• Light Work Light Work

    Enriching with light

    Here are a series of bottles both plastic and glass. They are photographed looking straight at the bottle, slightly up at the bottle and slightly down at the bottle.

    Each is shot against a different background. The bottle on the near right shows a graduated background with light blocked from filling the background curve giving a silver band between two grey bands.

    The others have very even lighting but have been slightly re-touched in photoshop. The central image is very flat lit reducing the curvature of the bottle.

    There are combinations of top lighting, back lighting, side lighting, spot, white, black and silver grey backgrounds. These and others can be mixed and matched to provide a variety of different effects and finishes for your product.

  • White or Grey White or Grey

    Vintage or Modern

    Many images are used as if on white as is the case here.

    The type of contrast changes the feel. To the right we have a hard edged contrast giving a more dark grey appearance to the silver. This gives an older vintage feel to the jewelry.

    Contrast the image right to the one above it. Here we have a soft white reflection in the silver giving a paler grey tone to the metal. The colour is perhaps a little more vibrant, less dark and the overall image has a softer contrast. This creates a contemporary feel to the item. This style came into vogue with digital photography and in particular lighting tents.

    The irony is that the upper image is more "out of the camera" and more "accurate" in many senses.

  • Dark field or Bright field Dark field or Bright field

    Glass

    Here are just a couple of ways of photographing glass:
    1. On the far right, against black is called dark field imaging. Below we have introduced a reflection.
    2. Directly to the right is an example of bright field imaging.

  • Using the Dark Using the Dark

    Outlines

    Creating either light outlines (that is, dark-field), bright-field using dark outlines is achieved simply by using light and dark around the object.

    The first method is slightly non-intuitive. Place the object, say a vase, against a black background. The black background must be a little wider than the vase. Then place a light, preferably a softbox behind the background so that it acts as a shield preventing light from falling on the vase. Then gradually move the vase forward away from the background. At some critical distance the edges of the vase become illuminated by light from the edges of the card (as right).

    If you place black boards around a clear glass object, the object will pick those up giving a dark outline. This is particularly effective when photographed against diffused light. So by placing the glass directly in front of a light source and using dark board either side of it you can define the edges of a transparent object.