Photography of pianos and grand pianos. The work of a product photographer with 4 cameras

Modern cameras have high resolution. the reality of our priorities in terms of print and web presentations of the issues raised, of which the most important ones consist:

⯑ How many megapixels does a photographer need to enjoy?
⯑ How many megapixels does a camera produce for each given sensor size (ff, crop 1.6, crop 2, etc.)?
⯑ Paying liquors to increase the number of observed or something else?

I think it will be interesting to illustrate my reflections with examples of photographs of pianos and grand pianos. This is a serial order and quite professional work for any photographer. Why? Because it is required to put the light, and the client is permanent.

Retreat. Many final photographs in recent years have left the list of photographic topics in analytical worlds. For example, jewelry photography. Confrontation front photographer held

the task is to show the subject in all its beauty, using lighting, etc.

Today, most of the jewelers are photographed for 2 kopecks by conditionally_photographers with monstrous flaws, while other conditionally_professionals in the field of retouching bring the sent blanks to the level of “producing photographs”.

about product photographyAlthough, to be honest, the final images are not related to reality. The fact is that both casting and metal processing are most often very bad, that photoshoppers measure the actual reassembly of products from their blanks. An example of such a blank is in front of you.

If we leave professional “aahs” about “specialists do not grow up like that”, then the modern approach affects two problems:
– misleading consumers;
– the emergence of an ethical justification for lies among the executors of such orders.

It turns out that the photographer tells himself that he is not just a photographer who does not see light and reflections, but simply #no money and time to “fuss” over crimes#, and he is ready to shift things on the table in front of him for 5-10-50 rubles. camera. In turn, the retoucher believes that he is not engaged in deceit, but creates a commercial selling photo, creates a “product” according to the “brief”. All this sounds beautifully professional and with the letter “g” – proudly. 

At some point, everyone is surprised that the public is a total lie: the president does something of his own, and there are a lot of deceitful small print on the food packaging, as well as in employment contracts or mortgages. OK. We drove. Yet they agreed to it.

Now we have difficulties and a lot of interest in the possibility of working on old cameras. It is for this reason that I decided to experiment and duplicate some frames on different cameras.

📷 The first part of the photos was taken with
Panasonic Lumix DC-G9 + Olympus ED 12-40mm f/2.8 Pro lens .

Micro 4/3 system. Crop 2. 20 mp.

Commentary on equipment. For static frames, images up to 80 megapixels can be created. Such shots require additional post-production time. details begin to emerge that are usually just out of detail. Does the client need it? Don’t know. But this increased detail pleases the client, and the photographer gets high opportunities for cropping and image transformation. 

📷 Next, I took a
Sony Cyber-shot DSC-R1 camera. 

This camera came out in 2005. I learned only 10 mp and a crop factor of 1.7. The lens of the camera is non-removable, but it is Carl Zeiss Vario-Sonnar T* 2.8-4.8 / 14.3-71.5 mm.

Commentary on equipment. 10 mp. – That’s not a lot. In particular, if provided, there are two solutions. The first one is in the area of ​​“invigorating” the TopazGigapixel product image. Of course, you should output files for processing by Topaz without artificial sharpening and in 16 bits. The second solution is also obvious: it is desirable to make a couple of frames in gluing. This will give almost a square of two narrow 2×3 frames. For static tasks, this is not difficult. 

📷 The third camera for my experiment was generally “devil”, or rather,
the Xiaomi Yi M1 camera with an Olympus 45mm f / 1.8 lens.

Commentary on equipment. This camera has a couple of advantages: a 20 megapixel sensor, like the Panasonic G9, 4K video at 30fps with such a bitrate, and conditionally working 1600 ISO, if you give half a stop of overexposure. Focuses on unstable conditions. But a matrix remains a matrix, and 4K is 4K, even with a bitrate value. The cost of Xiaomi Yi M1 is negligible – about 5 tr. This camera is an ideal belay camera that is better set up. What am I using it for? here for similar photosets ( cm ), helping me to relax after a working day.

📷 The fourth camera was a
Samsung GX-1L camera with a Sigma AF 18-125mm f/3.8-5.6 DC HSM Pentax lens .

As for the camera, the 6 megapixel SSD matrix has excellent color reproduction. The back screen is fixed, it takes place to be better than that of haomi, but only on the occasion of the thinness of haomi. The camera was brought in by a neighbor. Found on the mezzanine and remembered me. Isn’t good gone? The result will appear next week.

📷 Perhaps there will be photos taken on the
Konica Minolta DiMAGE A200 . 

This camera was released in 2005 as a cheaper version of the Minolta DiMAGE A2. A 2/3″ (8.8 x 6.6 mm) SSD matrix produces 8 megapixels. In 2006, A200 files are used for shooting under the covers of magazines. Of course, the declared ISO 50 – 800 is really valid only in the first two steps.]

🏅Findings. You can work with the subject and the interior with old cameras. After all, we are not paid for pixels, but for the ability to work with light, revealing a delicious picture precisely through lighting.

However, there is a dangerous moment – moiré, which in cameras often made the brains of retouchers. Below are examples of moiré and “cheering up” images from an old Topaz Gigapixel camera. 

Using a few examples of photographs, I want to show the moire that occurs on rhythmic surfaces on old cameras. On stage Samsung GX-1L and its 6 MP. The files were taken from a flash drive that fell into my hands along with the camera.

Two original photos from Samsung GX-1L

source file from Samsung GX-1L camera Moire Samsung GX-1L
And here are examples of moiré on the crop of these two frames and the armrest of the sofa in my house.

Samsung GX-1L Moire Samsung GX-1L  Moire Samsung GX-1L
Vest, balconies, matter.

How to deal with it? Professional “ass” ie. sitting with photoshop.

Another thing is that in our times 6-12 mp is somehow not enough. I will give you an example of the work of TopazGigapixel. The original images (the square in front of the temple and the 9-storey building) have poor detail. There was a 6 megapixel Samsung GX-1L and a sigma 18-125mm f 3.8-5.6 dc os hsm pentax lens. However, “cheering up” an image with Topaz up to a twofold increase and resizing back change the situation better than regular sharping and other photoshop tools:

source fragment → improved → enlarged

Improving the quality of the source image Improving the quality of the source image Improving the quality of the source image

source fragment → improved → enlarged

Source fragment increase in detail

Now is the time to go back to the three questions ( here ) and answer them yourself. 

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Panasonic Lumix DC-G9 + Olympus ED 12-40mm f/2.8 Pro Lens     |    Sony Cyber-shot DSC-R1    |    Xiaomi Yi M1 with Olympus 45mm f/1.8 lens    |     Samsung GX-1L with Sigma AF 18-125mm f/3.8-5.6 DC HSM Pentax    |     Konica Minolta DiMAGE A200

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