Photographing shotguns

[r.e.]

I want to photograph my 20 gauge shotgun and I'm looking for inspiration/tips.

I'd love to see photos that people have made of shotguns or rifles.

Cheers.

[Walter Calahan]

Best to use a big, soft, broad light source to get a soft glow on the metal.

Had to photograph two Kentucky Long Rifles once, so I mounted them to a barn wall in open shadow. Shoot 4x5. Looked great.

Good luck.

[Frank Bagbey]

It is recommended you study the style of William Headrick, who photographs for Double Gun Journal, Shooting Sportsman, Pointing Dog Journal, Precision Shooter, etc.
I will take pride in teaching him how to build a light tent, etc. and turning him loose. He uses a Canon FTb and Canon macro lens. The film he shoots is Fuji Velvia. His transparencies are perfect and his compostions are fabulous. Full page photographs in books and magazines, including oversize books, are fantastic. You would think Velvia does not even ever have any grain!

[Robert A. Zeichner]

Funny you should ask:
http://web.mac.com/razeichner/iWeb/RAZP%20large%20pix/Antietam.html
and
http://web.mac.com/razeichner/iWeb/RAZP%20large%20pix/Antietam%202.html
Click on any image to enlarge.
Probably not what you had in mind, but.....

[john collins]

You could call Bob Pearson at Holland & Holland in New York. Look at his work on the H&H website to see if his highly refined documentary style appeals to you. I find it quite elegant.

[Ralph Barker]

My suggestion would be to first consider whether you want a hunting-related set or a straight "studio" shot. The choice of set will largely dictate the style of lighting used, but large softboxes are often the best approach.

In the studio, I usually set up a large softbox above and slightly in front of the gun, and then add small accent lights, sometimes gelled, to give added "punch" to key areas. Positioning and angle of the accent lights needs some care to avoid spectral reflections. Then, add background light(s) to get good separation. I also like to use some combination of bench rests and studio shot bags, draped with interesting fabric, to create a base for the gun, rather than simply resting it flat.

[John Kasaian]

Natural light, no filter. I used rough planks, and old plaid hunting coat, some shells and an old canvas game bag for props. It turned out nice enough for Shotgun Sports to publish.
The film was Tri-X, IIRC. The Fox had an oil finished stock which contrasted nicely with the rough planks, though I think if I were shooting a shiney stock I'd have done it differently. The Fox was a side by side and I put the box of shells under the hunting coat to help prop the action open for the exposed chambers shot. With an over/under something with less elevation wiould probably work better, with the gun on it's side.
Have fun!

[r.e.]

Thanks for all the suggestions. The gun is a Basque (Arrieta) side by side.

Robert, the Antietam photos are great. Were they done in conjunction with the documentary that James Earl Jones narrated?

[mandoman7]

Organize your thinking. Think about what you're seeing and why its motivating you? Don't get sidetracked from that purpose as often is the case.

For me, the patina of old metal that has seen years of use is a beautiful thing. Metal surfaces are nicely rendered with soft boxes or window light. You are going to be dealing with placing a bright highlight on the metal and seeing how it works with the other (supporting) elements.

The setting is critical. Do you want it to look like a setup or a possible real setting? The context creates a huge subliminal effect in the viewer. Setups are fine, but don't make the mistake of attempting to go back and make it look found when it is obviously arranged. Viewers don't complain, but they see and process those shortcomings. Let the viewer enjoy the subject without getting sidetracked into your thought process.

Get a nice flat piece of wood and find a good window and experiment.

Honor the subject and don't let a lot of personal opinions get in the way. Think of yourself as a conduit between the viewer and the object, bringing them to see the object in an enhanced way. Let the wonder of the process do its work without getting in the way.

JY

[John Kasaian]

I'll add that all the props (other than the planks) I used in my photographs belonged to the original owner of the Fox, and used by him while shotgunning. I felt that best captured the relationship which the gentlemen had with his gun.

Stuff like shotguns and fly rods are interesting. The relationship between the maker and the product, the maker and the user, and the user and the product, and all these relationships within the outdoors and nature can all come into play, making both intellectual and visual visual feast.