and silver are highly reflective, and present problems like having the camera lens (and sometimes the photographer) show in the product. If it is a tiny reflection, it can either be retouched out on the transparency or etched out of the color separations. If, however, the surface showing the reflection is a large area, the photographer should try to disguise the camera by setting up a white paper tent around the equipment. Only the lens of the camera will show through a hole cut in the paper. The resulting reflection of the camera lens will be quite small, and easily corrected with photo retouching.
The shape of a ring is obviously round, meaning |
that the sides of the ring will reflect any images found there, much like peripheral vision in the eye. The use of reflector cards to block out these distracting images is helpful. The cards of white, gold, silver or grey are placed to the sides of the set at angles that are caught by the shiny surface of the ring. Chains of necklaces must be laid out much like an engineer’s drawing. Every link should be properly aligned and laying flat. This is usually done with a long pin or with a very fine pick, either by a patient and accomplished stylist or by a highly unusual photographer. A knotted or twisted link in a chain shows up glaringly. It may
|
give a customer the impression that someone just didn’t care enough to take the time to fix it, or even worse, convey a message that the chain will knot easily when worn. Jewelry is normally photographed actual size in a catalog, but occasionally it should be shown larger than life. This decision might be called for if there is a lot of intricate, detailed design work that would only show up if the item is enlarged. In this event, a copy line that states that the merchandise is enlarged to show detail should always be added. A dilemma always comes up in shooting jewelry as to whether to photograph it on a mode? or not. The decision should
|
