2.: Take it with a desk lamp and white paper

Now, let's take it with a desk lamp alone if you have one, without the room light.
The light is set at a position in which it illuminates the plane at an angle of about 45 degrees diagonally, as shown in Photo 6.
Photo 7. was taken this way.
The upper part of the photo (left at the time of shooting) is light and the lower part (right at the time of shooting) is dark.

Photo 6.
Lit by a desk lamp alone

Photo 7.
Upper light, lower dark......

Photo 8.
Manage the lighting with white paper

Photo 9.

After mastering the basics of copying, let's challenge the method of taking a plane three-dimensionally.
You will be puzzled, what "taking a plane three-dimensionally" means, but you may know what I wish to tell, if you look at the photo image.

Photo 10.

More than one planes are set at slightly different heights. The shadow caused by the height difference is the key factor.
The shadow cannot be made easily with the fluorescent illumination of the room alone.
The illumination method with a lamp and white paper shown above should be adopted.

Let's study about the background, too.

Step 1.: Making a "shadow"

Photo 11. is a photo of two photos just placed on the desk, using a lamp and white paper. It's nothing particular.
It can even be taken (scanned) with a flatbed scanner.
On the other hand, if each of two photos is set at the different height from the background, the shadow is clearly made at the right and the bottom of each subject, as shown in Photo 12. and 13.

Photo 11.

Photo 13.

Photo 12.

Photo 14.
Illumination is diffused by tracing paper

Photo 15.

If the tracing paper is not available, try a thin, white cloth or a shopping bag made of calcium carbonate.
Please pay a careful attention to the rise of temperature that may cause a fire whatever is set in front of a bulb.

Step 3.: Take it with an oblique view

Photo 16. was taken with the zoom lens of the camera set a little close to W (wideangle) side, from oblique above (tracing paper is not used).
Don't you feel that it took larger photos than photos taken from direct above ?
It's not a precise reproduction as it is taken from oblique above, photos themselves in the photo have emphasized perspective.
As it is taken from oblique above, sometimes the light of the lamp is reflected at the surface of the photo as shown in Photo 17., or an uncalled for thing like white paper comes into the picture. Watch out these things.

Photo 16.
Perspective is emphasized......

Photo 17.

If the paper with the address or the greeting is taken together, that will make a postcard.
It will be also a fun to take photos pasted on an album or a notebook.

The most difficult problem when taking a framed work is the existence of glass or transparent acryl. As the surface of them is very smooth, strong reflection is caused according to the angle of the light.
Shift the angle by adjusting the camera position or changing the direction of the frame, or adjust the room light so that the place around the camera becomes dark.
If possible, the glass or acryl might better be removed from the frame while the photo is taken.

Photo 18.
Existence of glass or transparent acryl

When we take a photo without any particular intention, we gaze the subject itself and we apt to lack the attention to the light reflection on the subject.
Please concentrate your attention also to the light reflection.
If you use the built-in speedlight, you should review the reflection on LCD monitor without fail.

Photo 19.

Step 1.: The key for using the built-in speedlight

In case the work is protected by glass or transparent acryl, if the built-in speedlight is used, strong reflection is often caused.
It is also same, in case the work itself is glossy.
This is just same as was introduced in 2.1.1. Basics of copying.

The key for avoiding the reflection of this kind using the built-in speedlight is to take from off center, obliquely.
Photo 19. was taken from left side a little off the center of the work.

In addition, if the zoom lens is set to T (tele) side, the distortion of the shape is also decreased.

Step 2.: Don't make yourself come into the picture

If the built-in speedlight cancelled, the reflection from the glass or acryl doesn't look so distinctly as shown in Photo 20.
However, if the work is black (dark), the camera or the shooter will often be reflected as shown in Photo 21.
In that case, if it is taken from as far point as possible, with the camera lens set at T (tele) position, the reflection can be decreased to some extent (Photo 21.).

Photo 20.
Cancel the built-in speedlight

Photo 21.
The shooter holding the camera is reflected......

Photo 22.
Take from as far point as possible

In case the room illumination can be adjusted or changed, if the illumination is spotted to the work alone, and if the place of the camera and the shooter is made dark, the reflection is hardly discerned.
In order to remove the reflection completely,

1. remove the glass or acryl of the frame,
2. a black curtain is hung down in front of the camera with a hole cut for the lens,

but it sounds somewhat absurd.
Please challenge it only if the permission can be obtained.

Step 3.: Taking a framed picture on a desk

Photo 23. is a photo of a framed picture placed on a desk.
The glass is removed from the frame.
It was taken under an ordinary fluorescent lamp, but it is unbelievably beautiful, isn't it ?
Then, no pro for lighting is necessary. It's a trouble with me.

The only attention needed in this case is the reflection at the monitor screen of the personal computer and the glass of the frame.
During shooting, it isn't noticed but if it is looked at in a photo, it is quite bothering (Photo 24.).

Photo 23.

Photo 24.
Pay careful attention to the reflection !

The window side is a place where the natural outdoor light comes in with full of various expressions.
Most small subjects may be taken with this light.
However, if the room is illuminated by a fluorescent lamp or an incandescent bulb, switch them off.
Because the color of the fluorescent lamp or incandescent bulb is quite different from that of the outdoor light (details are described next time).

The color (temperature) of the light of the window side is close to that of the light of the cloudy weather.
Except an evening glow or a morning glow, white balance is to be set at "CLOUDY" , then it must be taken with beautiful color.
If the direct sunlight comes into the room, it should be set at "FINE" , of course.

Step 1.: Exposure compensation is made

Needless to say, the light at the window side comes from the window, namely from the back side, to the inside of the room.
As a result, this side of the subject is got dark (this is the condition so called "back lighted" or "semi back lighted").
But, no problem. Let's apply the function of "exposure compensation", the basic of basics.
In most cases, it is this side (the part facing to the camera) of the subject that we wish to take beautiful.
As this part is dark with a shadow, it is taken with + exposure compensation (+0.5~2).
Only this makes the image incredibly beautiful.

Photo 1.
Without exposure compensation

Photo 2.
With +1 exposure compensation

Photo 3.
Reflect the light with white paper

Photo 4.
Restrain the high-key

Of course, which is more beautiful, which you like more will be up to you. But please note that the appearance of the picture changes tremendously with just white paper alone.

Step 3.: Using the tracing paper

In the situation like Photo 5., that you wish to conceal the scene outside the window (outdoor). it's recommended to paste the tracing paper on the window (Photo 6.).
Thin white curtain can be used, instead, of course.

Photo 5.

Photo 6.
Tracing paper is pasted on the window for the purpose of blinding......

Photo 7.
Soft diffused light veiled the flowers

In the condition that the sunlight is directing, tracing paper diffuses the sunlight and make it soft. Same effect as a thin curtain.
Further, if it is used together with the above-mentioned white paper, the photo giving the image of very soft light can be taken very easily.

A fluorescent room light is a very soft, beautiful illumination, as I mentioned a few times before.
Therefore, with a model of digital camera providing a well working white balance function, a very beautiful picture can be taken just placing the subject there without worrying about the lighting.

However, it is not light enough, the shutter speed will be slow.
Take it using a tripod to avoid the hand shake.

In most rooms, many illumination appliances, such as a fluorescent lamp and an incandescent bulb, of various color temperature are used.
If you wish to take the color of the subject as it is seen by naked eyes, shut off the light from the outdoor with a thick curtain, and switch off the light other than a fluorescent lamp.
The setting of the white balance at "AUTO" is good enough, but if the model has various settings including "FLUORESCENT", let's try to use them.

Step 1.: Focal length of the lens and the shape of the subject

Models with a zoom lens are very popular among digital cameras as well.
Many people regard this zooming function as that simply changes "the size of the subject" (the magnification), but I with them to note that it changes "the shape of the subject", too.
Basically, the closer the camera comes to the subject, the more deformed is the shape of the subject and the larger it looks than it actually is.
On the other hand, if it is taken from a distant point with setting the zoom lens at tele (T) side, it appears as natural as the shape drawn in a blueprint.
It is not a matter of "which is better ?", but use it to manage each characteristic feature.

Photo 8.
Taken at W (Wide) side

Photo 9.
Taken at the middle of W and
T (Tele)

Photo 10.
Taken at T side

Photo 8. is a picture taken at wide side,
Photo 9. is a picture taken at the middle of wide and tele), and
Photo 10. is a picture taken at tele side.
Compare the difference of the shape of each.
You will note that the impression of the size of the camera differs much.

By the way, these pictures from 8. to 10. were taken with a fluorescent room light alone.
Don't you think they are incredibly beautiful ?

Photo 11.
Manage to place the subject
(to make it afloat in the air)

Step 2.: Change the angle of the subject

A solid appears variously according to its angle.
It may be taken so that its characteristic features are well shown, or not very well shown, according to the angle.
The most usual is to take from the direction that can command the view of three dimensions of height, width and depth. However, there are too many angles among them.
Let's take it at the angle so as the part you want to appeal most comes to the front.

In addition, if it is managed to place the subject (to make it afloat in the air), it is quite impressive only for it as shown in Photo 11.
As the back of the subject does not come out in the photo, use a tape, a rubber eraser, clay or a wire to support the subject.
It's sure to attract more attention.

Step 3.: Move the subject

Photo 12.
Spring camera: at use

Photo 13.
Spring camera: at storing (or carrying)

Beside this spring camera, there are not a few subjects that change its own shape (Photo 12. and 13.).
In the flower arrangement as shown before, for example, the appearance of the photo changes remarkably if the position of each flower is changed.
An actual object is a solid and we usually look at it with two eyes (stereoscopic vision), but in a photo, only the scope of a solid looked from one point (same as looked with one eye) is taken.
This difference is greater than we imagine.
Let's take it, not only looking an actual object, but also looking at the image displayed on the LCD monitor so that the subject looks more beautifully. Or let's move parts of the subject that can be moved so that the subject can show its function better.

"Lighting of a professional photographer" sounds something very difficult.
Actually it is not so easy, but it is common with the management of the illumination for a room or a desk, in the sense of applying the light on the subject.
Here, I will show you the example of lighting of using only one bulb of 40W desk lamp. Beside that, only white paper and tracing paper are used.
Anyway, look at it with your eyes, try in various way and shoot, that's all.
It is the most bothering work, but, it is interesting just for that reason. Please challenge.
It can also be applied for taking such small objects as a watch, a fountain pen or a jewel.

Here, a special stand is used to support the tracing paper.
If this kind of your stand is not available at your hand, I recommend you to ask your friend to support it by hand. It may be more convenient (?) than the special stand as it can be changed the position more freely.

Step 1.: Illuminate with a desk lamp alone

Let's illuminate the subject using only one lamp from various directions.
It will be noted that it changes the expression in various way according to "the light reflection and the shadow", though it is one and the same thing.
It is the starting point to discern this difference.

Photo 14.
A desk lamp is set a little
above the digital camera

Photo 15.
The subject (a camera called "Nikon F2") is illuminated from about 45 degreesoff to the left

Photo 16.
A desk lamp is set direct above the subject

Photo 14. was taken with a lamp placed direct above the camera.
Photo 15. was taken with a lamp placed off to the left of the camera at about 45 degrees.
Photo 16. was taken with a lamp placed direct above the subject.
Compare the difference.

Step 2.: Observe the light reflection

In 2.1.3. Take a framed picture, it was the theme how to eliminate the light reflection.
But the surface of glass, jewelry or metal is beautiful just because of the light reflection.
Photo 18. was taken with the light of the lamp directed to the camera lens directly (Photo 17.).
The light of the lamp was reflected at many layers of the lens and forms a group of spots.
And it is observed that there are strong reflections at the front end of the lens barrel and the bottom right of the body.

Photo 17.

Photo 18.
If the light is directed to the camera lens......

However, it is not beautiful at all.

Step 3.: Use the tracing paper

If the tracing paper is placed in front of a lamp, the light is diffused and becomes soft.
Because it has the same effect as the light source becomes large, when it is seen from the subject side.
This is due to the same principle as the shadow is weak under the cloudy sky while it is strong under the direct sunlight on a fine day.

With due consideration, the picture taken with the tracing paper (80 cm square) placed in front of a lamp (Photo 19.) is Photo 20.
There's a great difference between this and Photo 18.
Photo 21. was taken with the position of the lamp changed while the tracing paper was kept as it was.
There's a great difference about the reflection at the lens surface and each part of the body.

Photo 19.
Large tracing paper is set
at the special stand

Photo 20.

Photo 21.

Come to this far, the remaining is your aesthetic sense alone.
Please take it with applying the lighting so as you can appreciate it "beautiful" from the bottom of your heart.

Here's a sandwich. Speaking of cooking, dishing up is the most important. Real taste is not taken in a photo.
Therefore, it is the key to dish up with much care of the look. For example, arranged in a basket, or adding a juice, etc...... usually it is simply placed on a dish, though.

Photo 1.
Taken with the built-in speedlight. The result is apt to be like this if everything is left to the care of a camera. Quite ordinary cooking photo, nothing particular......

Photo 2.
Taken with a fluorescent lamp (a tripod is necessary). It's close to the image seen with naked eyes. It is a bit different of "taste" from Photo 1.

Photo 3.
Taken at the window side. Direct sunlight is so strong that the upper right of the frame is "blanked out". However, it has a good atmosphere of the "morning", isn't it? Try the exposure compensation, use white paper and the handle the light at the window side in various way.

Here's a box lunch. Let's take it with different backgrounds. The impression changes a lot only using another table cloth than usual one.
Then, take it from various directions with changing the camera angle and using the function of zooming of the lens.
There must be unexpected findings.

Photo 4.
Beige cloth is spread. The color of the lunch box and the cloth are alike and the lunch doesn't stand out much.

Photo 5.
Handkerchief with patterns. Casual feeling is nice, but the pattern is small and a little annoying.

Photo 6.
Green cloth is partly used. The background is too nice it looks like a deluxe dinner-tray, but it is forcibly interpreted that this is the "cloth wrapped the box lunch".

Photo 7.
Taken from right above, adding a spoon, etc. It is from right above to look every content. It is the basic of camera angle to keep at least one for the record.

Photo 8.
Taken at a close distance, setting the lens at W (wide) side, the size of the box lunch is exaggerated. Contents can also be seen well.

Photo 9.
Rice of the box lunch us all the same. Then win or loss depends on the side dish. Taken at the closest distance, the rice being backward and the side dish forward.

Let's take the meal for two persons. As they are same dishes usually, one of them is treated as the background. Here the background is white, but if it is your beautiful (?) kitchen, dishes stand out much more.

Photo 10.
Here are stews. Nicely cooled white wine is in the glass...... the fact is that it is oil diluted by water!! Taste is not photographed.

Photo 11.
Taken in a vertical format. Atmosphere is a little changed. Change the arrangement of dishes according to vertical or horizontal format.

Photo 12.
Come close to the table, Main dish is closed up.

Photo 13.
When the table is illuminated with an incandescent bulb, if the white balance is set at "FINE (or DAYLIGHT)" intentionally, it is strongly orange colored. It express the atmosphere of the night well.

(2.3. Taking a dish (cooking) is cooperated by Ms. IMADA, Rika)