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Should I use a camera or a
scanner?
Photos that win Bids
How do I keep
the camera steady for better pictures?
Lighting Subjects, small to
large- Light your way to the Bank!
How to Make an Attractive
Backdrop
Photo Session Safety
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How to Take Great Pictures
(Part Two)
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Should I use a camera or a
scanner?
You should use a scanner on
all flat, small to moderate items that will fit on the scanner's platen,
such as paper goods, stamps, sports cards, etc. This will deliver the
best colors and clarity without pumping your image resolution or file size
to an unbearably slow load time.
When scanning items for
auction, you should always use a flatbed scanner, especially when
filming single, delicate items like old maps, comics, pulps, magazines, etc.
The exception to this is if you want to sell such items in bulk lots- It
would then be more time efficient to use a digital camera.
A digital camera, rather
obviously must be used when filming three dimensional objects like toys,
clothes, etc. The only exception to this is if you are scanning in
auction photos from pictures that have been developed from a film camera.
Of course, this method is ultimately much more lengthy and costly than using
a digital camera, and should only be used as a last resort.
When scanning items with a
flatbed scanner, the scanner lid's white underside should do the trick
nicely. Just remember to cut out almost all of your background using
'image crop' features in your image software.
When purchasing a flatbed
scanner, look for one with a top that can be removed or adjusted- you want
the lid to have a little give, for filming larger items like books or game
boxes. A lid that is hinged in place and can't be removed will limit
the type of items you can scan, unless you scan with the lid open, which is
hard on your eyes and bad for your backgrounds.
Photos that win bids
To take great pictures, you
must have a quality digital camera &
memory cards
with plenty of megabytes (MB) or even gigabytes of storage space..
A good digital camera will
have at least one megapixel or more, and
the more memory you can afford on your camera's card, the better. We
recommend keeping the little 4 Megabyte or so card that may have come with
your camera as a backup, and getting a giant-sized 128 MB to 1 gigabyte or
higher card for serious auctioneers (see: 'How
many Memory Cards Do I Need?' below).
It's also very important to
have a sturdy
tripod, a memory card reader (unless your camera sits in a memory dock,
like the handy KODAK Easy Share cameras) a decent backdrop, extra camera
batteries, battery charger, padded camera bag with shoulder/wrist strap, and
most importantly, good lighting.
See Digital
Camera & Equipment Reviews
How do I keep
the camera steady for better pictures?
A sturdy, professional tripod
will eliminate almost all of the shake from your images. You can get
away with one of those cheap, plastic models when first starting out, but if
you're serious about good photo shooting, consider investing in a decent
tripod. We have found it almost as important as the quality of camera
we use, when shooting many pictures in one session.
Even with the advancements in
software correction- the age old problem of
shaky images still plagues many an otherwise decent photo. No matter
how steady you think you can hold that camera, it will shake just a tad at
the crucial moment, causing jumpy or blurred looking shots. A
professional tripod is the cure- any tripod, even a flimsy one, is better
than nothing.
Here's a
tip: If you're caught without a tripod out in the wilderness or
in your own backyard, in a pinch you can use this old shooter's technique.
Stand with your weight
centered, with your feet shoulder's length apart and your knees slightly
bent- Take a few calming breaths slowly. Just before snapping the
shutter and taking a picture, take a long, slow deep breath- exhale slowly,
hold your breath slightly, and before inhaling your next breath, snap the
shutter.
It's a little trick you can
use to steady those nerves that you don't otherwise notice. You can
also use this technique before looking at all those auction fees for the
month as well. It works wonders in both situations.
Lighting Subjects, small to large
Probably the single most
important factor to the quality of your image during the actual shooting of
your photo, is the quality and position of your lighting.
It's truly amazing, but many
auctioneers, from amateur to expert, will still use images that are under
lit, and these often look just plain dreadful in the auction description.
They are not only diminishing the number of bids they will get, but the
amount of any bids they do get. Think about it. Would you want
to put up good money for some old antique lamp that is partially covered in
shadow, and looks like it is hiding in the back of a dank garage? No!
But plop that lamp in front of
a decent, simple backdrop, splash it with some decent fill and key lighting,
and suddenly, presto! That haggard looking relic, suddenly becomes the
priceless tiffany or chrome art deco lamp that it really is, that will fetch
you the big bucks!
Okay, let's backtrack a
little. Here's basic lighting 101, watered down to just the
essentials. When you want to get good light on the subject, and
eliminate potential shadows, the best ways to do this are to think about the
follow definitions:
Fill Lighting
Fill lighting is the overall
amount of light in the room or area, almost always from a soft overhead
source. For most amateurs shooting auction pics, this will usually be
overhead room lighting, such as an incandescent light or halogen fixture.
It could also be from natural sunlight, if taking pictures outdoors.
These fill light sources are usually sufficient for auction photos, and can
produce nice results when used correctly. They usually require
additional, focused key lighting however.
When used correctly, fill
lighting softens the hard elements and sharp angles in a subject (or human
face), and eliminates the majority of shadows in the picture.
This is why photographers sometimes bounce light off of foil or white
reflectors, as they are trying to increase fill light in certain areas not
getting enough light, or that have unwanted shadows.
To much fill (or key) lighting
can over-expose the subject, which is why if you've ever seen a
professional, movie style photo shoot you will see them using large, silky,
white sheeting material to diffuse the amount of natural sunlight entering
the shot.
Key Lighting
Key Lighting is similar to
what you get when directing a flashlight on something in the dark- It
provides, strong focused light exactly where you need it.
Although fill provides much of
the overall ambient lighting in a shot, the key lighting is what really
lights the main areas of the subject, and 'pops' the details out in the
photo. Key lighting can also help your Fill lighting eliminate
shadows, but it's main purpose is to hit specific areas that require
additional levels of light.
Key lighting can be placed in
different areas to yield certain results- you should play around with your
key light positioning, and then look at a few sample shots, before taking a
lot of photos. We recommend placing at least two key lights on both
sides of the camera, at a 45 degree angle to the front center of your
subject.
The height of the key lights
can be played around with to produce different effects, but we recommend
having them raised a foot or so above your camera, and just slightly behind
it. You want them behind the lens, to avoid any light spilling into
the aperture and overexposing the shot.
Back Lighting
Back lighting helps light the
back area of your subject, and removes any shadows from the rear of the
shot. Back lighting is most useful to help 'pop' your subject off your
background, giving it a more natural, lifelike, almost 3-D feel.
Figurines and objects in your photo seem to stand out better with good back
lighting, instead of blending in with their surroundings. This may
help your antiques or collectibles take on a life of their on that suggests
'bid on me'.
Be careful to avoid having the
rear key lighting splashing directly into the camera lens- This will create
glare or overexpose the shot. If you will be using rear key lights and
you may not have to), they should angled to fall on your auction item and
not the camera. Like front key lighting, they should above the subject,
placed at roughly a 45 to 90 degree angle.
True backlighting is when you
are actually lighting the background, and not the subject itself.
Lights that are aimed to actually hit the rear of the subject, should not be
confused with back lighting. This is actually just a form of rear key
lighting, which can be useful as well- primarily to eliminate troublesome
shadows or harsh subject edges, but from another angle.
Backlights should be out of
the camera's field of view, so they don't show up in the picture. They
typically are placed near the backdrop, and are usually very close to either
the ground, or sometimes the ceiling level. The point is to splash a
soft light across the backdrop, at an angle. This creates a warm,
soothing effect, which heightens the impact of the subject instead.
For auction items, you'll probably want to keep back lighting simple, with
yellow or white lighting against a plain white or lightly colored material.
Keep it simple- remember, you want bids, not an Academy Award for best
lighting techniques.
Color Temperature
Color temperature has to do
with the quality and method of your lighting source- There are charts and
books written on this subject alone, much of it beyond the scope of this
article.
Basically, for our purposes,
think of color temperature as the style of lighting: whether it is natural,
incandescent, halogen, or fluorescent. There are of course, other
types, but we'll stick to these primary sources.
Have you ever noticed how a
person looks an unearthly green or maybe blue under some fluorescent
lighting? There are many filters and new types of professional
fluorescent lighting packages which produce high quality results in a
multitude of colors. However, for most auction photos we recommend
staying away from fluorescent as a source of fill lighting, as the color
temperature you'll get from the most stuff at the hardware store will look
an artificial and dreary greenish blue or greenish yellow.
Instead, we recommend trying
different types of incandescent lighting. Unfortunately, a primary
difference between this type of lighting and fluorescent lighting, is that
it drains more energy to use, and is VERY hot, for you, the subject and your
equipment (see Photo Session Safety, below).
This is no big deal if you are
shooting bowling balls, but if you are taking pics of a wedding cake, you
might keep in mind that your subject might melt into a big frosted white and
flowery mess before the end of the photo session.
How to Make an Attractive
Backdrop
You don't have to use
professional, muslin photo canvas to make classy backgrounds- it's possible
to make a professional looking backdrop without spending a fortune.
Great results can be achieved with readily available household materials or
inexpensive fabric purchased from a local department store.
When choosing background
materials, just remember that your auction items need to stand out and be
noticed if they are going to get decent bids. If you are limited to
using a bed linen, that's fine, just make sure it's clean, and fluff the
material around a bit to hide problems such as ironing or fold marks.
When designing a background,
think of the color of the subject you are shooting. If your auction
item is an off-white to lightly colored object, then make your background
out of darker colored material, such as a nice blue, black or green.
Otherwise, your treasures may appear dirty, worn or old. You want your
antiques to look vintage and rare, not tired and out of style.
When filming dark objects, the
opposite is true: place them against a pleasant, light material, so they
will 'pop' off the background and not get lost in the shuffle. A blue,
felt football pennant or brown leather baseball glove will blend in and get
lost against a black velvet background.
This is especially true if the
item is a little soiled and dirty- A dusty old envelope or map against a
pure white linen backdrop will scare away some bidders. Put the same
old yellowed item against a plush, royal blue or stark black velvet, and
suddenly, that dirt is magically transformed into your antique dealer's
favorite word: patina. Buyers simply can't help themselves.
If you want proof or this,
here's a little trade secret: You've heard of the Four C's of
Diamonds, right? Color, Carat, Cut & Clarity. Well, if you need
proof of the effectiveness of background color in advertising, the next time
you look at a jewelry advertisement or see a jewelry display at the mall, look closely at the
way the gems and rings are displayed. You will undoubtedly notice those diamonds against
dark black, blue, red or green backgrounds. Why? Diamonds that
appear clearer in cut
and whiter in color sell for more money. The darker background colors
help achieve these effects.
A slightly off white diamond
is noticeable against a pure white background, and the jeweler knows it.
The opposite is true of colored gemstones like rubies and emeralds; these
tend to be shown on lighter backdrops, as the darker colors of the stones
sparkle more and look better against a lighter tone in the background.
If you still need proof, check
out a sight like Diamonds.com, Sephora or Blue Nile. Check out some of
their uncut gem listings, and you'll see what we mean- they simply look
better against the right color of backdrop material, and your auction items
will as well.
Also, make sure and match
the style of your background fabric to your subject whenever possible- you wouldn't dream of wearing a plaid jacket with
paisley pants outside the house, so don't let your auction photos clash
either.
It's best to keep several
types and colors of fabric on hand, depending on the kind of shot you need.
You can find great sales at a discount store like Wal-Mart or Michaels-
Bargain bins and closeouts are almost always available in the fabric
sections of these types of stores. These areas will have remainders
available for next to nothing.
For any guys out there who
are buying fabric for the first time: It's okay. Just remember
you are doing it for an important reason, and that fabric is sold by the yard, on
bolts. Yes, we know, you may want to go 'bolting' from the store- but
just keep chanting 'money, money, money' and ask the clerk if they saw last
weeks Giants or Knicks game as they ring up your shopping cart full of pink-chiffon satin and red velvet. You'll be fine.
Your best success with a
backdrop will come from using soft, plush material such as velvet, felt,
cotton, satin, etc. Try and stay away from materials that are too
flashy, unless you are looking for a little pizzazz in your photos. Sequins, mirrors, holograms,
suede and other heavily adorned materials may look great on people, but as
a backdrop they call too much attention to themselves, and detract from your
auction items (except for certain products where a little flair or attitude
is required, like certain... ahem, Valentine's gifts).
Backdrop fabrics that are
stretched taut look amateurish- so do those that are in need of ironing
(ruffles help hid this). Don't let a heavy item pull the fabric in
ways that you don't want. Preview your shot in the camera lens finder,
and make sure your set looks professional. Reposition fabrics after
several sets of shooting, if they start to look matted down by the weight of
all your treasures for sale. Look at a few ads online or in magazines,
and you'll get the hang of it
You can find rubber tipped,
spring activated clips at a hardware store to hold your material to poles,
ladders or high-backed chairs. This can help keep your fabric where
you want it, so the weight of the item does not make it fall. You want
a fairly stable set-up, as you will be moving auction goods in and out of
the area between shots, and it's a nuisance to keep re-positioning backdrops
that keep falling down.
Whatever you are selling, it
helps to have all of your objects organized and ready to film by the item's
size and color- This will save you hours of time in having to reposition
backdrop material and/or light fixtures.
When setting up a shot,
imitate what you see in professional sales flyers from the mall or
department stores. Notice how the merchandisers use ruffles in their
backdrops? They do this to help break up shadows and soften the look
of the background area- It adds visual interest and eye appeal, without
detracting from what they are trying to sell.
When filming outdoors, make
sure the area is clean of debris and trash and looks attractive. If
you are selling a car, boat or other large item, try and take it to a park,
beach, marina or other visually stimulating area- film late in the day when
sunlight is not too harsh, or your pictures might suffer from glare or
over-exposure.
If you have to shoot photos in
your backyard, make sure the grass and weeds are cut, and that any
background landscaping or building is pleasing to the eye. You might
want to crop out most of this stuff anyway, but a very small amount of
pretty, natural foliage can help you sell your item, if it looks nice.
On the other hand, if your two
year old SUV is being photographed at twilight in front of a car on cinder
blocks, and is parked in the oil-stained driveway of a house right next to
the interstate, you may want to rethink the visual aesthetic of this shot-
your bids will be few and far between. Instead, take your vehicle for
a 10 minute drive and find a nice, pretty spot- Pick a time a few hours
before noon, or a couple of hours before dusk on a bright yet slightly
cloudy day. You'll get great shots, and your customers and your bank
account will both be happy that you did.
For great backgrounds in your
pictures, just remember this formula: use light backdrops with dark objects,
and vice versa. This will work for you in almost all cases.
Whatever you do, make sure
your backdrop or background area looks clean- a stained linen fabric or
messy kitchen table will decrease bids. It's okay if people know that
you are a private seller, filming from your home. You can be an amateur
photographer, but your pictures still have to have a clean, professional
look to help secure those bids..
The key to shooting a great
image, is to make sure you feature the auction item itself- The trick is to
make your background look sophisticated, but simple. Think elegance,
not flash. You want your subject to stand out, not your incredible
decorating skills.
Photo
Session Safety
Remember: safety first! Hot
light bulbs and their housings WILL burn you, so exercise caution for
yourself and your staff or helpers. Try and keep lights turned off
until you are actually filming shots, to keep them and everything else in
the room cool and comfortable. When setting up fragile lights
overhead, especially when moving hot lights, it's not a bad idea to wear
heavy leather gloves and even eye protection, in case of bulb breakage or if
lights should fall out of brackets or housings.
Take a break for awhile if and
when your studio gets hot, to let everything and everyone cool down- some
older, vintage antiques (especially paper goods) can and will get ruined
from droplets of sweat coming from you or your staff, once the studio
temperature feels like summer in the Sahara desert.
It's best to have your studio
in a separate room away from your computer, monitor, stereo, TV, etc to help
prevent power surges and overloads which may waste time or damage equipment.
If it can't be avoided, try to at least have some or all of your lights on
an extension cord from a different room, and on proper surge protectors as
well.
Break the power load up over
different circuits and breakers, and make sure your whole house amperage can
support all your gadgets and gizmos during the shoot. This generally
won't be a concern in newer houses with 200 or higher amps coming in from
the street- But if you live in a rural area, or in a house that is 20 or 30
years older or more, your house wiring or circuits may need updating by a
professional electrician if you will be using a lot of professional lights.
Again, this is probably no big deal if your fill light is a kitchen table
chandelier and your key lights are floor lamps with the lampshades tilted,
but for those of you whose circuit breakers trip when you use your microwave
or toaster- you'll know what we mean.
You don't want to trip any
circuits or outlets on the wall where your computer or camera setup are
plugged into. And again, be SURE to use surge protectors with adequate
circuit breakers built in, especially if your computer and monitor are in
the same room. Did we mention to use surge protectors? OK, just
checking.
Just use common sense when
shooting, and you'll be doing well. Otherwise, when your six Hollywood
style 500 watt KLIEG carbon arc lights suddenly send an overload to your
house outlet, it can be at the least, a small time wasting nuisance. At
worst, it can be a financial disaster as equipment can and will get damaged
if not on a protected outlet. When your computer blows up and you
can't place bids, list auctions or send e-mail for a week, you will wish you
had bought those surge protectors for the extra 20 or 30 bucks.
Finally, use gaff, duct or
masking tape to keep light, camera, and otehr cords secured to the floor to
prevent tripping injuries or any damage to equipment. The sound that a
3000 dollar camera on a tripod makes when it hits the floor or crashes into
the porcelain Hummel collection you are shooting, is not a pretty one.
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