polarizer for chrome

David Edwards

Forum Enthusiast
Messages
377
Reaction score
0
Location
Los Angeles, US
Hello all!

I shoot a lot of chrome car wheels. And I have yet to be 100% satisfied with my results. Has anybody used a circular polarizer on chrome (in the studio) and would you recommend it?

Thanks,
Dave
 
A polarizer has little to no effect on metallic surfaces, regardless of whether the polarizer is a "linear" or a "circular" polarizer.

--
Jim B. :> )
 
The light reflected from metal is not polarised, unlike the light reflected from other materials. If you want to reduce the reflection you may have to go down a different route.
--
Greg

When you've got a moment, have a look at my newly updated site:
http://www.wrightphotos.co.uk
also http://www.wrightphotos.co.uk/FromeInFocus

Winner of the South West Rural section of the BBC's Picture of Britain Competition.
 
Hello all!

I shoot a lot of chrome car wheels. And I have yet to be 100%
satisfied with my results. Has anybody used a circular polarizer on
chrome (in the studio) and would you recommend it?

Thanks,
Dave
Place a scrim or diffuser or whatever you choose to call it between the light source and the car wheel. Polarizers do next to zip on reflections from metal.
--
Charlie Self
http://www.charlieselfonline.com
 
Thanks guys for the clarification. I thought I had read that polarizers reduced reflections on metallic surfaces, now I'm thinking it must've said NON-metallic surfaces. I do use lg SB's, but I'm still looking to dial in my results even more. Thanks for the help!
 
Sorry to disagree with some of you here, but yes, a polarizer can have significant effect on metallic surfaces, even chrome. True, Specular highlights will see little effect from polarization on glass, chrome and other smooth reflective surfaces, but you will find that diffuse, reflected highlights can in fact be controlled (heightened, darkened, and moved) to a great degree on all of these surfaces with the use of either a linear or circular polarizer. The statement that light reflected from metal "is not polarized" is correct, however it misunderstands the issue, as light reflected from virtually any object or surface "is not polarized" (that's what the polarizing filter does, my friend). In fact the light coming off a smooth surface is probably more polarized than that coming off a diffuse surface, which is one of the reasons a polarizer has little effect on it.

In reality though....someone shooting chrome wheels in a studio needs to invest in some foamcore, white fabric, white paint, and perhaps a few grey panels long before pulling out the polarizer. Typical issues in lighting chrome are a simple exercise in controlling contrast, and understanding that when you are photographing mirror like surfaces like chrome...it's the objects (lights, surfaces, garage furniture) reflected in the chrome that you need to worry about, so surrounding the entire wheel in white is a good starting point. After that you add selective shadowing using your lights or grey cards to add definition.

Once you have it all worked out, though. It's amazing how a well-lit piece of chrome can be "reshaped" with the use of one of those magic $100 pieces of glass.
 
Hello all!

I shoot a lot of chrome car wheels. And I have yet to be 100%
satisfied with my results. Has anybody used a circular polarizer on
chrome (in the studio) and would you recommend it?
Yes, but it's a complicated procedure.

As others pointed out, reflections from metal do not separate unpolarized light into polarized light, the way reflections from water, wet films, lacquers, oil, wax, and cellulose films on plants, etc. do.

But reflections from metal do not alter polarization if the light is already polarized. So, if you put a regular circular polarizer on the lens, and a couple of really big polarizers (I have three 18 inch polarizers) in front of the soft boxes, you can do amazing things. I typically do this with glass (the surface turns virtually invisible) but also do it in product shots involving metallic objects, especially jewelry.

Now, 18 inch is a big polarizer, but a small soft box. I've seen 18 inch polarizing material in 10 foot rolls, but the biggest I could find at B&H was 18x24.

http://www.bhphotovideo.com/c/product/101847-REG/Samigon_CSA995_Ban_Glare_Polarizer_18x24_.html

Two sheets taped together (get the polarizing direction right) will do a 3x4 softbox, more appropriate for a wheel.

--
Normally, a signature this small can't open its own jumpgate.

Ciao! Joe

http://www.swissarmyfork.com
 
Hey, thanks everyone. Lighting forum is a good idea. I do use two soft boxes and several large sheets of white foamcore. This is educational though. Here's what I'm presently getting in case anybody's interested:

 
...you don't need to polarize for these shots...work on your lighting technique as a previous poster suggested by creating graduated tones on the reflective surfaces...right now the wheel looks a bit flat, work on creating interesting transitions and adding some specular highlights...don't rely on softboxes alone to get you there, use whatever light modifiers you have at your disposal to shape light in order to get the look you're after...I can also see the the transition line betwwen your tabletop surface and your reflective surface, make sure to retouch that out or simply use a seamless reflective source...chrome is certainly a challenge to do well but once you figure it out it's second nature to work with
 
Thanks again for the comments.

Trevor, thanks for the compliment. The client is happy, but I'm not 100%. Think it could be better.

Samphoto, I agree completely. I've managed a few of the graduated mid tones before and that looks the best. I struggle to control them though. I think your input is right on the money. Will try harder.

BDjohns, thanks for the idea. I actually tried to build my own (needs to be pretty big), but you could actually see the pvc frame. Also, I like to get about 10-15 feet back so the wheel doesn't have a wide angle look. That means the whole front is open, and I'm still dealing with the reflection issues. Think I need a giant light tent, that will fit me inside it!
 
When shooting chrome it's not the chrome you light, it's the surfaces that reflect in it. I used to do a lot of industrial refrigeration. I would light 8x4ft sheets of polystyrene to reflect in the brushed alloy and also not light some to reflect in the metal to get light and shade. Often I would light it to be even the introduce shade etc.

Kevin.
 
BDjohns, thanks for the idea. I actually tried to build my own
(needs to be pretty big), but you could actually see the pvc frame.
Also, I like to get about 10-15 feet back so the wheel doesn't have
a wide angle look. That means the whole front is open, and I'm
still dealing with the reflection issues. Think I need a giant
light tent, that will fit me inside it!
You need a room built entirely of diffusion material. :)
 
Back in the film days we used to struggle with hiding small dark reflections, and it could take hours to light something as complex as your wheel.

Ironically, today it isn't nearly as difficult-- you can get rid of imperfections with just a few mouse clicks, and you can add gradients too if you want!

A lot of the replies here about building complex light tents and hiding the camera aren't necessary anymore.

-john
 
...so your suggestion is more PP instead of crafted lighting...interesting...let's say he's shooting an entire catalog of these wheels...what's more time consuming?...I'd rather have a well lit shot to start with than to have to create in PS what should have been there in the first place...
 
Hi Sam,

I'm saying take whichever approach saves the most time. If you're shooting one wheel and it takes 3 hours to get rid of the reflection of the camera vs. one minute to do it in post, the solution is obvious.

If on the other hand you're shooting 300 wheels, it may indeed be worth the 3 hours of setup time to avoid the post.

Whatever works.

-john
 
Hi Sam,

I'm saying take whichever approach saves the most time. If you're
shooting one wheel and it takes 3 hours to get rid of the
reflection of the camera vs. one minute to do it in post, the
solution is obvious.

If on the other hand you're shooting 300 wheels, it may indeed be
worth the 3 hours of setup time to avoid the post.

Whatever works.
With a good tent, three hours is way too much set up time. More like 20 minutes.

--
Charlie Self
http://www.charlieselfonline.com
 

Keyboard shortcuts

Back
Top