Getting correct color and texture?

[tawnijo]

I need to take shots of color samples - they are made out of a type of cement. I need to get the exact color and texture of the samples to have them printed in brochures. I just left the photolab and my original shots did NOT turn out. Here is the equipment I have: Nikon D70, SB600, 3 hot lights, and 2 soft boxes. I also have a pc with software that I can manipulate the pics - but, I am not very good at that. In my original pictures I used the 3 hot lights and no flash. The colors were way off - for instance, the greenish sample looks almost white in my pictures.

So, my question is: with the equipment I have what is the best way to get the correct colors and textures? Do I use the hot lights? Or just the flash? Or just the soft boxes What settings would be best on my camera?

As you can tell I know nothing about shooting commercial products. I have only done portraits and candids. And, this is so different than either of those for me! I appreciate your help with this!!

Tawni

[Norfindel]

Set the white balance in your camera to either the type of light you are using, or manual white balance. I don't have a d70, so can't tell you the details, the camera manual should have this info, just read it

[Franglais]

I need to take shots of color samples - they are made out of a type of cement. I need to get the exact color and texture of the samples to have them printed in brochures. I just left the photolab and my original shots did NOT turn out. Here is the equipment I have: Nikon D70, SB600, 3 hot lights, and 2 soft boxes. I also have a pc with software that I can manipulate the pics - but, I am not very good at that. In my original pictures I used the 3 hot lights and no flash. The colors were way off - for instance, the greenish sample looks almost white in my pictures.

So, my question is: with the equipment I have what is the best way to get the correct colors and textures? Do I use the hot lights? Or just the flash? Or just the soft boxes What settings would be best on my camera?

As you can tell I know nothing about shooting commercial products. I have only done portraits and candids. And, this is so different than either of those for me! I appreciate your help with this!!

Tawni

Just use one type of light source. Either the tungsten lights (2800K) or flash (5000K). Set your D70 to the light source you choose in Menu - Exposure - White Balance (I'm guessing at the lables because mine is in French).

If you mix light sources then the parts lit by the flash will come out bluish and the parts lit by the tungsten lights will come out reddish and this is normal. Neither light source is really "white" but the human eye makes you think they are.

Charles

[another view]

I'm sure you realize with all of the variables in the process from shooting to printing brochures to even the color of lighting that potential customers are looking at your brochure under will make the colors slightly different than real-life samples, even in the best case scenario. I deal with color charts in my day job with commercial lighting fixtures. Pretty much all of them say that they do not match an exact guarantee to the finish of the fixture.

To get exact as possible, stick with one light source - even using different wattage hot lights can give you different color temperatures (not much, but then we're trying to eliminate all differences). Shoot in RAW mode with a white/grey/black card laying on your sample so it's in the same light as the sample. This will be the shot you use in Photoshop to make all your adjustments to. Then photograph the samples the same way in the same lighting setup.

Next, go into Photoshop and set the white balance with the white part of the card. With levels, set the grey and black points with the eyedroppers. It's important to do this on a calibrated monitor so you know what you're looking at too. Then apply these settings to all of your images.

That should do it, but then there are printing profiles to worry about too. This does get pretty complicated. Not trying to say you can't do it, but maybe this is a good job for someone who specializes in product photography.

[drg]

We shoot cement for QC purposes frequently.

Are you shooting cement (the powder/binder) or the final mix with aggregate(rock, sand, stone, etc.) ?

Are you photographing flat work (sidewalks, walls, foundation pre-pours) ?

Are you photographing decorative concrete, i.e. colored driveways meant to look like brick or stone?

The first major suggestion is, use the light that it will actually be seen under. Daylight or even overcast skies may be what a landscaper or architectural firm really is wanting for their sample. It is much easier to use the sky as a softbox than an actual one for this application. If I'm guessing what you really trying to do for a catalog or sample sheet, nothing personal but a D70 is really not the camera you want to do this. It will work, but use the RAW (NEF) files and use a color target and calibrate accordingly.

Studio work if you are going to get the color 'exact' means,
1. Color targets - preferably calibrated with the assisstance of your print shop,

2. Color metering, even with digital you want to be sure that you get an 'even patch' or 'swatch' of light under your studio lights.

3. Use hot lights and not strobes (unless you've got lots of money).

4. Custom White Balance setting. Either get a white balance filter or shoot a base target. For printing, get a few big pieces of the paper that will actually be used for the print job as a target.Have the printer give you a 'white' sample if the stock is glossy.

Do you know how to do Pantone or similar types of color matching?

Find a Graphic Designer/Artist with commercial experience, not just training, who is familiar with the industry in your area and pay them for lessons! If you are going to do this regularly it is worth the bucks.

Even and regular lighting is critical to color work. As an example, when we do aggregate analysis visually the the image is 2000x2000 pixels from a known series of distances. We go from about a decimeter square to a collage of centimers square sample. Then the color gets matched to all of them and they can be analyzed for visually porosity, aggregate spread, surface texture variation and so on. The lights are minimally an order of magnitude larger than the surface being shot. I used specialty light that you shoot through like a macro light, only bigger.
That just a small facet of the documentation process.

Also when pre-formed pieces (like culvert sections) come in, they are marked with big painted codes, and we even note if the parts are wet to allow for differences in appearance. 999/1000 of the time no one looks at this material, but the structural and civil engineers spot check regularly.

There are both suggestions and questions mixed here. If you want more info let me know and I'll do what I can to guide you 'from afar'.

[drg]

I'm sure you realize with all of the variables in the process from shooting to printing brochures to even the color of lighting that potential customers are looking at your brochure under will make the colors slightly different than real-life samples, even in the best case scenario. I deal with color charts in my day job with commercial lighting fixtures. Pretty much all of them say that they do not match an exact guarantee to the finish of the fixture.

To get exact as possible, stick with one light source - even using different wattage hot lights can give you different color temperatures (not much, but then we're trying to eliminate all differences). Shoot in RAW mode with a white/grey/black card laying on your sample so it's in the same light as the sample. This will be the shot you use in Photoshop to make all your adjustments to. Then photograph the samples the same way in the same lighting setup.

Next, go into Photoshop and set the white balance with the white part of the card. With levels, set the grey and black points with the eyedroppers. It's important to do this on a calibrated monitor so you know what you're looking at too. Then apply these settings to all of your images.

That should do it, but then there are printing profiles to worry about too. This does get pretty complicated. Not trying to say you can't do it, but maybe this is a good job for someone who specializes in product photography.

I was responding while Another View was too, it looks like.

Putting you W/G/B card or a color target on the surface is a good idea. Again, depending on what you are doing, this is like making paint sample tests.

There's a photo in the gallery of automotive/motorcycle paint samples from PP at a show this past fall. They literally put the samples on a real surface and mount them on a %60 neutral gray background. No question then how to calibrate.

This is a lucrative business with the right customers, but it is exacting work. Best wishes and let us know how you are doing. More question?