Shoot: Low End Set-up for Jewelry Continued


Tabletop Photography Fundamentals


Lesson Info

Shoot: Low End Set-up for Jewelry Continued

I knew mike was going to go for the driftwood. It speaks to me it speaks to me the's are these air the kelly kelly mahon smooth silver jewelry and we chose this slate we like the gray with driftwood in the the jewelry and I like the lines positioned it so that it's okay, great pulling. So we got to read neutral tones and some interesting kind of texture to go with some really natural kind of look, you know, silver is it's kind of a matte that's kind of a matte silver, so it should reflect light really pretty so let's. See what you guys come up with and see if we got we got a little bit of a different angle, a little bit of a higher angle on the camera, single light diffusion and one bounce card that's where we're starting, right? Okay, tell me what you think in mike. Do you really want to know? Yeah, I'm thinking, oh, my god, I'm photographing live front of the people that's pretty close. Okay, well, that's all right? Um, no, I was just playing around with, like, kind of a high angle k...

ind of looking down a little bit and, well, I didn't really cool job of like bringing the tale of this necklace around, okay, looks really need jewelry styling is not easy because it's not always easy to work with it's kind of you know especially things like chains that are looping around they have a tendency to you know if it doesn't fall the right way it doesn't look particularly symmetrical it looks like old jagged or something it's really enjoy has the idea of it is to be hanging off neck or for risk in a certain way and if it's not kind of looking the way it would look when it's on the body it might look awkward but oh no proper fell down all right if we can all right what what adjustments are you making off your first talked me through the test shot and what's happening first we want a little more it will be it would be cropped in ok how it comes off when we want a little more space behind it okay but what about your exposure a little hot so you want to go for a little bit more mood or just a little darker uh thinking more mood okay so we'll see how you might want to do that I would first my first suggestion would be to take that white card out of there and only lighted from one side and start there so the prop stylist who put that all together right now is cursing under her breath I can't believe you destroyed my beautiful creation by making the same and start over something like that it okay now if you're finding that it's difficult to prop the thing up in the position you want, don't be afraid to put something under it as long as it's kind of out of frame or something you can remove in post production because that is not uncommon jon to the rescue look that makes sure that it might be too big. You have to remember that that's an ok thing to do, but just make sure it's not going to get a show in a way that you can't take it out of the image or reflect light or let you create shadows that aren't going to be acceptable. So those things are important anticipate this killing and did you use similar tools doing product photography that you do in your food photography where you might use tweezers or a little, you know, clamps and clips, and I guess the clamps and the clips and maybe things that I would prop stuff up with would remain the same, especially if the objects are small or I want to balance things off. I would definitely have, like these little rubber sort of like a little rubber bumpers they looked like the old pencil erasers oh yeah, there's just these little rubber bumpers that aiken stack up and put underneath things to prop them up and whatever and keep things balanced and even some of that's kind of some of that stuff crosses over I like to use tweezers or chopsticks or something to kind of remove and play small objects especially if you want disturb other objects okay, so yeah, some of the tool kit is kind of the same yeah, I mean obviously some of the stuff is a little different but there's there there's a little bit of crossover yeah, cool can you say rubber bumpers three times us? Uh no, no, I would even okay way got another shot okay, you're lighting is different. What do you think? I think I want to even moved here even moodier. Okay, well, did you know the light back already did that right? Okay, so you haven't taken a shot that's not with the light back or it is that is that this is the one with the light back already so it was hotter than okay. Okay, but I think we can get more texture out of both the surface in the well I might start to add black back into this scenario. So now you took out about the white card on that side you got a little moody or and I would say starting to add black back into that will create even a moodier moody you're still and maybe even in the shape of what you want like the way we did yesterday when we had the where were we working with cheese grater? What? We kind of built that circle of cards to kind of reflect the shape I would start slow and then build out to it. See where you go. Do you want to go more side? I keep looking over there and I'm like, can somebody get me some sunglasses? At thing is bright getting here. I also loosen the how it hung a little bit, like how tight it was across. Okay, I'm getting some lens, uh, from good question. Who? What was the question? He said she was getting lens flare, but I couldn't see where it's not showing up. You're just seeing it in the okay. Well, john can probably block some of this out. It might be justin here. I you might just be, you know, having some kind of thing going on, you know? Yeah, I like that it's getting a little darker inside and that was the thing that I didn't like it so much because it wasn't a cz much kind of contrast. What, how you need that as I moved the diffuser and closer right moving light back made a darker but still flat broke a light surface closer. The light falls off faster. So you mean you tilted the util? Think that I, like brought it in. If it was out, it was out here. Oh, I see. You brought a closer to the subject posted to remember when we were talking about in day one. Where what was the difference between using a curtain and something like a diffusion panel and that's? Exactly what john just did is that being able to adjust the angle of the diffusion panel changes the light people dropping stuff commute so I could explain again how bringing it forward. Well, did that change okay. Well, basically, the way this thing is diffusing like the closer this light is too. This or the further it is from that it's going to kind of change the amount of light spread. It's going to change the spread of the light? Yes. You bring in like that's, right, he's bringing it by bringing the diffusion panel further away. He's widening this mean narrowing the spread. That's a question. I was going see if we could see the last two side by side, but they burn it. Okay? We could do that way. Can we see the last two photos side by side so we can compare and that gives them a little something to work with the two before it so we could see a trip tick off the last three and that would be great to be able to kind of see the progression I love the fact that we've gotten significantly the lighting just got so much better and in the process of that the bracelet itself looks better because now it's kind of it's highlighted in the center of the frame my eyes aren't going anywhere but the middle you're lighting is directing me to the middle of the frame, which is which is the goal here so um you want to keep going with this? Are you satisfied with that? You really like it? Okay, so what do you think, mike? I like it especially because I think the background was little bride than what we wanted it and I think it's coming from the main lights here so a black card in here to kind of dark in the background help pop the actual item and stuff great great. So you're not only the manager like that you were creating what you're managing the ambient light in the room that's terrific, so if you're satisfied with that, I think it's great that we have any comments on that or questions about it before we go on the diagonals that popular yeah there's a nice styling element that you didn't have you added that yeah because that wasn't part of what we both said yeah it's a good choice for natural tones and it's still gives the same feeling flavor and I think it works really nicely anybody questions we're good we're good okay so you're moving along very well and you still have some time we still have thirty five minutes to go so you can choose something else and move on or you if you wanted to continue to play with that I would say as the art director if you love it move on not really well so all right questions or comments while they're setting up absolutely so we do have a question earlier let's see this was interesting one ruth from roof to get extreme product details what are some tips at shooting greater than one toe one greater than one to one yes oh do you attempt in your product photography just show things that scale and like as opposed to like just really showing them you know contextually it becomes more difficult the closer you get to some a thing so I'm not sure that there's that many things that will want to shoot that close up I mean unless there was something really small that had to be brought in you know put an extension tube on a macro lens to bring it really really close I'm not sure of the application so it's kind of hard to know give me a product and I could tell you whether or not I would do it that way but in a general sense it's ah, I don't know necessarily that I want to be that close I mean I work close so I can't imagine what I'd work that much closer than I already work so it's um you guys love that slate, don't we flipped it I know and that's one of those things about certain props that you have is that you know, like what I showed you with the marble the other day is that, you know, using the opposite side of something something it brings something else to the to the equation thie other thing I do with some painted surfaces is have been painted differently on both sides, so it kind of doubles the use I was totally ignoring you, but yes, you have a question oh, if this was set up that we're supposed to do the earrings and the necklace on it yeah, just the way it's set up is fine or you could do them individually that's fine if you find that the hearings are distracting on dh again these air the bird of virtue ones, right? So if they're the same maker you can leave them together or you can take them apart either way so so did you you didn't do it for a test shot way haven't okay are we try it with the harsher light this way can change in a way yeah, that pulled the diffuser out so you have to start over way also we've decided to choose the song because we thought the what it's propped on could be trickier in terms of shadows and everything okay, we'll see you right because it's it's goingto light's going to go right through it so maybe you can use those shadows to your advantage or try to eliminate them one of the other so let's see what you get a test shot going whether or not that's the case I think you still got choosing work with a single light or you're going to try to build it out we should probably try and build it out ok, we'll see how it okay, I like the single light look. Yeah, well that's okay? I mean, and with this kind of we've actually gotten kind of ah very similar styling technique here and it's kind of moody and kind of artistic so maybe that that one light is all you need to have a back. Yes, a lot of your work is that do you have clients that come to you completely outside of your style and you know and want you to do something really super high end jewelry you know it's it's it's kind of hit or miss I mean, there are times when earlier in my career I would get that where somebody would say I really love what you do can you do this on that's? Not as not as prevalent these days I think my my style is fairly defined and I kind of I wouldn't say I'm pigeonholed but I definitely have ah have a kind of feel that people either like or don't so it's not always not anymore I think it's probably more appropriate cool what is that? You're using it like a cake plate they were coppers thanks copy like the what I mean the gold toned great so it's a it's a copper kick plate from a door so that's another great lesson in propping one o one in that you can find things and you know, junk yard and trick store that aren't really purposed for photography that totally makes sense for propping you might want to use the bigger clamps for that you have that pinafores been giant clothes pin there's one there is another one of what your head there I'm just gonna oh are you wearing through let john know this is a job going on on the set knows what's going on you might want to put a peter gaspar's on that or something real worried the lamp at the top clamp or something I would like to point out andrew's death scythe think it's the third day everyone's getting tired it's sort of like the same reaction when your new parents and you hear your baby freak you know your heart rate goes up you start sweating later doing pulses are and then you you know you have got to calm down I think the background background because of you want todo yeah ok I'm sorry for the way you're this tell me what you just decided so the angle and at right now there's a gap you see the table and I looked down to see where the horizon could be lost and then I don't like the angle in terms of jewelry okay, so you are you concentrating more on the overall set up in this instead of like more of a tight macro shot thinks I'm trying to get both the necklace and the earrings and the shot okay for at least two start okay? How it's set up for us, right? So yeah so way haven't taken the test shot yet yeah you're exposure's gonna be off from the last one was but try it and see what we need to do is the trigger release set up? I didn't know I didn't have it okay that's a little bright which we expect because the diffuser isn't there something either stop down or you speed I think it also need well, it's trying to find that your initial assessment was that that shape of that problem might create shadows that you don't like is that even with the harder light does it bother you know, I agree because it doesn't bother me either, so I don't think that's going to be a bigger issue, you know, as big an issue as you thought it might be. So you're on a roll and camera the lady looks much better now tell me why you chose to shoot it on an angle like that. What was the what was the thought process? It looked good when I put it down, so you're first so basically you went with your gut? I did so you put your first reaction was that I like the way this looks ok? I think when looking at if I weren't analyzed, I'd say again how we with the lines and how it brings you from the necklace to the okay, but what if there's something about that that's bothering me two things actually, one is I don't really like the earrings there, and secondly, the way that prop is set up in that beautiful symmetrical pattern with the crisscross of the necklace set up against that grid peace, I would love to just see that squared up in a in a vertical so maybe in your second shot once you kind of feel that you're comfortable with this one see if you can make that shot for me once you've take off the earings, square it off to the camera and give me that really beautiful vertical I want to see because I really would love to see that symmetrical beauty of that that with the crisscross because I like the way that styled but I I think you're saying I agree with with the earrings that I think that would be off but by taking yes totally so should I do another here? I would think you should do that until you're comfortable with it because you've already started it so I wantto see how you how you manage it and if you're comfortable and if your partner is comfortable as well anything like your collaborator I like it except for it's it's blurry right there, which is weird I focused on the earings we're at seven one so the click and count method right? Three, three, three three times right? So so what I'm referencing and say the clicking count method is when you kind of take er aperture down and you have to bring shut her up and vice versa so you have inclined count one, two, three and in click one, two, three with the other one so they have that inverse relationship as well as I s so? So if you go from one hundred to four hundred that's three clicks changing your shutter speed of your aperture like it on here that does look, do we want to add any? Oh, I like your tones now e think your tones air coming through nice. What do you what do you happy with what you're unhappy with, like the depth. Okay, changing light. So by setting it on an angle, you mean yeah. So the light is not as flat. You get a little more detail, like with the shadows and stuff. Right? Okay, crickets. I'd say I like the shot, but I I think it could be better. I'm just trying, tio okay, so I think if you feel like you, this is the most you're gonna get out of this particular angle than I would say go and try to do something else for sure I wanted yeah, so high the other angle. So while they're resetting, you have any more questions, yes, from tourism. Then we'll go to bob. How do you handle long necklaces? Due to the keeping my website consistent, I'm restricted tio not using any additional props. How do you get the feeling of the long links, andi really keeping a necklace concise, so there's no propping so the question is, how do we handle this wouldn't know without the ability to do any propping at all so okay, well, I mean, I think one of the things about a long necklace in particular and the way to display that might be that kind of snake, like kind of feel that you can achieve with it I mean, if it's only going to be displayed in one particular way, you really have no kind of flexibility or creativity. Teo either change your shot or change your you're propping, I would just try to use the natural of kind of attributes of the piece itself and something long, you know, maybe going from the corner to corner with some kind of ah wavy spiral, you know, to kind of really emphasize how long it could be what would be what I would try to do if I was that if I was limited that much right? Great, thank you. So we go into that shot that I had suggested before, okay, we're starting with the same lighting, okay, starting now. So you like this kind of just bare bulb look on this, you didn't try to soften it at all, but you just I'm just asking kind of starting off with it, okay, maybe play around with it from their great no test shot their last shot there. What do you think about much tighter crops? And she would have the angles going with the struts of of cropping it pretty tight to the jewelry? I think that's definitely an option from even from that angle, for sure, because it would change the angle, it would change it dramatically. Maybe we can crop it in the control booth and take a look at that. According to what bob was saying is crop into just the jewelry and the struts kind of cut cropping out the frame. Maybe you'd have to be vertical. That might look pretty interesting if we could do that while we're waiting on mike and lead to set up the next shot. Well, you could take it still do that and pop it up next to it if you want to take your shot, I don't think that's a problem left hand side of that because it's so light is really distracting. You taking me through the jewelry that some of the branches. So you because there's no great ation, is that what you mean? Exactly? I did dark, and that was okay. Well, says to cross that out, they're they're softening it now and then let's see what happens there, but what paolo was saying was that guys where powell was saying was that one of the things that one of her crit critiques of the shot would be that because the light is so consistent throughout the entire image and there's really no gradation that there's delighting isn't anger isn't directing me to the subject, so maybe I think that's what you're addressing at the moment is yes, more than I like the left hand part of the frame is much brighter than the actual jewellery and so it's okay, so I I take three jewelry right to the light to the hot spot okay camera like this actually it looks pretty bright on the screen, but in the camera this actually looks like more of a blue and that there's a richer tones in the wood way okay, that's nice and it really has a different like yeah, there's a problem really has a different feel in that regard that's no shower I mean it's a lot going on, I would do shower shall we there's a lot going on there? And yeah, shallower would be better because then that background would just kind of become sort of sort of the palate. Um, I don't know ultimately at the end of the day I think it's kind of cool display, but I don't know ultimately it would be you could make it less distracting enough to display it that way but I mean a ce faras a photograph is concerned if you could make it away where you like it then you know we've achieved part of the goal here oh anyone out here what's your impression chain okay yeah catch on the chain how you feel about the property you feeling a little distracting or I was wondering if you could almost hang it further forward no I didn't make it I know it's hanging on a thing at the moment just somehow something so that you're blowing the background you bring in the background yeah that's what I'm saying is making shallower that's a field I have some sort of needle of something sticking out you actually hanging it further let's get that oh yeah yeah it's gonna still be sharp probably somehow bring the grid back from the necklace where we're running into you like that because if we could move the back you know that would help some things up but that piece is attached yes way to do it comfortably without changing the look and feel of it because to get the shallow depth of field with the aperture you're bringing up the shutter speed and that's cutting out the whites ok but with a strobe but you don't have strobes right so okay well you know what I would say in this circumstances if I'm if I'm the art director on this job and I say okay this is what the client wanted, but we're seeing artistically that this is probably going to show the peace in its best light, so we'll either move on from here or attempt to shoot it in a different way. So why don't we do this? Because I like your set up, why don't we take this prop out of the equation and just use this on this and even get some type of a simple shot to display this in a really attractive way and then move on from it? Okay, so sometimes, like what we what you were experiencing with the propping on the other job is that sometimes, you know, you have to manage it in a little bit of a different way less is maurine this I think in this particular case because as beautiful as that profits, it is really distracting from the and problematic in conjunction with peace. So, um, jim, how about the question while they're getting that got it? All right, so this is kind of interesting. Do you ever shoot jewelry using hdr hdr? No, but it's not a bad idea. Okay? Because and for those of you don't know what what hdr is is basically taking bracketed frames, meaning you will have to take a photo for the highlight. You would take a photo for the mid tone and you will take a photo for the shadows, and then you'll marry them together. So, like when you see those unbelievable landscape sky shots where you can actually see the sky and its richest bluest pincus tones and then you can actually see the green of the trees and the brown of the earth all in the same shot. That's exactly what they're using to do that. Most of those kind of landscape photographers will use an hd our format, but using hdr or doing a composite image composited image of jewelry, I think is pretty standard for for product photographers. I don't personally do it again. I like to work natural, but it is something that can be done pretty easily cool. Yeah, hdr composite. Well, compositing shot would be completely separate shots not using the e I mean, I guess it's very, very similar. Yeah, but I mean it's, also about the hdr can be done in camera. Sometimes you could do an hd our image in camera and then exported out and working or work on the pieces of it where composited images might be from different sources. Catherine, do you do any hdr workin your do some hdr work on? I guess I was kind of talk about the differences being like the shares more about the exposure and I would think about compositing as like adding or subtracting distracting our different elements sure of the photo better said than I did well I figured she yeah, but I mean that you know, I think the first part about the highlights mid tones and that's kind of that's the way it was always presented to me and even though I've only used it in a very, very sparingly but it's definitely just fall for sure so changing the camera angle and what else what we got going on okay, I say way have it down and tried to make it fall prettily so it's okay from the angle I was standing you couldn't see the color but now you can ok for the antlers for the antlers and on okay, you heard him guys you gotta you gotta go on your next shot you gotta go for the animals there are pl jim where the antler who that's what I like to point out an alert. Okay, all right. We're starting off alright darker a little hot I didn't even notice the colors in there before you really popping now? Yeah, and the last shot eddie it was hard to catch it when I was saying how we feeling about the change in that prettier I think it's kind of random and I think it doesn't look like it was actually kind of it looks like it was just somebody took it off and put it on the table so let's let's try to work on getting that chain in some kind of ah attractive way I understand not the easiest thing in the world and there's always learn and learn that's what I like to work with an art director she said you just told you wanted to flight I said try it I didn't say I'd like it I make no promises I can't tell you what I want I can tell you what I don't like actually that's a very, very true statement I could tell you what I could tell you what I don't one more shadow I'm glad of my art directors don't watch this stuff maybe bring us way down yeah ah ha look at that also remember with this particular piece you don't need to get the whole chain you just have to have the reference of a chain thie the important part of this piece is the charm itself so the fact that it's hanging on gold changes could just be referenced in the image and you what are you doing with your lighting? You doing anything differently at this point? Yeah okay, so you're tryingto get a little bit more of yeah grady into the light so you're three and a half so you pretty shallow went up a little bit okay so I like I like the idea I might go closer and I might get a little bit more over the top so I could see the colors that would be my suggestion I think the lighting looks nice but I think there's too much chain in the shot I think this is a horizontal in conjunction with the arms with the shape of that piece on I do think it should be a little bit more over the top in my opinion who's writing the check right? Bambi says the beauty is in the eye the checkbook holder it's just awkward stanley in there what are you working on? What's going on trying to get away get away, get away! Okay? More overhead here all right, so we'll get that we're going to get this overhead shot and then we're gonna move to something else. I can't imagine what that might be thank you. They could be of help but there's no way I'm going to make the hand off is there? I got so lucky crash so you know, andrea, we've been talking a lot about trying to keep your budgets down yep and do it yourself stuff. Yep, a lot of people in the internet were asking about the table that we're actually using here yep um and those sawhorses there are only thirty dollars each and they're also adjustable so really nice or if you're doing some products stuff give the opportunity if you need those different levels shows two really quickly do something and I mean those are nice because they're attractive and you can also buy plastic ones and you the fact that they have the little trays on the bottom are really helpful because you're going to put the little baskets of your gear that's similar to what I have in my studio and that I have my you know, my tape in my level and some other clamps and things in like a little container right underneath me when I'm working as well as a roll of paper towels what else do you know what what else what else do you have in there were also have here that little sidekick while a little bit of fun tak okay use fun tax sometimes is those little rubber bumpers we talked about earlier and tape and clamps and that torpedo level that we used the other day those were all sort of those essential like little studio gadgets that are laying around over there to use you know, in a pinch so nice cool all right are we there yet? Are we there yet? Are we there yet we couldn't quite get to the top of the camera yeah ok that's funny level that out see the color a lot ok that's cool and remember now we're goingto if were cropping into this we could square that off and make it work if you're seeing all the elements of that that you want to see what is that on there? Well that's just the grain of the wood ok looked like looked like an in boston kind of ah brand or something I wasn't sure what that wass you can see so life you there to get it framed and at this point it might be easier to move the the table that's right guys are you familiar with the term cut bait not familiar with the term okay I got a blank stare from mike is like I have no idea what you're talking about reminisce means it means when it means when you don't think you're going to make it get on it that's actually nice so now you pulled it off with last shot for sure good I mean I think that that initially when that when we saw that set up on the proper that's going to be a home run sometimes it doesn't happen that way but that works so and I like the fact that we went to the vertical I mean the horizontal to kind of to kind of come across this like this the chain only needs to be a suggestion because it's not the major part of the piece you got the nice colors you've got some grady it light I think at the end of the day that's a that's a completely usable and workable image so we have about nine minutes so do you think you can pull off one more shot for us in five minutes and maybe do something dramatically different with your lighting? I don't know I'm just I'm throwing I'm just throwing obstacles in front of it we'll see what happens. I think one of those antlers all right, try to do something with the analyst satisfied the audience just don't em pale anybody on in the process? We need john for at least two more seconds. We're very careful with him she's impaled herself for this is already ruined for sure ways we've learned yesterday when I gala jinbei new shoes that clothing in photo and photo don't always go hand in hand hearing would be on the air this that's true and wave a question from mark be yep and I'm actually he's wanting to know if you use something, I might rephrase this and say you will endeavor you selective color teo do on one of your photos no, not necessarily, but if it's one of those things where you're shooting and I item that let's say you have a product that has five different colors to it and you can do that change color change in post production yeah so take one photograph of an object that you have five colors for which you see on every clothing website sure that's exactly how they do it yeah so I mean it's not something that is completely out of the realm of usability and let's talk about that you would come across that because I used to work for coming we do that like that was some one's profession just all day you think one time I did use it to change the color of a drink and it was for an advertisement piece that it was okay to do that it wasn't an editorial piece where it had to be honest it was could be completely dishonest but we wanted to show the same glass with like three different colors of liquid in it and I had the in postproduction I had my re toucher do one in red and one in blue and one in green and that was like a triple shot that we wanted to show the same glass with three colors and that's that selective color kind of tool yeah using it that way yeah, I can really be a timesaver if you're shooting apparel. Oh sure yeah because it's really know if it's the same item it's the necessity is you know and I think they probably do that through when you have you know the pantone colors so that way you khun really dial in exactly the color and correct so I think it's totally something that's in the realm of what we do in product are you sure? Yeah cool how we doing? Oh, the antlers here we're tryingto hearing's ok ok so we're going back to work get something? Well, this might be a job for some tape or a little fun tak or some bubble gum floor baby clamp well, you do that for tapes down there? I don't know if we have any fun tech here. Okay. Cnn yeah. A lot of questions in the chat room about shiny jewelry yes, because most the stuff that we're as far as our jewelry is not quite as shiny would use the same techniques a shooting shiny jewelry as we did in our first two day's shooting really reflective materials sure, I think you know you have to manage the angle of reflection and how you gonna manage your catch lighting and way saw that in the glassware and the bowls and things that we did, I think it's very similar in chinese jewelry and things that have stones or facets in them because that's going to read very much like glassware and it's similar in nature and you have to kind of do your trial and error but I would say the lighting setups khun remain the same with tweaks that would be necessary to make it look the way you wanted to I wouldn't have a completely different set up from that great thank you where are we guys what's going on even put weight behind it is white he's one of your home course yeah or that piece of marble I'll hold it for you if you want you want to use that I don't think you can pick it up it's white probably high enough like kate put the mat side out right you want the math side? Yeah, okay this's cheating of course because well you're employing other people in the process this wouldn't work in reality television world so all right, so we're trying to get one more shot here off and we're bringing this is by audience by audience request we've got the antlers involved and where is this another piece of wood jewelry so we're still on the bird of virtue lock that down and you know what? You get it into him framed up in in position there so what we've seen we're going with a similar lighting right so far way with time country we're going to start that all right, wait a test shot come like how the cut it off on the edge we'll get another one in there quickly way have two minutes and forty seconds to go well in football that means a half hour well we don't have we don't have a two minute warning or three timeouts spend backgrounds to break so you go now wayne look at that wow cool I like it I like it I love the way the chain is hanging I think the antler is really cool I think we can work on the lighting if we had more time so wanted teo why don't you just work with this one light and try to angle it'll pull it and take a couple of different shots and see what happens angle the background away from the light a little bit like this or uh oh, I see what you mean it back the way we did with the other one okay let's see what we get way we need to move it so two on three and like and like all right so you got a little bit more great ingredient light and I think that with two minutes to go I think you probably got a shot that was worthy of of what you were trying to set up and I don't want to hold this piece of marble anymore so I think that I think that we're in good shape so why don't we have one last two two more questions then we can go for lunch and guys yeah shot with the aunt load would you move the class so I was thinking right our I mean the other thing I would try to do is some square it off just a little bit instead of it hanging askew but I think we obviously putting them on the gun there give them much time to tweet teo lied to clasp in or would you oh, no, I really probably try to take the class out of it or you know make sure it's not hanging if it's impossible then maybe remove it out you know but it's I wouldn't want the class been shot so any final words you happy? Yeah, this could be I think a lot better but it only works the first thing you would do to change it like give me one element there that you would change to make that better for you like water but god you first well, I mean this obviously like what you're saying it's a little it's not straight I want this to be like, nice and straight, okay, you want to wear that all the class? Obviously we went over that if we had more time, I think we would, you know, obviously play with the chain to get spun around there where we like it when you see is the chain and leah, what would you do? My eye goes right here to the lightness of the antler right now, so I'd wanna figure how to focus it more to the jewelry, okay, so I need to talk to me a little bit, okay, great as a buyer, I is it sparkly or not? Because it moment is looking very little. Would it looks like I was wooded trail. It looks like braille, so so that would be another to get some shadow, show that right or detail shot, yeah, more environmental.

Class Description

You don’t need a studio to take professional-grade product and still life photographs! All you need is a simple tabletop lighting setup. In this course, award-winning food photographer Andrew Scrivani will show you how to create and tailor your own table top lighting setup — on any budget. Whether you’re a beginning photographer looking to master lighting or a professional photographer eager to expand your services, this course will give you a candid, comprehensive playbook for tabletop lighting.

Tabletop photography transforms a single surface into a small-scale studio. Andrew, a regular contributor to The New York Times, will show you how to create and then optimize your lighting setup for your needs — using everything from the latest gear to household items. Andrew will cover metering and bounce cards, working with strobes and soft boxes, LED lighting, and tips for shooting glassware and other tricky products.

By the end of this course, you will know how to set up and adjust your very own tabletop studio — and how to use that small-scale studio to expand your services, improve your photography, and market your business.


a Creativelive Student

I was pleased to see real life situations and set ups, their work arounds and the little fiddly things all commercial/product photographers go through to produce a viable shot. Unlike some of the other reviews, the "oops, it didn't work, let's try this instead" was totally real world and believable. So many times on other teaching venues, the shot is already set up and perfected before the instruction begins. It was extremely helpful to watch the processes that were involved in producing the correct captures. I was impressed with the humor and teaching style as well, especially for the time constraints in a classroom setting. The student set-ups and critiques were valuable and spot on without being negative in any way. All-in-all this was one of the best classes I've viewed at Creative Live. I just wish I could have had three more days and to have been there in person for the one-on-one instruction.

Aly Cupcakezz

I really liked how things were experimented. Instead of just giving do x, y, z. It shows you how to correct issues as they come up, and how to enhance your photography This gives you a guided idea of all the things you can play with to perfect your product photography image. You really learn how to fix the image problems as they appear in front of you. A very realistic way to create your own personal lighting setup for your product photos for your own studio space. Excellent fundamentals class for new photographers or small businesses attempting to do their own product photography. Thank you!

Sunil Sinha

very nice table top