To sell a product is to convince the consumer, it may be through any master tactic ranging from a super cool logo to a catchy photograph. Ken Rockwell, one of the pioneers in gear reviews tells us more things about this interesting product photography, how to shoot, what background color to strive for, cleanliness on the spot, the important part of lighting and much more.
More about finding the right light, style to complement, and most interestingly Design-sponge shows wonderful guidelines in cropping too. Smash and peas an interesting blog tells us various concepts about light, framing and delicate post processing in creating a spectacular product shoot achieved. Within a budget how interesting can it get when you achieve the so called professional quality with just 12$.
How would you start, what would you shoot first, where to position the light and what framing would increase the drama. So what are the mistakes which can spoil the shoot, here photoshelter highlights the mistakes for a change and lets us know the right way of doing things. Showing us how it is done in a step by step manner, fantastic tutorial for every individual who wants to try his hand on product shoot.
More how to in this small tutorial, for instance how to control reflections and how to shape your light, get to know more here. From magazine ads to web applications, this instructive handbook details the ever-expanding area of product photography and discusses the unique skills required to be successful. Our tent’s lightweight and easy to set up table top design, the soft light box utilizes a specially woven, heat resistant, 100% velour fabric, which delivers uniform illumination while eliminating harsh shadows and reflective glare. Imagine capturing stunning, professional-looking product shots without needing a studio filled with expensive equipment and large flash units.
Targeting new and experienced commercial photographers alike, this invaluable guide explores the different aspects and challenges of succeeding in the industry. London-based interdisciplinary photographer Sean Tucker has created a helpful three-part video tutorial that teaches the basics of shooting larger products in a studio in front of a white background. Tucker starts out by walking through camera settings and setting up your lighting for the shot. Next, we learn about the editing process from retouching the image and cutting the product out onto a pure white background to adding a drop shadow. One of my main clients is a furniture store, and I have been shooting for them for a few years now. Of course, I am shooting 60-90 pieces a day when I get out there to shoot, so I have to cut some corners and move a bit faster. As a Marketing Director of a furniture company I was going to hire professional photographers and pay them to do all my product photography, but now it is much easier thanks to this tutorial! I made a promise to myself way back then that I would endeavour to model the same generosity. Secondly, if I am able to impart enough knowledge for you to shoot and edit as well as me, in one hour, then I’m not really a photographer worth very much anyway. So, if you sell one chair a week and have spare time, feel free to try out this new craft with Sean’s great tutorial.
I have never actually done any experimenting of my own, but between shooting and working at a camera retailer, I get to talk to a lot of photographers.
I hope Jeff already has the camera, lights, diffusers, backdrops, computer and software he needs to do this and knows how to operate all of it. The folks at National Geographic just did a solid favor for all the adventurous outdoor photographers out there. After a lot of speculation and a juicy tidbit here and there, a more complete spec list and first photo of the much-anticipated Canon 5D Mark IV has leaked. Recently I got a message from a person who said that they liked my pictures, but unfortunately they don’t have a "photographic eye." This inspired me to write the following article about basic aesthetics and their relationship to photography. If you wanna capture quality product photos on the cheap, this short little DIY tutorial is going to be a great resource.
Animals stealing action cameras is nothing new—monkeys, seagulls, and foxes have all gotten their 15 minutes of fame this way.
This photo shows what Sports Illustrated photographer Simon Bruty packed for the Rio 2016 Olympic games, the 8th Summer Games he has covered. Tsuneko Sasamoto is a renowned Japanese photographer who is considered to be her country's first female photojournalist, documenting pre- and post-war Japan since becoming a professional shooter at the age of 25. Sasamoto also has the distinction of being one of the oldest photographers on Earth: she just turned 101 years old in September, and she's still making photos. VSCO today announced the launch of its new Open Studio, a free-to-use massive studio space in New York City. News Corp photographer Brett Costello was robbed of $40,000 in camera gear at a cafe in Rio a few days ago.
I really love the combination of street photography and rain, since rain changes the mood and the city completely. After showing you how to make a tripod using a piece of string, I’m going to go a little more surreal this time by explaining how an old frying pan can be used to get dramatic low angle images. Lightroom is a very powerful tool, and this quick timelapse by filmmaker and photographer Bart Oerbekke demonstrates how a series of simple edits were able to really bring one of his landscape photos to life.
The multi-aperture computational camera is an exciting technology that's emerging in the world of photography, and it appears that Nikon wants in. Want to see how a Pulitzer Prize-winning photographer responds to a request for free images in exchange for "credit" from a major news corporation? Photography Stack Exchange is a question and answer site for professional, enthusiast and amateur photographers.
I'm not aiming for pure white background, slight grey (as on second image) is ideal, consistency is much more important. Please recommend how to achieve consistent grey background color across different objects, and how to avoid blending. 4) use an additional light (very soft bowl or small box) placed above your subject, oriented towards it (example). On the first monitor where I saw your photos the difference was barely noticeable, but on a better one it is slightly more visible, I even wondered whether they were shot with the same exact exposure. Do you mean as a design choice, or would use use the green screen and then digitally remove it? Not the answer you're looking for?Browse other questions tagged product-photography background color-white or ask your own question.
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I work for The Golden Boot and part of my job is to get all the stock online as quick as possible.
Before I got the Slope backdrop working, it was taking me good 2-3 days to photograph and process a delivery of products.
I was spending a lot of time tweaking the lighting in the tent, and even more time processing to remove the shadows. After completing the second season I was challenged by my employer to speed up the whole photography aspect of managing the online store.
I figured that the light was the most important influence on quality and that if I could eliminate the shadow at photography stage, it would speed things up considerably. Going through Autumn-Winter 2009 stock, I appreciate how easy it is to photograph items with fur elements.

To see more of his work please visit his studio website blurMEDIAphotography, or follow him on Twitter, 500px, Google Plus or YouTube. Stefan Kohler is a conceptual photographer, specialized in mixing science, technology and photography.
When he isn't waking up at 4am to take photos of nature, he stays awake until 4am taking photos of the night skies or time lapses. What I usually do in my product photography is to lower the white point to bring the white backdrop to a true white, and then clean up the edges in photoshop so that the resulting image can be placed seamlessly on the web on a white background with any distracting image borders. I know this isn’t universal, but I personally am more drawn to the ones that fit seamlessly on the white background.
I use a white sheet of poster board as they come in many colors and are more durable than paper. I’ve been using multiple large sheets of white sketch paper stacked so that although fairly rigid, it is flexible enough to pose and easy to tape the end in place where I need it.
The main problem I have is that although this works fine for mid size objects, like a coffee cup or larger; doing macro on it, like photographic a ring, starts to expose the fine texture of the paper. Doens’t it get whiter if you use a second flash, big power, on a side, and directed on the paper, just to burn it. For this shot I think it would have been better to place a white reflector over the subject to cast light back onto the subject. Try opening levels and clicking the minus eye dropper on a white area, this will reduce the grey background bringing it up to white.
What you can do to make it work is to take your flash off camera, position it right outside the frame and put some kind of white diffuser in front of it (shoot-through umbrella, silk, bed sheet).
Since light source is relatively close and is relative large compared to the product you are photographing the shadows will be small and very soft. If you can’t take the flash off camera, instead of using the ceiling, use some kind of white posterboard or foamcore board to reflect the light. And remember if it looks good on LCD in the back of your camera, the shot is probably underexposed by 1-2 stops. Drill a couple of small screws into the front of the centre tube, but not all the way, you want to be able to hang your paper from them. You can make this as big or as small as you want depending on how long you cut the PVC tube.
My last post had a few small example shots, but apparently the moderators didn’t like it so it never posted. The black point determines the input pixel value at which the output pixel value will now be 0 (black) for that channel.
To be clear, at this point in the process, the background in the images coming out of the camera will probably look bright white, but they aren’t yet true white so there will be a distracting edge if you just use the images as it is on a true white background.
The outside probably looks perfectly white but as you saw in that preview (from hitting ALT while making the white point adjustment), it is not exactly. Before you return the black point back down to where it started, you can now crop your image to where you are exactly encompassing only what you need to, while ensuring that the outside edge will be true white.
So once you’re done cropping, pull the black point in the adjustment layer back down to 0 where it started and you’re done!
Product shots with seamless white backgrounds as described here are great for selling studd on eBay. You will need to control white balance more especially with yellow and browns but with some experimentation you can add variety and interest. Light your subject to your hearts content, it will bounce off into the nothingness of the polar fleece. Here in this post of ours we wanted to underline and highlight some of the key aspects and modern day trends in product photography. Beginning with the basics for creating professional-looking shots, the qualities of light and the rendering of color and texture are covered while the tools to be used for controlling those qualities is explained through a step-by-step lighting setup.
Approaching the subject systematically, the topics begin with determining what kind of commercial photography to pursue and how to get the training needed to carve out a niche in the market.
I’ve been researching into ways to increase the impact of product photography and your site has really helped so I just wanted to say thank you! This is a technique for recoloring the product by sampling a swatch and then mapping the target color onto your photograph.
I have scoured the internet to see how other people are shooting and editing similar items to no avail.
You are loosing a little bit of quality every time you compress that jpeg, so I wait till the last step to move into jpegs.
Nevertheless I was asking myself why he didn’t save the images as PSDs, because he could have saved a lot of time by re-using the masks and paths that he used to cut out the chair. Go ahead and post how you make your furniture and what equipment you use… 99.9% of people watching will still not be able to replicate what you do. You may find that this process is a little more tricky than I make it look on camera, and you may just end up giving me a call when you are completely stuck because it doesn’t work as neatly for you as it does for me. Even if you magically mangage to get as much experience and craft as a seasoned photographer solely from this tutorial, I still doubt your time would be best spend photographing. Okay, I would also convert to JPEG only at the last possible moment but to therefore call him a noob is BS. In my work flow I want to save a LR edit of the original and a cut out and recoloured version of each. Could you share your tips to keeping color consistency for different shots with same color? I’m just wondering why you made your mask with the pen tool rather than deriving it from a channel. I’m not a novice, but Sean still gave me some great tips and things I needed to know.
I tend to start with a channel and do a fair bit of tweaking, especially if it’s a fuzzy outline.
They put every US Geological Survey (USGS) topographical map from across the United States on one easy-to-navigate site and made them easy to print out at home. In it, you see how an $8 IKEA table turns into a full-fledged product photo booth with just a few modifications and some creative foam board placement. A 60TB drive would be massive by any standard, but the latest Seagate SAS drive is mind-blowing for one other very important reason: it's a solid state drive. Then yesterday, while covering an event at the Olympics yesterday, Costello spotted the thief pretending to be him.
Louis Post-Dispatch who won the Pulitzer Prize with his paper this year for his coverage of protests in Ferguson, Missouri. With flash lighting as your only source, the shutter speed will not really matter, so you can go use a faster shuuter speed (but maybe not the max flash sync either, I had problems once).
For example changing lighting distance from 1m to 1.4m would halve the light amount (this is purposely exaggerated, but a smaller variation could go unnoticed while shooting).
But there might be other sources of light that can interfere, like fluo or tungsten bulbs or windows.
The same can usually be done with a black background by bringing up the black point, though this presents it’s own challenges. You can also use them as bounce cards if you need a splash of color when shooting things that are not for sale, like most children. I did a shot of a watch with daylight, no flash at all(although i think it would work too with flash bounced to the ceiling).

Adjust the spread of the flash to cover the whole diffuser, but not more (this will essentially make it as soft as possible and prevent any light spill). Make sure that the connectors are 3 way (two hols at 90 degrees and one hole perpendicular to the others). Next buy some white poster board and punch holes in the top so you can hang it from the screws you just put into the centre tube. No need for a flash, but you will need a tripod or another means to hold the camera steady while you are taking the shot. So if you bring the black point up to 50, anything 50 or below in all three channels (RGB) will now be black, and any pixel with a value above that will be stretched down accordingly, while at the same time leaving the white point alone so white values are still white. Bringing the white point down to 205 (it starts out at 255 by default) will stretch all pixel values up so that any value at or above 205 becomes 255 (the max value). First take a normal exposure shot filling the frame with the white backdrop, with all the lighting in place exactly how it’s going to be, and use the shot to set the white balance in the camera manually.
So we’re going to add a new layer so we can paint over those not-quite-white areas with true white. This is harder to do with the black point back where it belongs because the shadow underneath the object becomes so subtle it’s difficult to tell where it ends, but if you accidentally were to cut it in half and leave it on the edge of the image, you would definitely see the hard seam on a true white background. I’ve noticed sometimes if I overexpose the background in the camera, the object itself may end up too bright with some overexposed areas throughout it. The photos are captivating and more professional, conveying a better image of the retailer. If you drape it gently some interesting color variation will occur without detracting from your subject. Continuing to delve further, the topics expand to marketing techniques, negotiation skills, estimating and charging for work, maximizing profits while minimizing expenses, and ethical business behavior. Do you want to create photos that conjure up the flavors of your favorite foods but lack the photographic technique to make it happen? Sites like this, and many others besides, are rammed full of enough information to get you started in any field of photography you chose. That’s the difference between a brief tutorial and years of experience: consistency, problem solving and ease.
This subject would have almost perfect separation from the background, wouldn’t it, apart from a few stray fibres? Incredibly creative, he frequently manages to surprise and delight us with his unusual portrait assignments. Fret not, this guide will explain those EF-S, STM stuff to you, and a small history lesson to help you better understand. Last Friday, Carson was contacted by what appears to be a CBS account on Twitter that regularly Tweets requests for image usage. For the second, how do you make sure the green background does not give any green hue to the product?
It comes down to increasing the contrast and exposure slightly to bleach the background when importing from raw. An orange card to the right of the subject with a splash from a flash can add that missing sunlight to any photo.
Then also with some white seamless paper on an iron-table and the paper taped to a closet at the back of the iron table.
But, if you wanted the background to be truer white, couldn’t you have adjusted your white balance?
For great light coverage with minimal shadows, take the photo outdoors on an overcast day, it’s natures softbox. So in effect, bringing the black point up makes the image darker by stretching the pixel values down, and anything at or below the black point becomes true black.
So if, in all three channels, a pixel is at or above 205, it will become (255, 255, 255) which is true white. So now, in order to actually see what needs to be painted over, drag the black point on that levels adjustment layer all the way up (to the right) to meet the white point.
Because those areas are overexposed, that pixel information simply doesn’t exist to scale them back down in post. Depending on the budget constraints and space limitations, these tutorials show us more light in setting up a scene to the completion of a final photograph.
You will know well that if you give me a quick one hour lesson and show me the tools of your trade, and then let me loose in your workshop to build furniture, you will be having a quiet giggle to yourself in the corner watching my bumbling efforts. You said the camera is in manual mode and if the exposure settings and ISO don't change the background should stay the same.
So open the files in Photoshop, though even free software solutions like GIMP are perfectly capable of the adjustment step here. Right from choosing the product for shoot, then lighting up the subject, interesting angles to frame and some intense post-processing to make the output much attractive, these tutorials inspire us in taking up Product photography which is full of scope and glamor. Instead I had to reboot my career years ago, and so I embarked on a journey as a professional photographer and videographer; a feat made possible because I was able to learn from other generous photographers who went before me and were willing to share their skills with me online and in person.
I may even find myself throwing in the towel, calling you over to rescue me, and appreciating the skill it takes to do what you do. You will have to reduce lighting on the background (and let it gradiate) if you want to be able to distinguish white from white, but that has little to do with the inconsistency problem. One tiny thing which doesn't seem significant but the white shoe would reflect more light onto the background than the darker brown tone shoe. When you adjust any of them, all the pixel values in the image are adjusted to fit the new scale. Working with the image in RAW, and processing the image with higher bit depths means that I’m not really losing anything in the final image by making the subtle adjustments in post, but it can save you a big headache and give you more options in the long run. Because polar fleece has no hard surface it looks like an ethereal white cloud behind your image.
They are appearing on a website at 400-600px, so editing them at 4500px I have plenty of info and the file size is kept way down for archive.
Leave a decent amount of room around it, especially around the bottom where you are most likely to have a subtle shadow that is probably larger than you expect.
This may not work in other image software, but in Photoshop, as you are dragging the white point or black point, if you press and hold the ALT key it will show you an exaggerated image preview to help you visualize the areas on the image that will be true white or true black, depending on which one you are adjusting.
In the end, you’ll be left with the object you shot, and probably a weird shadow area below it, all surrounded by true white. A long narrow piece of black paper covering most of the back side of the shoe would pretty much eliminate the possibility. So pull down (left) the white point while pressing ALT until the object you shot is just barely, but completely, surrounded by true white.
But more than likely you’ll be picking up the phone and asking a professional to help you out, because now you realise how difficult this process is.
This ensures that you are minimizing the amount of adjustment you have to make later while still retaining as much detail in the source image as possible. There will probably now be areas around the edges of the image that are not true white, but the object itself is surrounded by true white.

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