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What's on your bench?


Craig Tucker

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Looking for suggestions...

I am near the end of the varnishing on 3 violins. I would like to take some pictures that actually LOOK LIKE the instruments. I have a digital camera with a tripod. Any suggestions for taking some [low-tech] shots of these?

Thanks in advance.

on we go,

Joe

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Looking for suggestions...

I am near the end of the varnishing on 3 violins. I would like to take some pictures that actually LOOK LIKE the instruments. I have a digital camera with a tripod. Any suggestions for taking some [low-tech] shots of these?

Thanks in advance.

on we go,

Joe

Low tech? Lots of indirect lighting, from different directions, and NO flash.

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Try and use a low angle light source (less than 45 degrees to the violin surface) to minimize reflections, or at the very least, a diffused flash reflected away from the instrument. I'm nothing close to a professional, but that's what I remember from high school photography. Michael Darnton would be a good source of advice; he has some incredible photos on his website.

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Looking for suggestions...

I am near the end of the varnishing on 3 violins. I would like to take some pictures that actually LOOK LIKE the instruments. I have a digital camera with a tripod. Any suggestions for taking some [low-tech] shots of these?

Thanks in advance.

on we go,

Joe

I recall seeing photography links in the Reference Threads, but have not examined those. There may be some good ideas there...

Look forward to the pics!

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Looking for suggestions...

I am near the end of the varnishing on 3 violins. I would like to take some pictures that actually LOOK LIKE the instruments. I have a digital camera with a tripod. Any suggestions for taking some [low-tech] shots of these?

Thanks in advance.

on we go,

Joe

self timer at 10 secs - f.5.6 to f.8 - 100 iso - no flash. Good indoor available daylight. Take a couple of shots - if too dark, + EV adjustment. If too light, - Ev adjustment.

Make sure you know where the camera is autofocusing and exposing - generally in the centre of the frame. Just keep blasting away until you get it right.

If you cannot set f stop or iso manually, change you camera :)

Geoff

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joe, well i picked up a violin on ebay for 700 about four years ago, the seller was a violin shop in germany, he thought it was italian and seemed totally legit, he said he had a lot of violins and needed to raise some quick cash, needless to say he was very dissapointed he didnt get more for it, people just instantly label all the german sellers on ebay as crooks. well i didnt have the money to buy it and when the violin came a friend payed for it and sat on it for 4 years, my initial impression, non expert, was that it was eastern european not italian,

flash to last week i had a nice josef bitterer cello the same friend wanted a cello and i said i might trade it for that violin, well when i saw it i started thinking it might be italian, and made the trade, the appraiser looked at it for ages and kept looking up makers in books, all italian and said in might be italian, definetly wasnt german or eastern european, which were the only other options IMO, and as a 200 yr old good condition grafted italian anonomous would be worth 20-30,000usd, so im selling it for 10,000 and letting the customer get their own appraisal, all the features are italian the body looking similar to carcassi, but the scroll is really odd and one of a kind with the volute all lopsided pushing out the top not gracefully looping down like a standard scroll.

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Not a Stainer!

Oh well, back to German violins with fake Italiante labels in them...

I, sometimes, actually prefer the 200 year old Italian Brunettes. They are much easier to adjust, they don't need therapy (although the owners might!), and they don't mind if I take pictures of them with their tops off!

Alright, back to violin shaped objects!

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Right now, today, on my bench are 9 plates.

post-25192-0-38639000-1303160681_thumb.jpg

It's optimistic to think I might get these all done in one batch (well, except for the extra back plate), but it doesn't hurt to have 'em ready.

Are you testing anything in particular with the four different top plates?

This weekend I started carving four violin tops, two are low density Englemann spruce and two are highish density Sitka. I'm going to arch them using my normal operating procedures and graduate them to the same thicknesses. Then I'll glue them to the same ribs and back, one at a time, to see how much difference the wood makes after accounting for my working procedures. I'm not trying to do a comparison between wood carved with the same arches and graduations but rather to see how big of an influence wood is in my violins. The three tops that seem to have the most potential will be used in violins, I think I posted pictures of the roughed out back plates earlier.

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Are you testing anything in particular with the four different top plates?

Everything is always a test... every piece of wood is different, even just sticking with Engelmann. I don't know yet what I'll do with them, maybe make some slight variations. I'm not even sure I'll be able (or want) to use all of the four, as the processing I tried this time didn't work out so great: lots of shrinkage crossgrain, and some cracking. It might be a bit of a salvage operation... or I might just start over with more spruce. The test samples measured out OK, though, and the wood seems to be lively.

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