The Object

There are two things to be aware of when setting up your object to be photographed.

  1. You need to control the reflection of the background in the object to control the transparency of the object in the final image.
  2. You need to set up the background so that it can be changed between shots without affecting the position of the foreground object.

Controlling Reflections

This is a subject that will definitely cause controversy. It is important to note that there is no one correct image and mask for a reflective object. Since a reflective object reflects the environment around it, some amount of the environment will always be reflected in the object. If an object is photographed in one environment, then the object is 'cut out' of the photograph and placed into an image of a different environment, it will not necessarily look correct because its reflections may not match the new environment. With traditional masking techniques, the reflections in the object cannot be changed so your use of the image is limited. With Maskerade, however, you can produce a masked image whose reflections change when used in different environments. This 'degree of reflection' is completely up to the discretion of the photographer or the designer specifying the shot, and it should be determined by the ultimate use of the image.

It is not necessary to get the degree of reflection perfect for the image to look really good, but it is important that you consider the effect that it has on the image when you are setting up the shot. If the image is ultimately to be used on a colored background and you want the object in the image to look as though it is very close to or sitting on that background, you need to photograph the object very close to the background in the studio so that the object reflects a great deal of the background. If you want the object in the image to be more opaque and retain the reflections that it has, that is not have changing reflections, the object needs to be photographed far in front of the backdrop in the studio. The following examples illustrate this.

When a reflective object is sitting on a table top, you will see a great deal of the table top reflected in the object. These reflections are exactly what make the object look reflective. If you were to photograph the object conventionally and generate a clipping path for it, then composite the object onto a different colored background, none of its reflections would change to match the new background. This would give your object a flat, 'cut and paste' look. With Maskerade, you simply photograph the object close to the background. The changes in the reflections between the two shots will be seen as transparency which will allow the proper amount of background color to bleed through when the image is composited. See the example below.

When a reflective object is far away from any surfaces, the reflections will be made up of the floor, the walls, the ceiling and the environment of the studio in general. No one surface will dominate the reflections. If you were to photograph this object conventionally and generate a clipping path for it, it would look acceptable in many applications as long as it was not placed on a color that was intended to look as though it was reflected in the object. With Maskerade, you simply photograph the object with a background placed a reasonable distance away from the object.

So, you need to position your objects and background so that you control how much of the background reflects in the object, which in turn, controls how transparent the object becomes. No single placement is correct for all cases, so it is up to your discretion to use the correct method for your application.

Note:
When patterns are being used behind the image in a composite image, it will be necessary for the artist to simulate, or 'fake' the distorted reflection of the pattern in the object. If this is not done, the object will look as though it is transparent instead of reflective. The same holds true with glass objects with extreme amounts of refraction. If the refraction is not simulated, the object lacks depth and simply appears two-dimensional. This technique is not necessary when solid colors are used for backgrounds because solid colors don't display any visible geometric distortion.

Techniques to simulate reflection and refraction are really fairly simple. Since Maskerade produces a transparent layer, it is easy to place another layer behind it that has distortion in only those areas that require it. You can copy and paste, then flip, rotate and skew a layer appropriately, or you can use a displacement map in Photoshop to distort a layer.

It is beyond the scope of this program to attempt to simulate reflective and refractive effects. The required set-up in the studio, the required skill level and user knowledge, and the mathematical calculations necessary are simply too great for normal, everyday applications. For these reasons, the user must simply be aware of the effects and know when and how to simulate the effect in an image.

Simple Guide for Backdrop Placement

Non-reflective objects - Either near or far placement of the backdrop is acceptable, but distant placement is preferred.

Reflective objects - Photographer/designer needs to determine if reflections in image need to change when image is placed. If so, use a close placement. Otherwise, use the distant placement. It may also be necessary to simulate (or 'fake') the distortion of the reflection in the final image.

Glass objects - Should shoot close to the backdrop. It may also be necessary to simulate (or 'fake') the refraction of the environment in the final image.

Supporting Objects

Positioning your objects is the most difficult part of the process. The objects need to be set up so that the backdrop can be physically changed between shots, or so that the backdrop's illumination can be changed easily. You want to insure that the backdrop changes in illumination or color uniformly between the first and second shots. For example, if the top of the backdrop darkens but the lower portion doesn't (or vice-versa), this change in brightness will be perceived as a shadow.

For objects that must lay out on a surface, you need to provide a surface that changes color or a surface that you can see through so that a color can be placed underneath. A light table is suitable for small objects that are non reflective. If the object is even moderately reflective, it will 'pick up' and reflect light from the table which will be perceived as transparency in the final image. For some applications, this may be very desirable because the object would indeed change radically in appearance if put onto a different colored background. You can control this behavior by adjusting the distance between the object and the background. If the background is sufficiently far away, you will see it around the silhouette of the object, but the environment of the room will far outweigh the background in the objects reflection's. Conversely, if the background is very close, the background will be the primary reflection in the object. For larger objects, a sheet of glass works well. Simply support the glass and place a colored backdrop underneath it. Depending upon the type of glass used, you can have reflections captured in your image when the camera is located at a shallow angle to the glass. If you shoot more perpendicular to the glass, the chances of reflections are greatly reduced and usually eliminated.

For objects that can stand up or can be suspended, a pedestal is suitable to support it with. Just try to keep it as small and narrow as possible so it's easier to edit out of the final image if you need to. You can also hang objects as long as they remain motionless between shots.See the 'Touch Up' section below for tips on properly removing these artifacts.

For objects with very fine details, make sure that airflow in the studio does not affect the shots. Fine details like hair can be move between shots, so you might have to shut off the air temporarily to prevent this.

Remember that even a partial solution can be better than none. If you have peculiar object and can't get the backdrop changed, try changing it around the details which would be difficult to mask using traditional techniques. For instance, if you use a stick or post, cover the front of the stick or post with material that can be changed.