We changed our privacy policy. Read more.
38

In a reflective surface, the reflections are of the surrounding area. 1. The bigger the object the bigger space you need So, in your case, you need a really big space clean, let's say painted on white, like a photo studio. Look how humungous and clean a photo studio can be. I think you need about the space to fit two or three cars. A 90° corner could work ...


35

I'm chiming in to introduce you to: the tub trick. Tubs are great: they're white they're shiny Combined, you get a place to set things that'll bounce around the light and provide for a mostly white background. Here's my tub complete with window lighting: And here's the shot, placing the item on the rail and cropping out the rest: I did use the ...


29

We're talking about perspective here. How far you are from your subject affects the way your subject's proportions look. Try shooting the same thing with the 18-135, say at 135 mm, but this time forget for a while about filling the frame properly and step back a meter or two (while keeping the same angle). Take the shot, then crop it in software so that it ...


24

You can use Photoshop's Vanishing Point filter for this. It's easiest to use a 3D-capable version of Photoshop,¹ which I presume you have, since you haven't mentioned any other 3D software. There is an alternate path for those using a version of Photoshop that lacks the 3D features, which I will cover inline below. This technique works best with a ...


24

shutter speed 0.5 seconds This is likely to be a bit of your problem. The shutter causes vibration of the camera. So, too, does your hand pushing the release button. At faster speeds, this vibration does not affect the shot. Likewise, at very slow speeds (a few seconds +). But there’s a sweet spot somewhere between a second or two and ~1/30 where that ...


19

In the immortal words of the late National Geographic photo editor Bob Gilka, "Kid, if you want to be a better photographer, you're going to have to stand in front of more interesting stuff." That said, welcome to the sometimes not-so-wonderful world of the commercial/industrial photographer. As often as not, making a dramatic, exciting picture of something ...


17

First of all, it's important to realize that, when you photograph a reflective object, you're actually photographing the surrounding scenery as it reflects off the object. This means that it's not enough to just set the object in a lightbox and maybe point some spot lights at it, at least unless you want to make the reflections rather simple and dull. ...


17

Two basic techniques for dealing with reflections on glass should be known, albeit they will only reduce, not totally eliminate them - so for formal product photography, the advice about using an all white or black, uncluttered shooting environment still apply. One is using polarizing filters. In the simplest form, you use one on your camera lens - for more ...


16

Don't use auto white balance - choose a color temperature that looks well and stick to it (or use a gray card if the color accuracy is important) Close all the windows - the daylight color changes based on weather, if possible use only flashes and photographic color balanced lights, if you must use normal indoor lights try not to change light bulbs, if you ...


16

Any flatbed scanner, such as that in a $75 all-in-one printer, will do a better job photographing DVD cases than a D5 or a Hasselblad.


15

Put a white sheet between you and the trophy - some distance from the trophy, but basically "all around". Cut a rectangular hole in it that is about the size of the trophy. Use a long lens, and shoot the trophy through the hole. Now most of what is reflected will be "white sheet", with just a small hole in the middle where you were standing. If you further ...


14

I'm not a photography expert at all, but I have spent my whole life playing, buying, and most importantly looking at pictures of games of various kinds. I also have painted many miniatures and developed ways to take good pictures of them without spending a lot of money on serious photo equipment over the years. So here are some thoughts from a gamer ...


13

Let's assume you have no equipment at all & are not going to be able to get any right now - then a cloudy day is the best you can hope for. A sunny day will make hard shadows, cloudy days don't. Cloudy days are also a 'good white'. Artificial light is a bit of an unknown factor, which your camera will have a harder time guessing at, especially if you use ...


12

Get a polarizer filter. You'd typically want the "circular" ones, though in this day and age you'd be hard-pressed to find one that's not. I noticed that your first and third shots show some reflection due to the board's gloss---you can remove that with a polarizer. Though most cameras not featuring an interchangeable lens system don't allow filters to be ...


12

To avoid the flash obscuring the text on the case, I would take the photo at a angle to the surface on which the DVD rests. Sounds like you're probably using the built-in flash on your camera. A better solution would be to take the photo straight on, and arrange the illumination so that the subject is lit from an angle. That might mean using an off-camera ...


12

What's illuminating the softbox in the background? I assume not just the strobes? Whatever it is, you probably need to reduce its intensity until it's just barely saturating. The brighter the background is, the more light you're going to have coming through the bottle. (Or, conversely, keep the softbox lit as it is, adjust your exposure so that it just ...


11

I'd recommend reading the book Light: Science and Magic by Hunter, Fuqua, and Biver. It has a whole chapter dedicated to lighting glass. From memory, it says that with glass it's lighting the edges correctly that is important in coveying the qualities of glass. (No connection to the book by the way, other than being a satisfied reader).


11

I can see several things you could do, based on the previous answer & comments, as well as the original question. [Some are repeats.] You need more light. Longer exposure if you have a tripod or higher ISO if you don't. As your subject is static, you can go really long on exposure. Get a wired remote [10 bucks on eBay] & set the camera to 1s ...


11

Construct an omnidirectional chamber. This can be a tent constructed using a bedsheet or a rectangular cavity constructed using snow-white Styrofoam sheets from Home Depot or white poster paper. You place the object to be photographed under the tent on inside the cavity. In your case, a tent might be better. You then purchase several R-30 reflector flood ...


10

You WILL have reflections - the question is: what would you like to see there? Seriously. Because 1. You will have to put that there or 2. Do that in post-processing. Both is painful, #2 is a bit less money-wasting, but more time-wasting. :-) You could use a polarizer to remove reflections, if that helps. Makes the object look dull though... Also, you can ...


10

This feedback covers the framing of the shots, less the technical aspect of it. I would dig more into the feedback you got - I was told recently that my image work needed to improve. What is important to the editors? I wouldn´t worry about taking the games outside during winter, unless this is where the boardgames are beeing played. One idea to take the ...


10

We've just figured it out. As Ben Rudgers correctly pointed out, the problem is caused by the lack of anti-aliasing filter on the Hasselblad sensor. It produces much sharper pictures, but with a lot more moiré. Knowing this, we've just used the moiré reduction feature in Lightroom. The feature is quite "hidden", but once we found it, it solved the issue ...


10

I use for reference the first half page of hits when I search "product photographs industrial refrigerator"… You'll notice the very first thing you are going to need is a white room, or if budget is limited then some kind of framework from which you can hang white sheets or paper roll, completely surrounding the product. Once you have that, you are then in ...


9

The color temperature of your bulbs is not as important as you seem to think. What is important if you require fairly critical color accuracy is that, regardless of the temperature their output is centered on, your bulbs need to output most if not all of the full spectrum of visible light. In general for photographic purposes you want lights with a Color ...


9

Two things seem apparent to me looking at this setup. First, the position of the subject appears to be a little further from the camera than the lights. Before you fool with the position of any equipment which can take hours to do or : ( re-do, move the subject slightly to and fro. Once you get the optimal contrast in the edges, you could move your lighting ...


9

I see very little to no noise in the example provided with the question. What is evident from looking at the example is blurring that can be attributed to the effects of diffraction by using an aperture of f/22. For more about diffraction, please see: What is a "diffraction limit"? Do smaller apertures provide more depth of field past the ...


8

You can't change the laws of physics. One of them is that, in terms of reflections, the angle of incidence equals the angle of reflection. If your camera's optical axis is 90° with respect to a reflective surface, you're going to see a reflection of the camera. The only way to change this is to either: 1) Change the angle away from 90° enough that the ...


8

To address your second question first: Transparent subjects can be tough to photograph in a flattering manner, but there are a couple of good lighting set ups that give pleasing results. In bright field lighting, you set up your subject in front of a bright white background that just fills the frame. The area outside the bright background should be dark. ...


8

The halo you describe is actually a reflection either from the background or from the rearmost umbrellas. (The silver lined ones in the picture). Remember that when light bounces off a surface it leaves the surface at the same angle that it came in. This almost rules out the umbrellas as being the culprit, as they are higher than the object, so light coming ...


8

Do I really need a DSLR camera for this? No. The smaller the objects you want to photograph get, the more difficult it is sometimes to use a dSLR, because of the more expensive lens requirements that go along with a bigger sensor to get close enough to frame. In addition, the larger sensors on dSLRs will actually create a thinner DoF when working in ...


Only top voted, non community-wiki answers of a minimum length are eligible