Help: How to take an image with a high reflective surface?

[pxchoi]

I did a quick search but I wasn't able to find what I was looking for. I'd like to dabble into product/commercial imaging, and although I haven't experimented yet, I'd like to gain some how to knowledge before I start.

My question is: How do I take an image of a product with a highly reflective surface?

http://uktv.co.uk/images/standarditem/EX1/12750_EX1.jpg

Thanks!

[rrdjserv@earthlink.net]

You could make a cemi-circle of white cardboard around the object to cut down on unwanted reflections from the side and back. I think a tilt-shift lens would avoid the camera from being reflected, but I'm not sure. I would bounce the flash to avoid hot spots. Haven't tried any of this myself. Just a guess.

[EmmaRose]

You need light tent, you could try making one (google it)

[sfaust]

A light tent would work, but I prefer not to use them so I have more control over the product/image. The key to shooting reflective objects are to treat it like a mirror. Whatever you put around it will be reflected on the product. Rather than use a light tent, you can place any plain white cardboard panels around it and you would have a nice white reflection without hot spots, wrinkles from fabric in the tent, etc. If you want it light or dark gray rather than white to simulate lighting contrast, use a light or dark gray panel, etc.

While this image isn't mirror like, the same principals were applied with darker gobos added to introduce some interest with a range of contrast on the object, rather than a sterile even illumination that a light tent would apply. I'll dig through my archives and see if I can find a polished metal product that I can walk through the lighting setup used.

http://farm5.static.flickr.com/4053/4585344066_b69b32b160_o.jpg

[Cham_001]

The Subject: My first foray into Product photography involved shooting Pens. Many were silver, gold and chrome-coloured - so reflections and lighting were problematic.
The Kit: 40D + 100mm 2.8 USM - 58mm thread, white Light-Tent, tripod, Cir Polarizer, Tripod & cable-release. 2 x Elemental 150w studio-lights, Glass-top table, 1 x 580exII flash & Blu-Tac
The Method: I setup the camera on the tripod and attached the cable-release. I mounted the Circular Polarizer to the lens. The light-tent was placed upon the glass-table and was opened-up and the lights were positioned symmetrically either-side of the tent (positioned at exactly the same height and the same distance from either-side of the tent). Inside the tent, a Pen was positioned diagonally on the white background insert. Because the Pen 'rolled' I fixed this down carefully with a very small blob of Blu-Tac. I took test shots using the LiveView mode on the camera.
I adjusted the lighting output/shutter/aperture settings until I was satisfied. (Of course - I fiddled with the Pen placement to ensure that it remained fully visible in the ViewFinder). The KEY point being - that the Circular Polarizer helped to reduce the reflectivity from the Objects/PENs being photographed. The Elemental Studio lights were attached via synch-cords and the 580exII was positioned beneath the glass-table and set as a 'Slave' unit (the built-in DIFFUSER was used) and this was triggered by the studio-lights.
The Result: The overall setup took about 40mins to create. Once completed the actual shooting/adjustment and re-shoot happened very quickly for about 27+ products completed within an overall 3 hours. - It's great fun! it's exciting and of course quite challenging - above all TIme-Saving!
I hope this helps....

[dgraham329]

Many years ago, when I was doing product photography, the use a matte spray - available at art supply sources - was a good way to control super shiny surfaces.

[sfaust]

Matte and dulling sprays should be a last resort, and only used if you can't fix it any other way (lighting, reflectors, gobos, etc). They leave a residue when sprayed and its noticeable and different when resolved with lighting.

They are still used extensively in films since the lighting is always a compromise in order to account for the action. You can't make the light perfect as you can in a still, when the talent and cameras are constantly moving about. The dulling sprays fill that niche perfectly as a reasonable solution for background objects, reflections on the side of cars, etc. The sprays are still available in most professional motion film supply houses.

[Mikelangelo]

sfaust,

that's very helpful! I would love to see/read your description with a more reflective option (i.e., chrome, glass, etc.).

I'm also working on experimenting with objects sitting on a reflective surface such as glass... experimenting is teaching me a lot! I'm trying to avoid the use of a light box at the moment. I've got a seamless background of white/black paper rolls on a table.


A light tent would work, but I prefer not to use them so I have more control over the product/image. The key to shooting reflective objects are to treat it like a mirror. Whatever you put around it will be reflected on the product. Rather than use a light tent, you can place any plain white cardboard panels around it and you would have a nice white reflection without hot spots, wrinkles from fabric in the tent, etc. If you want it light or dark gray rather than white to simulate lighting contrast, use a light or dark gray panel, etc.

While this image isn't mirror like, the same principals were applied with darker gobos added to introduce some interest with a range of contrast on the object, rather than a sterile even illumination that a light tent would apply. I'll dig through my archives and see if I can find a polished metal product that I can walk through the lighting setup used.

http://farm5.static.flickr.com/4053/4585344066_b69b32b160_o.jpg

[Digital_zen]

There is a book called "Light: Science and Magic" if you have not read it, get it and read it.

[sfaust]

I highly recommend that book. Its technical in nature, but on target for the lighting information needed for more complex work.