p.1 #1 · Product photography lighting: It is simple when you know how.
Working on our latest assignment, a catalog shoot for Refrigiwear, I decided to show how proper lighting can make a big difference by using one of the boots from the catalog as an example.
The object I’ve selected is a simple to photograph. Really simple.
Why?
Because it has well visible texture, and does not have highly reflective or transparent surfaces. Nothing similar to this, right?
However, having an easy to shoot object does not mean you should not worry about the lighting. It is so easy to do a crappy image just because it looks “nice” as is, with one light source, for example. Believe me, I am not against simple lighting schema, but more lights gives me more control over the look of the subject, just need to narrow them down.
Here I am going to show you how each additional light source will change the look of the boot and explain why I need it.
Let’s start from this well textured boot and only one light in front-top of it (White Lightning BD in my case), see the lighting setup:
It may look good, but not for our catalog, where white background is required. It needs to be completely white (RGB: 255.255.255). We do not clip out the whole object, but use instead a different technique explained here, it allows the shadow to remain under the boot and is much faster to do.
So, one strip box added to fill the background:
Does not look bad, right? However, it won’t be good for a catalog shoot, as it does not have clearly visible product details. Now it is time to add some backlight to highlight the texture: intense directional (from 20° honeycomb) light hits boot on a very low angle, from behind (right side) and adds more volume to our boot:
Now, the last one.
Same spot light (20° honeycomb) was added from behind on the left side, to show the texture on this side of boot. Additionally, top-front light (BD) was decreased by 1.5 stops (approximately, I do not use flash meter) to compensate additional light source. Now it is more like a fill light.
Background was whitened during post-production as well.
I know, some may say that the very first shot looks better then the last one… This may be true if we were talking about individual preferences, each has his own vision. I like it better the way I did it on the last image, plus, there are unwritten standards for the catalog photography which I need to follow to be successful in what I am doing.
Lighting setup, some more words and bonus image of the same boot is on the blog:
p.1 #4 · Product photography lighting: It is simple when you know how.
Thanks for the insight. I my opinion, and I am by no means a professional nor highly experienced, the final image is better but does have some drawbacks. I personally find the uneven shadow under the toe very distracting and the backlight coming from camera right to be a little harsh. That backlight makes it harder for me to focus on the detail even though it provides better contrast to accent the surface detail of the fabric. I'd personally feel more comfortable viewing that photo (even with the intention of buying, not as a photographer) with a little more front fill and a little less back right light and a better toe shadow.
While I know it would sense as I can read the lighting to see where it comes from, I'd consider cloning back in that even toe shadow from the first image - or having more racking light from top, back left to accent the texture and also proved better shadow and fill on the front.
Sorry if this sounds critique-y. I really do appreciate your write-up and feel it is very informative. It makes me think more about what I see as a photographer and as a customer. Attempting to detach those two people leads to my comments above. It really is a good image and I know I am being overly picky.
p.1 #5 · Product photography lighting: It is simple when you know how.
Thank you, guys!
Dennis, critique is always good, I like it. This is why I post here, to hear your opinion (beside promoting my blog:-)
Each photographer has his own vision and style. I tried few different setups with less or more contrast over the boot, and I liked this one.
In general, I like when photo "bites" you a little, it makes people remember my photography:-)
p.1 #6 · Product photography lighting: It is simple when you know how.
OK, if you're open to critique.
I understand what you see as a more dynamically lit shot but you won't find a major brand using it.
First of all you won't see a shot in that perspective, and more importantly, your lighting creates inconsistent color across the product. The backlighting is also merging the top of the product with the background. You can't print that in a catalog because the press won't be able to hold the dot.
p.1 #7 · Product photography lighting: It is simple when you know how.
Agree with all of this. Not much different than creating a dramatically lit portrait with kickers to emphasize certain detail.
I like the white background approach as you eliminate what to do about elements of the background possibly conflicting with the subject.
It should be noted, however, that some of this can be accomplished with less lights, but adding some highly reflective/silver reflectors for kickers, but if you want the kicker higher key than the main light, reflectors won't get you there and the additional lights are needed.
p.1 #8 · Product photography lighting: It is simple when you know how.
I hate to say this, but the earlier ones have the most appeal. The additional light may the background so bright that the eye is drawn away from the subject.
p.1 #9 · Product photography lighting: It is simple when you know how.
I can understand this, but we do not know the context within which the photo will be placed in the catalog/ad which may be most suitable for a white background.
If the photograph was going to be framed and on a wall, other techniques may be more suitable.
I do know that those marketing guys at companies know exactly what they want and why.
jerrykur wrote:
I hate to say this, but the earlier ones have the most appeal. The additional light may the background so bright that the eye is drawn away from the subject.
p.1 #10 · Product photography lighting: It is simple when you know how.
K.C. wrote:
OK, if you're open to critique.
I understand what you see as a more dynamically lit shot but you won't find a major brand using it.
First of all you won't see a shot in that perspective, and more importantly, your lighting creates inconsistent color across the product. The backlighting is also merging the top of the product with the background. You can't print that in a catalog because the press won't be able to hold the dot.
Thanks for critique (to all) let me clarify some things:
First of all, they already using it for a catalog. Second, I did not choose the angle of the boot, it was a requirement to be consistent with what they had before.
As for a major brands: they are not always use a best photographer available, but the one they know. The examples you sent me far from the best can be done at such angle and on such product, IMO. What manufacture needs is to get exactly what they want.. .
My client wanted more dramatic, less plain look compared to what they have now. In fact, I did several test shoots (as I usually do for a big volume shoots) with more or less highlights, etc, and they selected exactly this style.
They are happy, I like what I did - what more I can expect form the assignment?
p.1 #17 · Product photography lighting: It is simple when you know how.
Here is a suggestion for later shoots. I shoot art work for artist, pottery jewelry, flat work and wood. I found out a long time ago to use polorizing filters on you main lights with a cpl filter on the camera. What this does is to gets rid of reflections and gives you a more saturated colors. Then you can come back with you back lights, unpolorized, to add seperation from the background. Here's a link in getting polorizing fliters. http://www.polarization.com/polarshop/product_info.php?cPath=21&products_id=28 I use 2 24X36 softboxes polorized, I can also turn one of them to dial in more reflection such as with jewelry. Hope you give it a try, it solves alot of problems in product work.
p.1 #18 · Product photography lighting: It is simple when you know how.
Wow, interesting. I heard about polarizes in a studio, but never really thought about using them. But you are right, it should help.. Not much for boots, but for other product photography, like chrome kitchenware (hardest things to shoot, IMO) or jewelry..
p.1 #19 · Product photography lighting: It is simple when you know how.
will work with boots too, also people too, the movies has been using them for years...just try it...u'd be surprised how much glare a stobe or hot lights puts off.
Gregg
