First attempt at Product Photos

[wilgk]

Hi All,
I've been asked to take some photos of items the students have made in art, technology, design classes at school.
So I thought I would have a little play at home first.
I don't know if any of the objects will be clear, but I wanted to see what it was like, lighting from the bottom..as it were.












The first ones are sitting on an old glass window louvre, that I have made into a shelf by glueing it to glass candle sticks.
It looks good in my daughter's room with her perfume bottles on it.
The car at the end is sitting on a black iPad, with a matt screen protector (& light moved to the side rather than from underneath)

As always any comments or suggestions are gratefully accepted.

[Shadowman]

Nice efforts, I think the clear skull works better at showing details, although the blue background provides better harmony.

Did you place the strings as shown for added contrasting colors? I usually try to hide strings behind the attached item, other times they are as prominent as you've displayed.

Nice efforts on the autos.

[Manfred M]

Kay - if you are planning to shoot student projects and are practicing and experimenting with techniques, I'd suggest that you try to stick to the types of materials, object sizes and textures that are representative of what students are likely to produce.

Shiny (metallic) and transparent objects (glass and certain plastics) are extremely difficult to shoot well because of their properties (just ask Mike Buckley). Dark field and light field photography does require specialized setups and techniques. So unless the students are studying to be glass blowers I would suggest practicing on something else.

[Mike Buckley]

Considering that this is your first attempt, you did very well. However, I agree with Manfred.

Consider making straightforward rather than artsy presentations of the products as a starting point and as a means of displaying the details of the product itself to the viewer. The images of the clear bottle (I have often considered photographing that product) would probably be better made using either a bright, "colorless" background or a black background. The images of the cars would probably be more effective if the entire car and its reflection were in focus. Imagine being a student who went to the trouble to make something and realizing the viewer can't see all of the details due to such a small depth of field. Probably better to stick to a "proper" white balance such as in the last photo rather than the white balance used in the next to last photo.

Just my thoughts about how I would approach such a project unless the students are explicitly requesting an artsy presentation.

As for use of the glass shelf, be sure to eliminate all dust and imperfections either before capturing the image or during post-processing. The tiny bits of bright light scattered throughout the shelf detract from the subject. Also eliminate the front edge of the shelf from the image.

Consider using an image format that complements the subject. As an example, a vertical format might work better in the first two images.

Also consider using a slight vignette controlled during post-processing if you can't control it with your lighting setup.

Last, make sure your lighting setup reveals all details of the subject. As an example, the viewer can't see any detail in the front of the car in the last image.

[wilgk]

Thankyou for your replies,
John, the item with strings is some brain teaser thingy, so strings are part of the product, although if I want to include & feature them, I should have placed them better, or not at all.
Manfred & Mike, Thankyou for taking the time to give advice, it is appreciated.
I will practice again with different items and then see if I've improved, before the 'real thing'
I can go and have a look at exactly what pieces are there in advance, so that should help.
There is one painting that has already been framed, with standard (reflective) glass, so that should be interesting!
Thankyou again & I will have a look through some of your other pots Mike, to see some inspiration.

[Mike Buckley]

About the framed painting: Place a light on each side of the painting at a 45-degree angle to the painting. Place the camera dead center and in the same vertical and horizontal planes of the painting. If you get reflections or glare, try using a polarizer to eliminate them. Better yet, remove the glass if you're allowed and still do all of the above.

[Loose Canon]

Hi Kay!

Cool to see you doing this and I’m beyond sure you will nail it in your usual Grand Style!

So, you are saying…

So I thought I would have a little play at home first.

Would I be safe assuming you are going to shoot this stuff on location?

Well, if that is the case you are going to have your work cut out if you are planning on bringing all lighting/modifiers/BG’s/surfaces/etc. and running them through a product set on site. Or would it be fair to say you are going to do more of an “environment shoot”?

You know? Just like you to jump right into the Big Middle of things! I’ve always admired that about you!

Right On!

So a couple of things then I would be thinking about if on-site.

Scope out the location and if possible the articles you will be shooting. Check out the ambient light situation and if you will be able to overcome it and provide all lighting with what you bring. You may be in for a white balance nightmare depending.

How much time will you have for how many articles. May have to cut some corners to budget time accordingly. Will you need electrical outlets and their availability.

Shoot tethered if you have that option. Hard tellin’ not knowin’ what you are looking at for the shoot! If you could elaborate maybe some further suggestions could be tossed out there.

For the Home Shoot you have posted?

When product shooting (and I’m not talking about “creative decisions, art presentation, yada, blah) it is vital to present the composition in its best light. Both literally and figuratively.

All of it should be in focus.
All of it should be nicely lit.
Any labels/logos absolutely must be legible and emphasized.
All details should be clear and the subject should be nicely separated from the background.
Colors should be accurate.
Highlights placed to emphasize shape but not obscuring detail.
Shadow soft and not too deep.

In the glass shots it would be my opinion that there are too many details lost in the transparent glass and not enough highlighting to really give the viewer a detailed sense of the skull.

I think your lighting in the last shot of the ‘Vette is too hard. Soft light is going to be a better overall bet for your shoot so some modifiers or bounce may be in order in the kit.

In your first ‘Vette shot the white balance is off thereby throwing color off. I’ve seen it said (and on here) that there is no such thing as correct WB. That is completely erroneous. Certainly in this genre. Gray card might be a good thing.

Last ‘Vette the surface is far better than all the rest and more on that in a sec. In the last shot, watch the surface reflection. Surface reflections shouldn’t be brighter than highlights of the subject.

On the glass surface? Kay, in every one you are getting what is typical when shooting on a glass surface. Your reflections are ghosting (double reflections). The easiest example is the item with the rope. Notice the reflection is showing two rope reflections.

You can mitigate this (but possibly not eliminate) by lowering your camera angle. All of the reflection doesn’t have to be there, just a bit is sometimes good. A lot of times a lower camera angle produces what is known as the “Hero Shot” and is a preferred angle. Watch for distortion and correct if it occurs.

Better still is to shoot on a plexiglass surface. With this surface you can shoot at any angle and not get the ghosting. Careful because this surface attracts dust and is easily scratched. The matte surface on the last shot works well and might be your best bet for extended multi-product shoot because it will cause you less pain in the long run. I carry a clean soft paint brush to brush the surface (and subject) when needed. And on that note, see that the subject is as clean as possible. All dust specs must go and more in camera means less in post. Don’t even get me started on the fingerprints I have had to remove or re-shoot on reflective subjects (glass, steel, etc.). Finger oils may even darken certain materials in the finger print. And it may be impossible in post. I use gloves to handle and change composition. Maybe toss some cleaning cloth/solution to the kit.

It’s a good set Kay and you have chosen some challenging items to break in with. There is not even the slightest doubt in my feeble bald head you will nail your shoot!

One final if I may?

Have a blast Kay!

[wilgk]

About the framed painting: Place a light on each side of the painting at a 45-degree angle to the painting. Place the camera dead center and in the same vertical and horizontal planes of the painting. If you get reflections or glare, try using a polarizer to eliminate them. Better yet, remove the glass if you're allowed and still do all of the above.

Thankyou! Ah the old angle of incidence = angle of reflection. #physicsmatters

[wilgk]

Thanks Terry!
You gentlemen have all once again achieved the perfect balance of constructive suggestions, critique and encouragement to the OP to try again, rather than give up!
Not easily done, but always very much appreciated.
I'm off to my core comfort zone of netball and stage show today/tonight, but I will,read thoroughly again & respond tomorrow.... In the meantime bask in your awesomeness!

[Manfred M]

About the framed painting: Place a light on each side of the painting at a 45-degree angle to the painting. Place the camera dead center and in the same vertical and horizontal planes of the painting. If you get reflections or glare, try using a polarizer to eliminate them. Better yet, remove the glass if you're allowed and still do all of the above.

I have used this technique a number of times (with studio flash and softboxes). I've never had to use polarizers or remove the glass. Properly positioned lights and camera take care of reflections. The only other working condition is that the room should be dark as reflections can occur if there are other light sources in the room.

[Mike Buckley]

I have used this technique a number of times (with studio flash and softboxes). I've never had to use polarizers or remove the glass.

I agree that the polarizer shouldn't be needed. However, if the lights (and thus the family of angles) are not properly managed, the polarizer might be of help. The reason to remove the glass is if it has imperfections in it that can't be easily "fixed" during post-processing without adversely affecting the art. A crack or scratch in the glass might be examples.

[IzzieK]

Another great learning post from Terry as usual...will take note of your tip, Terry...

[wilgk]

Thanks Terry,
I will be taking my gear to the event, not vice versa, but I will get a chance in advance to check out exactly what items there will be.
I have grey card for WB & the ambient light can be taken out of the equation.
With everyone's advice I will give it a go & report back late October with results.