[ramseybuckeye]

How about a simple adjustable height hat stand? You can clone out the post or not. See this.

You could even spray it the same color as your background to make it very easy to clone out.

[Pentaxrookie]

I guess, I would try clear acrylic rods and hot glue Or you glue it onto a acrylic plate which would be the background. Something like this. Hope that helps.

[swanlefitte]

A powerful magnet could work maybe one inside to hold against.

[BarryE]

Rather than a clamp perhaps a pair of hooks or even a trio of them - or a pair of rails to rest under the edges. The key is that between the multiple photos you don't move the helmet relative to the camera. That may be hard to pull off.

Yes the not moving is the thing I don't think I'd get perfect, but multiple shots is still a possibility, perhaps along with the other stand options being discussed. Thanks

---------- Post added 09-23-20 at 08:35 AM ----------

I guess, I would try clear acrylic rods and hot glue Or you glue it onto a acrylic plate which would be the background. Something like this. Hope that helps.

General thanks to all those who have been suggesting stands of various forms. I've used acrylic rods to photograph other, smaller objects. The clear (:-)) advantage of acrylic rods is that they don't in themselves cause reflections - well not much - so are less intrusive to shop out. I think effecting a stand of some sort and managed post is the way to go. I'm thinking, hoping, that there will be several helmets to photograph, so I need the process to be easily repeatable.

Isn't Pentax Forums useful. I asked this question elsewhere on a more targeted product photography site and I've received nothing. Post here and the suggestions have flooded in. Maybe, the answers have not all been based on actual experience, but that doesn't matter at all, as from the combined contributions, hopefully, I will able to come up with a solution.

---------- Post added 09-23-20 at 09:17 AM ----------

So my thoughts are now for clear acrylic hat stands. As long as they can support the weight, they will probably do well enough. If I can find one where the 'plate' that supports the helmet is adjustable then I will be happy (and surprised) ...

[GQPhdFBI]

I would attach the helmet on a transparent plexiglass (depending on the helmet weight you can use hot silicon, blue tack etc).
Then i would use a super clamp to hold the plexiglass and rotate it on every angle i want.

Cheers

[BarryE]

I would attach the helmet on a transparent plexiglass (depending on the helmet weight you can use hot silicon, blue tack etc).
Then i would use a super clamp to hold the plexiglass and rotate it on every angle i want.

Cheers

Many thanks. The transparent nature of plexiglass/acrylic is where I'm moving to, so this may well work. One issue I'd have with attaching this way, is that many riding helmets/hat are fabric covered. Maybe there's not just one solution ...

[GQPhdFBI]

Many thanks. The transparent nature of plexiglass/acrylic is where I'm moving to, so this may well work. One issue I'd have with attaching this way, is that many riding helmets/hat are fabric covered. Maybe there's not just one solution ...

Don't be afraid to use silicone hot glue you can remove it after without damaging any surface, fabric etc...
I've used it on any material you can imagine...

[BarryE]

Don't be afraid to use silicone hot glue you can remove it after without damaging any surface, fabric etc...
I've used it on any material you can imagine...

Ok, I'll take a look. Thanks ...

[clackers]

Ok, I'll take a look. Thanks ...

Remember, composites are de rigeur in product photography, Barry ... look at whiskey/perfume bottles, cars that have been light painted, et al.

To get the interior of a helmet without holding it at all, you can flip it upside down on the table top, take a shot, flip it and superimpose over your other pics.

[BarryE]

Remember, composites are de rigeur in product photography, Barry ... look at whiskey/perfume bottles, cars that have been light painted, et al.

To get the interior of a helmet without holding it at all, you can flip it upside down on the table top, take a shot, flip it and superimpose over your other pics.

Not sure about this, Clackers. After supporting the helmet, however I do it. Setting up multiple lights and modifiers. Flipping it to then get inside detail, for post/composite, doesn't seem manageable - at least to me.

Thanks for your input ...

[clackers]

Not sure about this, Clackers. After supporting the helmet, however I do it. Setting up multiple lights and modifiers. Flipping it to then get inside detail, for post/composite, doesn't seem manageable - at least to me.

?

You flip it in post right side up again, then overlay it onto the picture of it hanging on a broomstick or whatever, Barry. Then you paint the broomstick out.

You couldn't do this?

It's similar to a portrait photographer outdoors needing their strobe or even speedlight to be close to the subject to overcome the sun - one shot is with the flash on its stand or being held by an assistant in the frame, another is without, blend in post.

And the lights ... you don't need multiple ones, you can blend the one flash with different modifiers and gobos several times, because the helmet is inanimate. That's how they get all the highlight lines and curves when photographing bottles and cars. In fact, the cars can be done with lightpainting, walking down the side of it with an LED light.

[BarryE]

?

You flip it in post right side up again, then overlay it onto the picture of it hanging on a broomstick or whatever, Barry. Then you paint the broomstick out.

You couldn't do this?

It's similar to a portrait photographer outdoors needing their strobe or even speedlight to be close to the subject to overcome the sun - one shot is with the flash on its stand or being held by an assistant in the frame, another is without, blend in post.

And the lights ... you don't need multiple ones, you can blend the one flash with different modifiers and gobos several times. That's how they get all the highlight lines and curves when photographing bottles and cars. In fact, the cars can be done with lightpainting, walking down the side of it with an LED light.

Probably it technique and/or style/approach. The bottle shot was 4 lights captured in one go. The beer, an old shot, was a composite as the gold reflectors were needed to push light back into the glass. (The beer was achieved with continuous lighting, whereas the bottle was multiple flashes. I prefer flash now. )

Getting the shot in camera, or as much as I can, is how I prefer to shoot. Tethered I can see how the lighting is building up. If I have to rub out supports in post, that's OK. A composite is more risky, especially, if there are a few products to shoot, and post takes longer.

Thanks for your input, it all helps to crystalise my thoughts.

[clackers]

If I have to rub out supports in post, that's OK.

A composite is more risky, especially, if there are a few products to shoot, and post takes longer.

I think it's actually less risky than putting all your eggs in one basket. There can be unintended reflections or shadows that once you really study on your computer are too contrasty, there is danger in trying to get six things to be perfect simultaneously that you can get bogged down.

Having different shots lit from different angles means you never waste time balancing the different aspects while shooting, you just get the rim light perfectly right when reviewing in your monitor, the stripe right, the fill right, and you blend to taste at a later date, as you know, no need to be stuck at the product table/light tent any longer than you have to be. You can even change your mind and only have edge lighting on one side, but not the other, 1:2 fill ratio instead of 1:4, etc.

A landscaper will do the same thing with different exposures for sky, background and foreground - and even different focus points! It is undesirable to do it in one shot. And for macro or astrophotography, often not possible.

We photographers have so much more opportunity to do this work process than videographers. Too difficult when the subject moves in a shot, or the camera does, or both! For the helmet, standard shots for a commercial include a slow pan by it, slow zoom into/out of it, show it being used by a person, etc. They're hamstrung by the need to repeat takes until it all comes together for the keeper.

[BarryE]

Good job Pentax doesn't (really) support video, eh? So we aren't likely to get distracted ;-)

[pkboy]

I'd use something simple like a PVC pipe as hat stand, if mannequin head not available. Attached is a photo I did with a similar "technique" except it was just a cheap plastic ball stuck on the end of a pipe. If the helmet is rigid you won't need the ball.