![]() This opens up new possibilities:Ī white or colored background with a perfect reflection If you have a chance to make use of a “honeycomb” (a softbox grid), you can use that to diffuse light onto the walls as well.Įven though it looks like we’ve only switched from a white background to a dark one here, we’ve actually opened up the route to a whole new and powerful way of arranging the scene. Or admit its presence, leave it in the picture, and make it look deliberate. We can also move the table far enough away from the wall to turn it black and make the edge of the glass invisible. ![]() Sometimes we’ll need to shoot from a higher angle so that the edge of the glass doesn’t appear in the shot. The final photo.īecause the glass is not bent gradually upwards like the paper and plastic in our earlier articles were, we now have to pay attention to the background. A scene set up in advance, with black glass. I’ve done wonders with the second of these variants for years. When you use glass in product photography, you have to work around this problem: you either get black glass, or paint the back of normal clear glass using black paint (the cheaper option). But you’ll notice them if you enter the bathroom and look past the mirror at something at a sharp angle, as if you were photographing along the glass. You can see this effect on an ordinary bathroom mirror, but not if you look at it head on-in that case, the two reflections lie on top of each other. One appears on its upper surface, and one on the lower surface. But careful, there’s a catch! Normal glass actually creates two reflections. We can get the most perfect reflection from glass. But let’s set our sights higher-let’s try to get a reflection, and what’s more, to keep it undeformed. Just creating a dark background would be easy enough-for that we’d use black paper or a black plastic sheet (or the black felt that’s supplied with some diffusion boxes). Today we’ll look at a different take on product photography.
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