Shooting the Shoe Brush :)

[seriche]

(Wirefox suggested that I post this here in lieu of a new section for questions only).

Here's the short version, for those in a hurry

I need to take a good, atmospheric photo of this old shoe brush. It's a favour for someone, and it will be my first studio shot. What should I use, particularly to make the dark lettering and bristles more visible without losing the 'aged' look?

Some quick snapshots of the brush are included below, and I am happy to answer any questions about available gear and accessories upon request

Anyone interested in further details or the history of the brush can wander around the longer version

Many thanks,

Seri

______________________________________________________

The long version

Please help me do my first ever shot in the new home studio. As I bought equipment at random, I know I'm missing some vital bits, but I'm sure that with your kind help I can work around these deficiencies, so if you tell me what I need, I'll tell you what I've got and you can laugh

In the recent reorganisation of my home I came across a beloved old shoe brush. Its bristles remind me of a black lab pulled through a bramble hedge backwards so it's long been retired, but I kept it because I love old things of all kinds (Kit's Flickr photo of the old sculpting tools is fabulous and my home is full of orphaned paraphernalia rescued from jumble sales which shelter on shelves alongside the beachcombings, found things, and over a thousand books which also needed rescuing

Anyway there was some writing on the brush, and I decided to look into its history. This led me to a recent correspondence with a very nice gentleman in Australia who has written a book (and also has a small museum) dedicated to the Public Benefit Boot Co. He has collected all manner of fabulous items related to that company over the years, but has never seen a shoe brush from there, so this lovely little thing may be the last of its kind.

I am going to give him the brush as I feel it deserves a place amongst its contemporaries and relatives, and I know it will have a good home with this nice man, but first I said I'd take photos of it to send to him as he's very keen to catch a glimpse of it. He knows it's in very worn condition, but that doesn't matter to him. So I'd be very grateful if you could instruct me on how to take a photo of a dark wood, semi-shiny brush with black bristles to its best advantage?

Here are a couple of preliminary snapshots of it on a neutral background in natural light from a window to give you an idea.







I don't want it to be drowned in light, but, if possible, to enhance its worn and aged look in an amber glow or some-such. I want to try to preserve the signs of wear made by so many hands over the years. (I'm sure you know what I mean ). I also want to capture the soft glow of the veneer without blowing the whites, but also to slightly enhance the black lettering. And I need some ideas for a backdrop and what to place it on.

All help will be much appreciated, as I obviously know what I want but have no idea how to achieve it. Shooting indoor shots is a mystery to me as 99% of what I've done so far has been outside. However I do have a window with very good light to work with. And if you need to know anymore, please just ask.



For those who like history, The Public Benefit Boot Company was formed in Hull in 1875 and it would be great if you could keep your eyes open for any trace of the giant boot that's sort of gone missing

Late in the nineteenth century one of the most colourful forms of the company’s advertising was a giant-size boot that was regularly paraded around Yorkshire towns and villages on a flat horse-drawn cart. The rim of the boot was about four metres above the road and the driver’s figure emerged from the top of the boot. A man ringing a bell and calling out the virtues of Benefit Boots usually preceded the enormous horse-drawn boot. In 1883 the horse-drawn boot was registered as a company trademark.

www.ancestryaid.co.uk/boards/family-history-genealogy-information/7579-public-benefit-boot-company.html

It can be seen here:

freepages.genealogy.rootsweb.ancestry.com/~publicbenefit/

And in various other selling ploys, on their tins could be found the words "Buy Benefit Boots, Comfort, Consistence, Cheapness" (Alliteration was obviously a big thing in Victorian advertising circles ).

Cheers,

Seri

[clactonian]

Hi Seri.
This is not the most inspiring subject with which to create an 'atmospheric' shot. Is it essential to accurately represent the article or are you allowed artistic license?
If the latter is the case you can get some interesting effects by using various cross processing settings.
One thing that does become clear as soon as you start to play, is that the creases in the background cloth are intrusive.
I wonder if you would be better to use a dark reflective surface such as that which Rob uses so successfully. You will then get a reflection which will add to the depth of the image.

[seriche]

Oct 11, 2011 16:07:41 GMT clactonian said:

Hi Seri.
This is not the most inspiring subject with which to create an 'atmospheric' shot. Is it essential to accurately represent the article or are you allowed artistic license?
If the latter is the case you can get some interesting effects by using various cross processing settings.
One thing that does become clear as soon as you start to play, is that the creases in the background cloth are intrusive.
I wonder if you would be better to use a dark reflective surface such as that which Rob uses so successfully. You will then get a reflection which will add to the depth of the image.

Hi Mike,

Just off to take photos continuously out in the wilds for the next few days but spotted your post on my way out the door

Thanks a bunch for the advice. The shots I sent in were literally snapshots to show the subject and not posed or thought about in any way.

It's not a subject I would have chosen necessarily for a still life, but is a labour of love for a very nice man, author and museum keeper for a wonderful Victorian company. I simply want to send him a couple of atmospheric shots to make him happy before the brush itself finally finds its way to him in Australia

However, I thought I could learn something from trying to do the best job I could as it's a bit of challenge to bring the best out of it

I'll be putting all suggestions into effect on my return in a few days' time, so thank you once again for coming to my aid.

Cheers,

Seri

[The Wirefox]

Hi Seri

There are several ways to skin this particular ferret. I will suggest one that with limited equipment you can get surprisingly good results

The idea is that you paint the subject with light.

Firstly you will need to get your camera mounted on a tripod and use a cable release. Make sure the mirror is locked up (to prevent techno-jitter) set the camera to manual and the exposure to bulb mode. Aperture is subject to artistic license and ISO 100.

Make sure your studio is pretty much free from ambient light bleed (especially on the subject). Compose the scene - with the lights on obviously and allow the camera to autofocus on the subject. When you hear the focus lock or the green light comes on throe the focus mode switch on the lens to manual.

Switch the lights off - taking care not to trip over the tripod (Ive done it). With the shutter release in one hand and a small LED flashlight in the other open the shutter and at the same time play the flashlight beam over the subject - linger a little longer over the bristles and dark areas. After 10-15 seconds close the shutter - chimp and vary the exposure time and light play until you get the desired effect.

You do not need to use an LED flashlight if converting to b/w a small mag light or similar will do.

In PP i would suggest a b/w film conversion (Ilford HP5 is a good one). Create a duplicate layer invert (to negative) and set layer mode to soft light and play with the opacity. If you like you can then obtain a gritty feel by bump mapping the merged layers setting the elevation of the bump to between 3 and 6 pixels. Personally I would also introduce a further texture layer - an image of a rusty scratched surface and play with the layer modes and opacity to get a really used look.

This is nothing like the effect you want but it demonstrates some of the advantages of light painting - subject is dreary hell. Exposure was 6 seconds but aperture was wide and the flash light a little too powerful

[maryloveslucydog]

The image that came to my mind was being out at the gun club... ;D obviously, not what you meant... but just reading the title...I pictured that poor little brush being blown to bits!

P.S. I edited to apologize for not being helpful in the least.