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Lesson 3: Product Techniques 2´s archives ↓

Lesson 3: Page 01

Lesson 3: More Product Techniques

As a studio photographer, you must be adept at shooting a wide range of products your clients might bring to you. We have discussed various techniques for metal, glass, and other reflective surfaces. In this lesson we will focus on lighting techniques for products that are less reflective. We will also cover knockouts of products, shooting flat art, and catalog photography.

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Lesson 3: Page 02

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Lesson 3: Page 03

The next level in product photography of clothing is the more 3 dimensional look of the product as if worn by a human. In the case of this client, we rented mannequins from the mannequin store. By placing the product on the mannequins, the apparel looked much better.The content you are trying to access is only available to members. Sorry.

Lesson 3: Page 04

The next aspect of this catalog shoot was a challenge to solve. If you look at this page from the catalog, you will notice three product knockouts inserted into the layout in the lower half of the page. They look like normal products on a mannequin, don’t they?

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Lesson 3: Page 05

Catalogs

Catalogs are a great source of revenue as these usually require many photographs to complete the project. Think of all the catalogs you might subscribe to and all that you get in your junk mail. All of these were photographed by a photographer who may work for an in-house production department within the company and others may have been photographed by freelancers. There are tremendous opportunities here, but once again your specialty may come into play as well as your interest.One catalog may be for a bridal gown manufacturer and they would use a top wedding photographer.The content you are trying to access is only available to members. Sorry.

Lesson 3: Page 06

In the end, to create an even light quality from corner to corner, with nice highlights and shadows in the ridges of the wood, I used the 22” white dish reflector placed in the same upper right spot. I then moved the light box back behind the dish.The content you are trying to access is only available to members. Sorry.

Lesson 3: Page 07

Because this catalog was high key that meant the shadows would be weak and not prominent in the scene. You can do this by using a key/fill setup with the fill light reducing the shadows under the plates. But this can create an angle of incidence problem with the fill light, being next to the camera, and creating a reflection in the plate.The content you are trying to access is only available to members. Sorry.

Lesson 3: Page 08

I started with two 12’ ladders and placed a 2” x 12” plank between the 2 ladders and on the top step. I then climbed the ladder and shimmied out on the plank until I was directly above the products and attached a Bogen Super Clamp to the plank and to which I next attached the camera. We purposely positioned the setup here and right next to the white wall of my studio. On the left I have one 20” reflector sitting at about 8:00 o’clock. On camera right, I have the white wall which will act like fill card from light bounced off it. I tested and positioned the lights and products until the light was even from corner to corner before shooting the final product. The client then easily knocked out the products for the catalog layout.The content you are trying to access is only available to members. Sorry.

Lesson 3: Page 09

We purposely positioned the setup here and right next to the white wall of my studio. On the left I have one 20” reflector sitting at about 8:00 o’clock. On camera right, I have the white wall which will act like fill card from light bounced off it. I tested and positioned the lights and products until the light was even from corner to corner before shooting the final product. The client then easily knocked out the products for the catalog layout.The content you are trying to access is only available to members. Sorry.

Lesson 3: Page 10

LARGE PRODUCTS ON LOCATION

Products photographed on location are generally products that cannot be brought to the studio or maybe the client wants an environmental feel to the shot. They are often products to large to get to the studio or possibly a product that the client just built and needs a photo of it before shipping to their client. These types of products can vary widely and you need to be prepared for any situation. I usually, but not always know what the product is and how big it is prior to arriving to shoot.The content you are trying to access is only available to members. Sorry.

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