Exacting and tedious to set up to get good quality studio shots of art glass but well worth the effort when you finally get it all right. Up to that point, it's darn frustrating and seems to take forever. Gobos and reflector cards all over the place to direct light into the glass; all threatening to fall over at any given moment. Light glow appears on the seamless background—no idea where it came from and no amount of moving stuff around makes any difference. Turns out I had moved one of the Speedotron strobes closer to the set and was getting lens flare; wasn't actually on the seamless background at all. Lens hood took care of it. Get a good test shot, forget where my head is, bang into the soft light box hanging over the set and all of the cards fall over at once. Set those up again and lightly tape them into place. The device that they are taped to is the adjustable soft light box (now with a forehead print) that hangs from the ceiling by four long cords used to set its height, angle and location above the set. Not exactly what one would call stable, by any means, but better than an uncontrolled card standing on edge all by itself. Ready a test shot... Moe jumps up on the set and starts to lay down to watch Dad; "This is very interesting..."—right in the center where she has a good view.
Shot12, so far, out of 144! The ones I made two days ago while working alone are still in the annealer. Haven't had time to go check 'em out. All will be up on the GlassSculpture.org site in the coming days, once the cold-working (cutting, grinding and polishing) is complete, photography is "in the can" & processed and movies have been assembled.
We love 'em. Let us know what you think!