From Concept to Publication While we don’t need to go to the lengths a basic studio from of a professional portrait studio, we can cre- several sheets of ate our own makeshift studio using nothing poster board placed Part 2: Photo Composition and Tips more than a tabletop with an adjacent wall. on the table top and article and photos by M.R. Snell We also don’t need expensive portrait-style hung from or stood backdrops, nor would I recommend them up against the wall — the “busy” weave throughout the fabric to form a clean sur- can be distracting at best. Instead, construct face and backdrop. Yet another option Both Below: A simple studio can be made from sev- that enables a longer eral sheets of poster board or lengths of solid-colored fabric hung behind and placed on the tabletop, pro- seamless backdrop viding an inexpensive distraction-free environment. is to use a solid-col- ored fabric that has a tight, plain weave such as cotton. Two pieces of matching Above: One easy way to provide contrast while simultaneously showing scale is remnant fabric have to use light- and dark-colored cutting mats with inlaid gridlines, enabling quick served as my “studio” changes from dark to light backgrounds. for years. One rem- nant acts as a table cover and the other is portable lighting towers with halogen light- a removable backdrop that hangs from the ing commonly found in hardware stores. layout fascia, hiding the layout and shelv- Whatever lighting style you choose, ing while projects are being photographed. there are several rules to follow. The first Let’s now look at the second rule of is safety — all lights put out heat and have composition: contrast. Our goal is for the the potential to warp plastic models. Lights subject to stand out against the background. also present a fire and burn hazard, so they I recommend keeping both a light and dark should be kept a safe distance from any background on hand, using the one that flammable materials, the model and your contrasts with the item being photographed. clothing included. For example, when photographing a project The second rule of lighting is not to that uses light-colored styrene (e.g., white) aim it directly at the subject. You may recall use a dark-colored background (e.g., black) during your last professional portrait stu- for maximum contrast. Contrast prevents dio visit that the photographer aimed the the subject from blending into the back- lighting away from you. Metallic-colored ground. umbrellas then reflected this light back at Finally, let’s explore the most impor- you. This roundabout way of lighting a sub- tant component of the basic studio environ- ject prevents harsh highlights and shadows n last month’s installment, we stud- ment: lighting. While we can turn to costly referred to as “bleaching.” The “bleaching” ied the basic mechanics of model lighting packages designed for semi-pro process is similar to what we see when using I photography. Let’s now set the scene photographers, the same can often be ac- a flash. One low-budget solution requiring for composing a great photograph. Unlike Both Below: To understand how contrast relates to complished using inexpensive clip-on style no additional equipment is to “bounce” the many activities we may have photographed photo composition, we need only study these two lights with incandescent bulbs or even small light onto the subject by aiming it around or photos of a caboose truck. In the first photo, the dark- in the past, model photography allows us colored truck blends into the background, while in above the model, allowing to control the environment by manipulat- the second photo, the truck stands out against the the light to reflect and pro- ing various elements such as subject place- light-colored background. vide basic overall lighting. ment, setting, and lighting. The first rule Once the overall lighting of good composition is simplicity — re- has been established, it can move every distraction from the subject, then be tweaked to lighten including background objects, which may dark areas and eliminate include the surface on which the model is shadows by repositioning, photographed. After all, how many of us adding additional lighting, have seen that ubiquitous “snapshot” of a or by directing light to a model sitting on a dining room table only specific area on the model to realize we’re suddenly studying the grain using a reflector made of the table’s woodwork? from white poster board or styrene sheet. Both Right: These two photos illustrate the most The third rule of light- basic wrong and right of instructive photography. Right: While semi-professional photography equipment provides one op- ing, and a requirement of By creating a clean environment and removing all tion for lighting, we can often achieve acceptable results by improvising the distractions, we’ve made it easy to focus on the with clip-on lights or construction-style light towers that are substantially layout photography, is to subject. cheaper. 10 NMRA Magazine February 2013 11 Right, Above and Corner: Another method for increasing clarity is to Above: This photo of aftermarket details combines both show size by placing the work along- the roof and hood into one photograph by raising the side a scale or standard ruler, a cut- camera slightly then shooting downward at an angle. ting mat with printed grid work, or a common object of a known size such as a penny or dime.

Both Above: These two photos illustrate direct versus indirect lighting. In the photo on the top, the light was aimed directly at the boxcar, leaving a bleached effect. The photo on the bottom had the light bounced, making the lighting even without bleaching out the color or obscuring details. Above: A pointer can help direct the viewer to a specific item within a busy photograph, such as the Both Right: These photos illustrate good and bad shadows in the antenna on the roof of this genset. context of layout photography. In the first photo, the lights were aimed in different directions, creating unrealistic shadows on the Both Left: One of the best methods for increasing boxcar and covered hopper. In the second photo, the lights were clarity is to simplify the photo by including only the all faced into the scene at a 45-degree angle, creating realistic area being discussed. In the context of describing shadows and a visually appealing photo. the pilot details of this locomotive, the photo on the bottom provides a better view of the subject because try to keep all the lighting facing the same zooming in removed the clutter — the portion of the direction. In simple terms, lighting creates locomotive not being discussed. shadows, and we want all the shadows to face the same way. In instructional-style While setting up each photo, we must photography you will find times when first approach the photography (and subse- cross lighting may be necessary, and in this quent text of an article) as if your audience instance the additional shadows will only has no knowledge of the subject. While provide a minor distraction. On the other it’s easy for us to assume that everyone has hand, shadows facing multiple directions on the same modeling aptitude and subject a layout can immediately destroy the photo. familiarity that we do, our hobby is wide Lastly, remember that White Balance ranging, both in interests and skill levels. setting on the camera? Don’t forget to This means we must document each step in match the camera setting to the tempera- order (including disassembly when neces- ture of your lighting to avoid viewing the sary), without eliminating steps or jumping world in red and blue! around assuming the reader will be able to Now that we have mastered the camera fill in the voids. and have our homemade studio, how do we Second, we must understand how to plan and set up each photo? Last month, I maintain a balance between documenting raised the question of who our target audi- each step and creating a reasonable number ence would be. Keeping that audience in of photographs. Even a simple project can mind now, we can begin documenting each generate dozens of photographs. An effec- Below: A simple reflector can be made from a sheet of white styrene, then used to aim light into dark areas step of the project, creating a pictorial in tive method for reducing the number of of a model such as the underframe and trucks. which the photos tell the story. photos is to combine multiple simple steps

12 NMRA Magazine February 2013 13 Three Left: This group of three photos illustrates the Right: One of the most invaluable tools a model photographer can have is a into a single photo- ring to, removing as much of the remaining concept of bracketing. The first photo is underex- simple third-hand device that can be used to hold tools, pointers, or even model posed, the second photo is properly exposed, and the parts while taking a photo. graph whenever pos- model from the photo as possible. A second third photo is overexposed. By using the bracketing method, we are generally assured of at least one sible. For example, a method is to show size by placing either a usable photo. piece on diesel detail- ruler or a common object of a known size ing can use one photo such as a penny against or adjacent to the to show all the details work being photographed. A third method ommendation is to manually bracket your applied to an area of is to use a “pointer” — a sharpened pencil photos. I prefer to create no less than three the model, rather than tip, painted toothpick, or thin rod held each of the positive and negative sides of the using an individual against the model to direct the viewer to zero mark, which has always assured me a photo for each detail. an exact location or part. usable photograph — even in the oddest The third concept One aid I have found invaluable for of conditions. Simply find the light meter’s of how-to composi- model photography is an inexpensive zero setting, then decrease the exposure tion is clarity. One “third hand tool” purchased at a discount time by several settings and take the first method to increase hardware store. Consisting of a base with photo. Now just increase the exposure time clarity is to zoom into a rod arm and alligator clips, this device by one setting for each subsequent photo the area you are refer- is excellent for holding all sorts of photo until the series has been completed. props such as pointers, hobby screwdrivers, By now I imagine you may be saying Below: One method to show comparison is to take before and after pictures by placing two models side by side. and X-ACTO knives, none of which can be “that’s a lot to take in.” Well, I can offer held by hand during the long exposure times one more tip that will greatly simplify put- required in model photography. ting the final product together once all Finally, another method especially the photos have been taken: photo cards. useful for kitbashing projects to increase We’ve all sat down and looked through an clarity is through comparison. Whenever album or online gallery trying to remember possible (and practical), I try to obtain a a location or person in a photo to no avail. second model that will remain unaltered. Constructing a how-to piece can present This allows me to show the before and af- that same issue, except this time instead of ter, placing the models side by side in the names and places, its specific steps, drill bit same photograph. Even without a second sizes, and parts complete with part num- model, we can still create before and after bers. One easy way to remember the idea images. However, this requires setting up behind each photo is to write a brief de- the same shot twice with the exact same scription of the step you are showing along positioning. While this may sound impos- with the part numbers and any relevant sible, once the before photo has been taken, tools used (such as No. 73 bit) on an index mark the location of the model’s edges with card, then photograph the index card with blue painter’s tape. It can now be removed the model as a reference to that specific step. and returned to the exact location using the This will leave you with a progressive record tape as guidelines that are easily peeled away and parts list that can be used to develop the prior to taking the after photo. corresponding article’s text. Keeping these ideas in mind we can So let’s once again pause, this time to now set up our shots and start making our try several of the techniques I’ve described. photographs using bracketing — a require- Consider documenting a simple project ment for publication work and an overall such as mounting a Kadee coupler while good idea due to the variances within experimenting with composition and light- camera electronics. Have you ever viewed ing, then save your work for our final install- a photo that looked fantastic on the camera’s ment: how to assemble the article. LCD screen but once it was downloaded, it was too dark or too light? Bracketing is sim- ply taking the same photo multiple times, each with a different exposure time, insuring we are left with a quality usable photo. Many digital cameras offer bracketing as a built-in option, automatically creating one exposure on each side of the light me- ter’s zero mark; however, my personal rec-

Below: When a second model is not available, we can still create before and after photos with the same model; however, each photo group must be identi- Above: Steps, tools, and part numbers written on cally composed. Marking the edges or outline of the index cards can be photographed next to the model, model with tape will allow the model to be removed providing a record of the project that can be used and returned to the same location. to develop the text. 14 NMRA Magazine February 2013 15