How Professionals Photograph Shiny Objects
written by: John SiskinThe basic principle behind shooting very reflective subjects, from motorcycles to jewelry, is the same: you need to light what the subject reflects more carefully than you need to light the subject itself. Think of the subject as a mirror and you’ll understand why. So the first tool for lighting a reflective subject is essentially a white room, which photographers call a “tent.” The tent is a white translucent container; because it is larger than the subject, its surfaces can be evenly lighted. You can use many kinds of tents. The one I use, for small objects, is a clothes hamper from Read more »
written by: John SiskinI have been working with and writing about strobes for several decades. In that time I’ve made a really huge number of images with strobes. All strobes have certain characteristics: they have a daylight spectrum, and the light has very short duration. These characteristics make them the best lights for still photography, because you can mix strobes with daylight and also stop action. Several characteristics are really important in understanding how useful any particular strobe might be. First, know how much light output the unit has. Second, know the coverage of the strobe, how big an angle it illuminates and Read more »
written by: John SiskinPlease understand I am not offering rules, but an approach to architectural lighting. First examine the room for existing light sources, everything from lamps to windows. Then classify those resources, something like friend or foe. So a window that throws diffused light into a room is a friend, and a mercury vapor lamp is a foe. Fluorescent lamps are generally foes, but they can be used under some circumstances, especially with digital. This understanding of the lighting of the room will give you the information you need to choose the dominant color spect- rum you can use in your shot. Read more »
