Have you ever wondered how you can create high-quality product shots using just one speed light? Dustin Dolby from Workphlo show us how to do just that in his latest video, and it is really very simple. I’m a huge fan of using minimal gear if you can, and I love to use just one light source when possible. As you can see from Dustin’s final images you can create a very solid looking e-commerce type image with this method.
I get asked to photograph some pretty interesting things, and sometimes these things create some unique problems to solve. Here I’ll take you behind the scenes of a recent shoot for a violin maker and show you how I photographed this series of a violin in a way that is both a document of the instrument and also a beautiful wall poster.
We’ve featured some of Workphlo‘s brilliant product photography tutorials before, and Dustin Dolby doesn’t disappoint in this latest one. In this video, Dustin shows us how to capture a dramatic beer pour advertising style shot using just basic equipment. He explains that it’s fun to evoke some motion in an image, and pour shots are surprisingly simple to create. The entire set-up is compact and uses only an entry-level DSLR and 3 speedlights.
It’s one of the oldest and most fundamental techniques when it comes to shooting both portraits and product photography in the studio. But it’s also one of the most misunderstood and difficult to grasp for a lot of newer photographers. Yes, that’s right, I’m talking about the ubiquitous white background shot.
In this video, Rob Hall walks us through the process of getting two white backgrounds. The first demonstration is in a portrait setting, showing how the background is lit vs the subject and how to prevent the background from flaring into the lens. In the second, Rob sets up a small product shot using a light table. Both are lit quite differently but achieve the same result.
I put off getting a 3D printer for the longest time. I didn’t want to get one just for the sake of having a new toy that I’d get bored with, so I held off getting one until I felt I had a genuine need for one. Now, I have five – the most recent of which are the Snapmaker 2.0 A350 and its predecessor, the Snapmaker Original, and I find them absolutely invaluable.
I’ve been using them recently to print a bunch of tools and accessories to help me with my photography and filmmaking. Some of them are workflow and organisation accessories while others are actual tools used to create content. So, here, I’m going to talk about some of the most useful things I’ve printed lately.
Big-shock I know. A coloured gel lighting technique from me is hardly surprising, but this time I’m scaling things down and today I’ll be sharing a super simple 2 light setup for still-life.
To be clear, I’m a million years away from being an even remotely good still-life photographer, but I thought I’d share this quick little setup as I had a few questions about some shots I shared in a recent article. Plus, if I, a know-nothing portrait and fashion shooter can throw together this still life setup, anyone can do it.
I decided to make this image for my product portfolio. I think it is important to build images with total creative freedom, without having to follow a client’s needs. This way, we can experiment and look for new concepts.
I already had the Fructis shampoo containers in the studio for a long time to make an image. I’d had the mirrors even longer, So, I decided to make this image inspired by some other images I’d seen with a similar concept.
Lighting products is a lot of fun, but it can be quite tricky. Most lights we use in the studio for shooting products are huge. They’re often big strobes or LED panels, but sometimes you just need something small. Something you can fit into a small space and light up just a small section of a product, or indeed the whole of a small product.
Product photography can be a lot of fun, especially when you start to experiment with light painting. In this video, photographer Mark Duffy shows us how he does his long exposure product photography using the new KYU 6 LED lights and Godox MS300 strobes in the studio on a pair of trainers (or “sneakers”, for those of you in the US).
As photographers or filmmakers, many of us have or will work with models at some point, perhaps even regularly. Typically, however, it’s about the whole package. We’re not usually focusing on just one part of them. Well, not unless you’re shooting products and need the services of a hand model. A hand model like RayMartell Moore.
This eight and a half minute video from Insider offers a fascinating insight into the world of hand modelling. RayMartell is uniquely qualified to talk about this topic as he’s been doing it for a decade now and his services can command as much as $4,000 per job.