Playing with Strobes - Class A Model 57

Joined
Feb 8, 2005
Messages
10,785
Reaction score
23,999
Location
Cocoa Beach, Florida
Now that we changed the clocks, as we get closer to the Winter Solstice, there is no natural light to take photos after work

So tonight I dragged out a soft box and three strobes. I played around with power output for half an hour or so and I am getting OK results.

I need to tweak power output and strobe position a bit more but I thought I would post the results from Round 1

This is a Factory Class A Engraved Model 57 that I picked up early this year. Can you believe it is a 4" ?

It was wearing an ugly pair of checkered target stocks, fortunately Mr Culina had a block of wood in just the right color waiting to be shaped

57%20eng%20Ls.jpg


57%20eng%20Rs.jpg


I think I need to get the strobes higher up and aiming down. These are sitting just slightly about table height. So I guess I have to find some light stands out in the garage tomorrow :(
 
Register to hide this ad
The grip wood and finish is a nice compliment to the engraving.
Nice photo composition. You're very close on the lighting.
I suspect from the color near the muzzle that the revolver retains the original dark factory blue. But, elsewhere, the appearance is more like the lighter grey blue sometimes seen on engraved work.
One approach would be a bit more distance with a compensation in output to even out the color and possibly eliminate a few shadow casts.
If shadows are still an issue, a diffuse soft filter over the strobe is a possibility, or reverse strobe with a neutral grey umbrella.
At least it worked for me with models, back in my 35mm film days....:)

In any case, very nice work, and a very nice acquisition for your fine collection!
Jim
 
Great firearm the engraving is very nice those Culinas just bring it together so tastefully . I’m no photography expert but the pictures ain’t bad at all either . Good job .
 
Just a beautiful revolver and very nice composition on the pictures. As already pointed out, the grips really complement the scratched up revolver.
 
You’re in my area of expertise. I’ve been a commercial photographer for fifty two years and shot thousands of metallic objects for catalogs. I did the Case knife catalog photography for many years and automotive components, mostly chrome, for decades as well as some custom firearm catalogs.

I use two distinctive styles of lighting. For knives and broad flat shiny surfaces I use a large soft box very close to the subject about 90-120 degrees from the axis of the lens behind the subject similar to what you e done. Then I use white foamcore reflectors places for my fill. I normally only use one well diffused very broad source. You don’t want to kill the contrast so as to preserve texture and detail. It takes experimentation.

The other style that I’m very partial to is using hot lights, spotlights, and foamcore as reflectors. I rarely put light directly on the subject from the spot unless I’m trying to enhance some area. I use the reflectors in different areas with the spot hitting it. If the spot is tight you can create pools of light on your subject and enhance areas of texture. Loose light on pieces of foamcore can give that nice broad soft light but give much more directional control vs a soft box.

Good luck!
 
That beautiful revolver and those Culina grips were made for each other! I'm a big fan of John's as many of you know. Have his grips on most of my now collection of 32 and a set on the way for a 29-3 I have back at the factory being refinished.
 
That's a beautiful gun and photos colt_saa!

Would you mind sharing with the forum the exact type of woos that was used for those striking Culina's?

Thank you for posting!
 
I've done a bit of photography, too, and it is my thought that in a texture like engraving, a very small single-point bare-bulb strobe off at an angle of about 50-70 degrees off your line of sight, in any direction you please will bring just the slightest sparkle on the high points, and add a subtle shadow in the engraving that may do what you are after.

I usually put it back over my shoulder, and off about 20 degrees to put "sparkle" in the bride's eyes. Always o the side as the mainlight for this, but for engraving like that, I'd use a metallic umbrella however, instead of the neutral 6string suggests on the reversed strobe.

With that much detail, a broad source may tend to flatten the image out more.

What you have there is very good, actually. But the releif in the engraving might be made to pop out better with narrower sources.


And a VERY fine gun.!
 

Latest posts

Back
Top