 What is product photography?

Product photography refers to using specific photography techniques to take accurate and attractive
photos of your products. Your product photos influence shoppers’ purchasing decisions, which can
increase conversion rates and sales for your business.

 How do you shoot product photos?

1. Set up your table

2. Build your sweep (or use a light box with a sweep inside)
3. Adjust your camera (using a tripod to fix your smartphone and adjust your camera settings as
shown in the video “how to take product photography at home with a phone”
4. Set up your product (inside the lightbox or on the table put it on the sweep)
5. Set up the reflector card (use a foam board card to bounce the sun light if used and soften
the shadows)
6. Take the picture and evaluate (shoot from different angles and viewpoints to highlight
product features)
7. Retouch your pictures (by using editing apps on the phone or software desktop programs)
8. Optimize images for your website (optimize the size and image quality to suit the website for
example Instagram pics)

 Product photography basics

Part 1, choosing backdrops:

 Seamless paper backgrounds are cheap and relatively efficient for almost any product.
Seamless paper provides large, smooth, non-reflecting surfaces.
 Canvas backdrops are best for durability. Canvas is tough, long-lasting, and cost-effective.
However, it’s prone to wrinkling and therefore not suitable for most product shoots — only
those in context.
 Muslin backdrops are nearly as popular as paper due to their superior durability and
resistance to tearing. They’re even washable. Muslin provides a soft white background that’s
clear and uncluttered.
 Green screen backdrops. Almost every product photographer needs to shoot against a green
screen occasionally. And green-screen post-production is much easier when the backdrop
has no wrinkle
Part2: selecting tripod:
Travel tripods Medium-duty tripods Smartphone Clamp Pocket tripods

part 3: Artificial Lighting Basics

There are three main types of studio (interior) lights to photograph products: fluorescent, light-
emitting diodes (LED), and tungsten. Each has positives and negatives.

1. Studio Lights

Fluorescent lighting is energy-

efficient, affordable, and produces a
bright, diffused light compared to
the other options. Unfortunately,
diffused light can reduce the
contrast of images. This matters
when shoppers want to examine fine
details.

To overcome, use the fluorescent

white balance setting on your
camera or manually adjust its color
temperature.

Choose 60 to 100-watt bulbs for the

best lighting of products.

Light-emitting diodes (LEDs) are

energy-efficient and produce little to
no heat. LED lights for photos
produce realistic shots that online
consumers need when scrutinizing a
product. The drawbacks of LEDs are
that they often don’t capture true
and accurate colors and can make
post-production editing more
difficult due to the so-called “digital
noise,” slight imperfections in the
images.
 Diffusers, Softboxes, Lighting Tents

Diffusers spread out and scatter light

so that it isn’t harshly focused on the
subject. Diffusers also help
illuminate an entire scene to be
more appealing.

Softboxes are a type of diffuser to

increase the size of smaller light
sources. Many lighting kits come
with their own softboxes. Umbrellas
and scrims are the two other light
diffusers used by professionals.

However, in most cases a lighting

tent is the best option for small and
medium-sized products.

Tungsten halogen lights produce an

even spectrum similar to natural
daylight, whereas fluorescent and
LED tend to have spikes. Consider
tungsten lighting for more accurate
colors since it doesn’t amplify the
blue color channel of your camera. A
drawback of tungsten lights is they
generate a lot of heat. Strobes
mitigate this problem although they
are not suited for continuous light,
such as for product shots.

Part 4: Angles and Viewpoints

2. Viewpoints

There are three viewpoints: low, eye-level, and high.

1. Low shots are taken from a position beneath the subject to establish its power in the photo.
Low shots work well with lifestyle and in-context shots.
2. Eye-level shots are taken straight-on to provide a view of a product from the level of a
human eye. Most product photography is eye-level.
3. High shots are taken from an elevated position looking down on the subject.

3. Angles
In addition to the three viewpoints, there are six must-have angles for product photos: front, profile,
45-degree, back, top, and macro.

1. Front angle is the default image of most ecommerce photos because it’s the best for quickly
informing shoppers, showing the main features of a product. A front-angle shot should be
enticing while also providing enough detail for shoppers to understand the product.

A front-angle shot is typically eye-level against a solid white background. Make sure the
lighting is evenly dispersed to prevent visible shadows. Place one light 45-degrees behind the
product and the other in the opposite corner. Ensure both are elevated and facing downward
to dissipate most of the light and reduce the length of shadows.
2. Profile angle is taken from the side of a product. Its usefulness depends on the item. For
example, a profile shot is not helpful for my paintings because nobody wants to see the side
of a canvas or frame. But for shoes, say, a profile shot may be essential.

3. Back angle is a key supporting shot in product photography. Shoppers are rarely satisfied by
front angles and profiles alone. Back shots can reveal important details.
Back angle is a key supporting shot in product photography, such as this example of the back
of an Xbox. Source: Walmart.com.
For consistency, take a back angle shot from the same location as the front angle — just turn
the product around (not the camera).
4. 45-degree angle refers to the position of the camera from the product. It’s also called the
three-quarter angle. A 45-degree shot is most often used for food photography, but it’s
helpful for many other items, too.
A single 45-degree shot shows multiple sides of a product while providing additional detail.
Use a high viewpoint and mark your camera’s position before shooting. Use a tripod to keep
it steady.

5. Top angle is often called the birds-eye-view. It isn’t always necessary, but it does provide
more context for shoppers depending, again, on the product.
A top-angle shot can be difficult to pull off — the camera is directly above the product. Place
your camera in an elevated C-stand

6. Macro angle shot displays the fine details of products and requires special equipment to get
right. I’ll cover it in-depth when I address lenses in the upcoming “Part 6.” Merchants with
limited budgets should likely not attempt macro shots.
Part 5: Composition Essentials

1. Rule of Thirds

The rule of thirds is critical when shooting products. It’s easy to implement and can greatly impact
how a shopper views a product.

Centering a product in the middle of a frame seems logical, but it won’t set your items apart.

Instead, apply the rule of thirds, which is to offset from the center slightly. The rule states that the
subject of an image should be placed at the intersection of predetermined vertical and horizontal
lines

This type of offset image is useful because it creates a natural focal point that draws in viewers.
Having the subject in one-third of the composition with the remaining two-thirds balanced with
negative space is attractive, and more importantly, feels right to a viewer.

2. Rule of Odds

The rule of odds is another simple yet effective composition tactic for product photography. The rule
states that when shooting more than one object, always group in odd numbers. Odd-numbered
groupings force the human eye to work harder to view each item
Our brains naturally seek order and organization. An odd pairing of products makes your unconscious
mind work harder. The effect is to force shoppers to spend more time on product images.

Procter & Gamble’s Ivory.com uses the concept. The body wash and deodorant shots on the home
page, above, contain three items. But each product within the image is unique, with slight
discrepancies in color and clarity, prompting the viewer to pause. The result entices shoppers to click.
It’s terrific, powerful photo composition.

Three or five products are generally the best for product photography groupings. Differentiate the
items by stacking some of them on a different plane, pairing a larger object with a smaller one, or
varying the distance or angle.

Try to break up a boring, horizontal line of products by forming a triangle or a vertical arrangement.
(I’ll address diagonal composition in a later installment.)
Finally, use a camera’s lens focus to your advantage. Not every subject in an image needs to be
completely clear, as demonstrated by the Ivory.com deodorant example. Find an aesthetically
pleasing layout and experiment with the best focal point. Try new arrangements and settings. Create
images that will engage your shoppers and drive sales.

Part 6: Advanced Composition

1. Golden Ratio

The Golden Ratio, also known as the Fibonacci Spiral, is a compositional design rule based on the
principles of a 13th-century Italian mathematician, Leonardo of Pisa (later known as Fibonacci).
Fibonacci’s famous sequence is each number being the sum of the two previous ones — 1, 1, 2, 3, 5,
8, 13, etc. Applying this sequence to photography and design creates aesthetically pleasing layouts.

Imagine a series of adjacent squares in your camera frame. The length of the first and second squares
are the same. The length of the third square is the sum of the first two. Placing an arc within each
square, connecting opposite corners, represents a natural path of how human eyes view an object.
The distance of each square’s arc would be 1.618 times the square’s length. That’s the so-called
Golden Ratio: 1.618. It’s a natural pathway that draws our attention around the photo and ultimately
to the focal point at the image.

Applying the Golden Ratio to product photography, place your item at the end of the spiral (such as
the surfboard above). Then put all supporting elements within the large arc as it spirals out from the
focal point. Any supporting elements not within the arc would divert viewers’ attention and lead to
an unsatisfying image.

2. Golden Triangle

The Golden Triangle is another advanced compositional rule that divides the photo’s frame into
triangular sections wherein the focal point is the intersection of lines. It’s similar to the Rule of Thirds
Placing your product along these axes will enhance the image’s focal point and make it more
engaging. Unlike the Rule of Thirds, however, the Golden Triangle focuses on adding a strong
diagonal element with leading lines that draw the human eye towards the image’s focal point.

The Golden Triangle is more challenging than the Rule of Thirds. But scrutinize product ads. You’ll
likely see the Golden Triangle applied frequently.

To experiment, divide your frame into two sections diagonally along an imaginary line connecting
opposite corners. Then draw two diagonal lines from the unused corners to intersect with the initial
line at a 90-degree angle. Place your product where the lines intersect and keep the supporting
elements of the photo within the same triangle. It’s a simple and effective method of creating an
engaging product image.

3. Dynamic Diagonals

Dynamic Diagonal composition is relatively easy. You’re likely doing it subconsciously. The rule is to
place the essential elements of a photo along diagonal lines. The lines of a product photo are the
best way to focus a viewer on the item. Supporting elements within the photo should lead to the
product, the focal point.

Following this rule is straightforward. Look at your frame, place your product, and build your
supporting elements around your product along diagonal lines. Note the example below. The plants
and rocks lead our eyes towards the product (face powder).
Part 7: Lines as Design Elements

Lines in Photography

Lines direct the viewer’s eyes to the focal point of an image. Failure to employ lines correctly can
make your images confusing or complicated, lowering conversions. Let’s look at the six types of lines
for your product photography.

Vertical lines draw viewers’ eyes from the top of

your photo to the bottom, or vice versa. Vertical
lines can evoke feelings in the viewer, depending
on the context

For example, the image above of a woman

washing a reusable water bottle sends a powerful
message about the brand’s sustainability efforts
and a key selling feature: a removable lid.
Viewers’ eyes follow the top of the flowing water
before settling on the lid and the overall scene. It’s
a compelling example of how product
photography can provide a visual journey and
prompt shoppers to contemplate an item’s utility.

Horizontal. The human eye naturally

follows horizontal lines in an image,
making their use a powerful tool when
crafting a story about a product or brand.
Interrupting a horizontal line with the
product is an effective way to draw
attention, as seen in the example below. I
prefer placing a product on top of a
horizontal line to occupy most of the
upper portion. It forces viewers to gaze
upwards and contemplate your product
longer.
Diagonal lines can create useful tension in
product photography. Tension can improve
engagement. For example, the diagonals in the
image below of the towel and flowers drive
viewers’ eyes to the coffee maker and its
“smooth pouring” experience.

Diagonal lines can also create depth in an

image, which is helpful in forming a story
around a product. The image below is
much more interesting with the diagonal
shoreline in the background.

Implied lines stem from the arrangement of

elements. The photo below is a good
example. The placement of the hat, pillow,
jug, and glass implies a diagonal line
running from the lower-left corner to the
top right. The line draws a viewer’s eye to
the product (the jug).
Leading lines can be vertical, horizontal, and
diagonal. They steer viewers to an image’s focal
point. Leading lines make images less static and
more three-dimensional. Use them in any
number of ways. For example, a product placed
partway through a line entices viewers to
continue past the item, take in the entire
image, and return.

Lines can also lead directly to your product and

terminate, as in the image below. The woman’s
arms lead to the water bottle.

Avoid placing a product at the beginning of a

leading line. Provide the viewer the experience
of following lines to the item. Also, consider
more than one leading line as illustrated, again,
by arms and legs in the image above. Leading
lines can come from the same or varying
directions so long as they direct viewers’ eyes
to the product.
 Converging lines are two or more diagonal
lines that run toward each other. They may
not touch, but they are helpful in some
settings. For max effectiveness, place your
product at the point where the lines
converge. This becomes the focal point of
the image and can engage viewers. The
water bottle below sits on at convergence of
two diagonal countertop lines.

Part 8: Image Editing color correction in presets

 Color Correction
Color correction is the process of adjusting a photo to match the actual subject. It’s among the most
important parts of editing product photos, given the importance of an exact color match.
Unfortunately, photography sessions often produce less-than-perfect colors, requiring changing an
image’s white balance, contrast, exposure, and saturation.

White balance:

refers to its hue (or shade) in your image. Whites can appear more yellow or blue depending on the
light source. Adjusting the white balance won’t make your photo brighter or darker; it will, instead,
change the overall colors for a more balanced representation of what human eyes associate with a
clean, bright white. The result is a better representation of the product’s true color.

https://youtu.be/aqf7QlepCi0 In this YouTube video, product photographer TeeWin illustrates the

importance of editing white balance.

Contrast:

Changing a photo’s contrast makes the lighter areas brighter and the darker areas more so. Contrast
affects your picture in different ways. Images that are too bright or too dark could mask the true
colors of the item and otherwise appear inferior, which will decrease conversions.
Exposure:

Is similar to contrast, but it controls the overall image rather than certain areas. Increasing the
exposure makes the entire photo brighter — decreasing produces the opposite effect. Some editing
programs call exposure “brightness.” When adjusting those settings, correct the exposure first before
moving to the contrast. That process can greatly improve a photo’s impact on a shopper.

Saturation

Even the best devices may not capture the true tones for certain colors. For example, a highly
saturated red can be difficult to capture and recreate in a modern digital camera. Other colors are
similar. The editing process can help avoid a washed-out image.

“Saturation” and “hue” are synonymous in most image-editing software. Accurate saturation is as
essential as contrast and exposure. To save time, correct the contrast before changing a photo’s
saturation, as adjusting the former will also alter colors. Remember, too, that too much saturation
will usually make an image appear unrealistic or over-edited.
  Filters and Presets:
Filters and presets in photo-editing software can streamline an often burdensome task. VSCO, for
example, includes a wide variety of default filters. Experiment with one of your images in multiple
editing apps until you find a filter that works. Then apply that filter to the rest of your images.
Consistency in your product photos is pleasing to the human eye and enticing to shoppers.

Presets, free or purchased, do not guarantee perfection. You may still need to tweak the white
balance, contrast, exposure, and saturation, depending on the image.

Part 9: Special Edits

Special Edits to Product Photos

 Straightening an image is a key editing step for sitewide uniformity and creating the most
appealing views. If you’re shooting products on a mobile device, use its native straightening
and perspective tools, VSCOs skew adjustment tool, or Snapseeds perspective tool. Adobe
Photoshop offers more advanced straightening options.

In the video below, photographer Rory Factor uses Photoshop’s Warping Tool to create perfectly
straightened images. https://youtu.be/Q6MXNvZy--Y

 Cropping can improve an image’s composition — the arrangement of items. When cropping,
remember that consistency across all photos is key. Crop every product image in the same
manner with no switching between square, horizontal, and vertical views. Pick a view and
stick with it. I follow Amazon’s cropping guidelines: the product comprises 85% of the overall
frame.
 Removing a background is among the most common photo editing tasks. Marketplaces often
require white backgrounds. Thus shooting your product against a solid white background
enhances its effectiveness while saving on editing time. Background removal can be time-
consuming and tedious. Consider outsourcing this part of the process to a product photo
editing service.
 Removing imperfections. Examine your product before shooting. Check for blemishes,
scratches, and damage. Luckily, editing out imperfections isn’t difficult. I use Photoshop’s
Healing Brush and Clone Stamp tools. Photographer Amanda Campeanu’s video below
explains how to use those tools and clean up misaligned background lines. (She also
promotes her course.) I also use TouchRetouch, a terrific mobile app, for spot removal.
https://youtu.be/hubVrIwNf-Q
 Color changes. One of the best ways to speed up the editing process of a product with
multiple colors is to use the best image and then change the color. The video below from
Photoshop’s YouTube Training channel explains how to use Lightroom to change the
color of anything. https://youtu.be/0lCPsiCxShU
 Adding shadows can enhance some products that are set against a white background. If
you add shadows, avoid darkening the product. Instead, create a realistic shadow that
adds to a product’s depth and dimension.
A reflective shadow, for example, is common on ecommerce home pages and category
pages.

A drop shadow can create a sense of depth and dimension.

Part 10: Optimizing for Speed, Search
1. Image Search
Optimize descriptions. It’s tempting to keep the default image names from your camera. But don’t
do it. Take the time to rename those images with keywords. It will help rank in Google’s image
search. Organic search traffic is the lifeblood of many ecommerce businesses. Creating keyword-rich
files is as important as the copy on product pages.

For image keywords, think about how online shoppers search for your type of products and apply
those patterns to file names. If you’re unsure of those search queries, tools such as Moz, Semrush,
Ahrefs, Rank Tracker, and Google Search Console can help.

Consider the example below from my own business. The original file name for this painting as
assigned by my camera was a string of numbers, such as 1583.jpg. But that isn’t descriptive. So I
changed the name to panamericanartprojects-carolyn-mara-overlapping-circles-2021.jpg.

That description lists important keywords consumers can use to find my artwork via any search
engine. Do the same for the file names of your product images.

Customize alt attributes. An alt attribute — alternative text — describes an image. It’s essential
accessibility for visually-handicapped users and those that do not otherwise download photos. For
search engines, it provides additional, keyword-rich info and thus elevates rankings, potentially.
Apply the same keyword research to alt text as for file names. For example, the alt text from my
image above is alt= “Carolyn Mara, Overlapping Circles, 2021”.

Include model numbers or serial numbers in alt attributes if applicable to your products. But don’t
overdo it. Keep alt attributes relevant and straightforward.

2. Page Speed
The size of an image determines download speed. The bigger the image, the slower the speed — a
200-kilobyte image is slower than 50 kb. Slow pages impact your visitors’ shopping experience. Many
will leave if too slow. For organic search rankings, Google’s new Core Web Vitals algorithm assesses
speed. Slower sites have lower rankings. Fortunately, merchants can optimize their images for faster
downloads.

First, optimize thumbnails. Product thumbnails can be helpful on, say, category pages or even the
home page. But use them sparingly and make them as lightweight as possible. Reduce the resolution
if necessary. And make sure the alt text of your thumbnails is different from the larger version. Many
ecommerce platforms optimize thumbnails automatically.

Second, shoot in RAW format but upload in JPEG. Shoot and edit your products in RAW format.
Then convert them to JPEGs. RAW files, unlike JPEGs, capture all of the data from the camera’s
sensor, which makes it easier when editing and obtaining the true color of your item. RAW files also
provide increased brightness.

But the downside of shooting in RAW is that the files are typically huge, up to 10-times larger than a
JPEG. Thus, shoot and edit in RAW. Then convert the photos to JPEGs.

Part 11: Crafting an Image Start to Finish

Image Start to Finish
I’ll work with a vase I’ve created in my art studio.

I’ve discussed the importance of using a white background for most product images. For this shoot,
instead of a professional backdrop, I’ve used standard white seamless paper. The quality of the paper
wasn’t great, and it had several crinkles.

I offset these deficiencies by using natural lighting to push the shadows to the left of the vase. I could
have used artificial lighting if natural light was inferior or if I wanted to remove the shadows.

I didn’t worry much about the image’s composition since I wanted it to resemble what’s typical on
the Amazon Marketplace or an independent ecommerce store, with the item being front-and-center,
displaying as much info as possible.

I pulled back the view of the shot for an eye-level viewpoint from a 45-degree angle. Using my
iPhone and my studio tripod, I captured a bland image, perfect for demonstrating editing on a mobile
device.
 I started the editing process by removing the extraneous objects in the top-right corner
(which I’ve marked in green below) using Touch ReTouch’s brush tool.
 I then removed the background shadows created by the horizon of the image (again, marked
in green below), leaving only the shadow from the vase itself. To do this, I again used Touch
ReTouch’s brush tool.
 Having sorted the shadows, I fixed the image’s brightness and color levels. I used Snapseed
to increase the brightness to +92. This instantly made the vase more appealing.

 But the image still wasn’t perfect. The color wasn’t right. So using Snapseed, I adjusted the
saturation to +42 and added a bit of contrast. That made the entire image pop. I showed it to
a friend, who said she would buy my vase based on the photo!
 I then cropped the final image using my iPhone’s native editing tools. I made sure the lines of
the shadow drew viewers’ eyes into the center of the vase. Finally, I offset the composition
by leaving additional white space above the vase, increasing its appeal.
  I could have used Adobe Photoshop from a desktop computer to do all of this. But my goal
was to demonstrate how to achieve terrific results with a smartphone alone. Plus, switching
back and forth between computer-based software and mobile apps on a single image gets
unnecessarily complicated.

Optimizing

I finished the whole process by changing the photo’s file name from the generic IMG_3880 to
carolyn-mara-blue-tie-dye-swirl-vase — which is search-engine friendly. After ensuring its file format
was a JPEG, I posted the image to my website, where I added alt text to ensure accessibility for
visually-handicapped shoppers and for max exposure on Google.

This entire process took about 20 minutes. It illustrates the ease for both new and experienced
merchants of creating quality product photos using only a smartphone
 The ONLY Product Photography Tutorial you NEED to watch by Luke Ayers

 camera/phone camera settings:

1- If you use a camera make sure you it into manual mode, if you use a phone make sure to
download apps (lightroom, snapseed) which allows you to use manual settings
2- Go to setting manu and start by ISO = how sensitive the camera is to the light ==== low
sensitivity means you need more light to make the object bright, and high sensitivity means
you need a less light to make the object bright
3- Take the ISO to the lowest level possible (since we are using studio light not the room or sun
light)
4- Shutter speed = how long the camera lets light in for, or how fast the camera lens opens and
5- shots. The longer the shutter is open the more time it lets light in and the more time the light
goes into the camera the brighter it’s going to make the image. The shutter speed can range
from 30 sec- 1/8000 th of sec.
6- The next setting you want to adjust is the aperture, the aperture = how wide the lens of the
camera is going to open to allow light in, the smaller the lens is opened the less light will go
in by consequence the less bright the object is going to be and the opposite to when the lens
is going to open wider means more light is going in by consequence the brighter the object or
the image is going to be.
The aperture measurement system is called F-stops and it can range from f1.4-f32 (the
higher number = smaller the hole), the smaller the hole is the darker the image is going to be
because that’s not going to allow much of light in.

This image was taken at ISO 100, shutter speed 1/200 th and aperture f9, the image is very
dark the object id very dark, no window light is in or any other light, which means full control
of the lighting that’s why the manual setting is very important.

 Light source and adjustment

1- Now the camera settings are ready, our next thing to focus on is the lighting, how are we
going to create our light?
In order to get brighter images, you need to use a flash, because the flash is brighter and
lightens the object or product for a very short time it’s not a constant or continuous light.
The flash also has settings to adjust before you start taking photos in order to insure quality,
low, medium, high power or intensity of lighting.
2- The top part of the camera has what’s called the hot-shoe it’s where the flash is going to be
settled, it’s called hot because it’s going to send an electric pulse to the flash to activate it, so
that the flash works in harmony with the camera lens (light and capture).
3- The direction of light is the next important detail in product photography.
These tow pictures were taken at the same conditions and same settings the only diffrence
between them is the direction of light that is comig from

Photography means painting with light, so we are using the light to paint a picture
4- In order to have full control of the flash light direction you can use the trigger, the trigger is a
device that can be placed on top of the camera in place of the flash, turn it on.
5- The trigger will connect the flash to the camera, on the flash there’s a setting that you can
adjust to connect the trigger with it wirelessly, once you take a photo the flash is going to
work automatically and light the object.

Photo taken off-camera flash placed to the left of the object

 flash at lower power setting

Flash at higher power setting

6- Now since the camera setting are ready as well as the flash light, what’s next? The next thing
to work on is the intensity of light, hard or soft light. How can we determine the hardness
and the softness of the light?
The SIZE of the light source determines the hardness and softness of the light, if the size of
the light source is small then only a small part of the object is going to be lightened and there
will be a lot of shadows just like in the next photo

To fix that problem you have to make the size of the light source bigger and the way you do
that is buy using a light modifier (purchase it online or just create a DIY light modifier)
DIY light modifier: use a picture frame and white parchment paper and cut it to fit the size of the
frame then you can tape it, use two layers one on each side and it’s ready to be used.

7- Place the light modifier between the object and the light source

Photo taken with the light modifier placed to the left side of the object

Photo taken with light modifier closer to the object

8- The closer and the bigger the light modifier is the brighter the object will be. From this we
can conclude that good quality photograph is not about the equipment as much as it is about
the light adjustment
9- The bright reflective objects need more light adjustment to make it look good and show the
details in comparison matt objects, so what you need to do is to try different angles of
lighting and different placements of the light modifier and see which one is best.
10- What are the other tools and techniques that I can use to have more control on the light?
a- You can use two light sources placed opposite to each other with a light modifier in front
of them or,
b- You can use a reflector to bounce back the light, to do that use a picture frame just like
the last time but this time you’re going to need an opaque white paper and stick it on
one side (the side that will face the object)
The reflector because it’s not emitting its
own light it’s not so strong as the main
light, it makes the object slightly
lightened and brighter and shows more
details
 In this DIY studio we
have a plastic fox model
placed on the pvc or
foam sheet sweep, we
also have two light
sources placed on the
sides one at 45° degrees
and the other one on
90° degrees with a light
modifier in front of each
source light, now the
camera is going to be
right in front of the
object to take the
pictures

Camera settings:

Shutter speed 1/200 th, ISO 100,

aperture f9

Flash setting:

Flash on the right side 1/16 power

Flash on the 45° (main flash) 1/8 power

It’s important to clean the object we

want to photograph as well as the
Object well lightened, clear details,
camera lens to ensure that there will
white background and soft shadows
be no dust or finger prints especially
if it’s reflective
 11- How do we shoot shiny object or glass? Here we can see the importance of using two light
sources not only one in the front.
a- Without the back light: b- with the back light:

12- To find your perfect light angle which makes your product look good you have to experiment
with all light angles like on 360° degrees and see which angle shows your product details
best.
 Photo editing
What if you took enough phots and you’re still not satisfied, NOW it’s photo editing time using
Photoshop program?
Important note:

Before starting to edit the photos and even before taking those photos make sure to adjust the
“white balance” in your camera and set it to “flash” in other words set it exactly to the type of light
you’re using. Because every light has a different colour or in other terms a colour temperature, and
so that the camera reads exactly the right colour temperature.

1. White balance:
White balance = colour temperature the camera records at.
Even when we shoot on white background sometimes it doesn’t appear completely white
like in the picture of the fox where we can see some grey on the background. At this stage
we need to change the background on Photoshop using the “lasoo tool L” on the tool bar,
a. Click on it and hold it will show three different types of lasoo tool, choose “polygonal
lasoo tool”
b. After zooming the photo in order to have better vision, start clicking on the edge of the
object in the picture by drawing little lines.
c. If the edge doesn’t look like perfect, go to the top and click “select and mask” another
adjustment bar will appear click “smooth”.
d. On the keyboard press ctrl+j and this will appear on the left side of the photoshop
window

At the bottom there’s two picture icons

named “layer 1” and “background”, both
icons have an eye icon before them

Click on the eye of the icon “layer 1” = the

background will disappear.
e. Now go to menu on the top click “layer” than click “new”
f. A new layer will appear at the layer menu, this layer is empty so we have to fill it with the
colour we wish to see on the background in this case we want it to be white.

g. Click on pure white and the click anywhere on the screen the image is going to be all
white, the object image will disappear because here we are working in layers and the
new background layer is on top.
h. All what you have to do is go to the layer menu click on the white background layer and
drag it to become the second layer after the object image layer
 i. Now that we have our perfect white background, the image of the candle is still not
perfect, click space+t to select the object layer in order to straighten the object, since the
photo was taken free handed without a tripod, click and hold, rotate it slightly.
j. To make it more realistic we need to add a shadow, follow the next steps
1- On the left side there’s the tool bare go to where you can find a square shape, click on it and
choose eclipse shape + draw an eclipse shape which matches the top of the cap
2- Change the color of the eclipse to black and drag it down to the bottom of the cup and adjust
the size
3- Go to layers click with the right mouse button on the eclipse layer and choose resterize layer
and then change its position to become behind the cup
4- Now the eclipse is perfectly hidden behind the candle cup, go to the top tool bar and click
filter and choose blur you have many blur options, choose Gaussian blur this will bring up a
little window where you can play with the shadow gradient until you are satisfied with the
shadow effect it gives. Now the object looks like if it’s perfectly sitting on a white surface
5- You might want to adjust the brightness of the object, to do that select the candle cup layer
and go to the top tool bar slick on image choose adjustment and click on curves; a little
window will show, adjust the straight line into a curve and get to a point where you are
happy with the brightness.
Final result of the photo editing

Before photo editing After photo editing