The Reproduction Lighting Trick that will save you HOURS
It’s time to revisit the subject of LCC’s (Lens Cast Calibration) within Capture One and how they benefit various photographic needs, within the typical use cases of photography, technical camera photography and less known within the world of art reproduction.
The primary and original use for the LCC was to equalize color and tone variability of technical camera lenses when captured digitally. With any lens there is a natural amount of vignette that can manifest from the center of the capture to the edges, and most of the time this isn’t an issue for image making, in fact I typically like the natural subtle vignette of optics. When capturing with traditional view cameras or technical cameras however, heavier artifacts and asymmetric vignettes can present that require mitigation.
Within the realm of art reproduction, not only will the lens require some subtle vignette removal, but if your lighting isn’t perfectly uniform, the LCC process can be of massive benefit and a time saver for precisely equalizing light values across your set.
In the case below and in the video that accompanies this post, I’ve purposely set the lights at different distances from the art reproduction set and also varied the light output side to side to a truly unreasonable level to demonstrate this point. (58 points of light variation)
The process of creating a LCC to equalize out light on set slightly different than the lens-only method, but remains a simple process:
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