Architectural Interiors - Tommy Fox's, Bergenfiel, NJ

I always enjoy photographing new things. Last month I got a chance to shoot some architectural interiors at Tommy Fox’s bar & restaurant in Bergenfield, NJ. Tommy’s is a great place to wind down and enjoy some distinctly Irish food and drink. The challenge shooting interiors is balancing the interior light with outside light, as well as avoiding geometric distortion when shooting with a wide angle lens. I think we did OK on both fronts. For more information about Tommy Fox’s visit http://www.tommyfoxs.com/. To see more photos from the shoot and my other commercial photography work, please visit www.greatproductshots.com and click on the “Architectural” tab under Photo Galleries. BTW - special shout out to All Aboard Marketing for arranging the shoot and constructing Tommy’s new website.

Photographing Micro Precision Product Shots using Focus Stacking

I have many great clients, including Gene Kozak. Gene’s company is Kozak Micro Adjusters www.kozakmicro.com. He sells high quality micro adjusting screws, bushings & gauges for a variety of industries. Gene is a brilliant guy and designs all his products himself. He came to me at the end of last year to shoot some of his products. The catch is most of them are quite small - less than one (1) inch long and very thin. The threads on the screws are also very fine - some of the finest in the industry.

A. Depth of Field

 

Photographing tiny objects presents some unique challenges. The biggest challenge is getting the entire object in sharp focus. This is because the combination of close shooting distances and high magnification results in very shallow “depth of field.” Depth of field is a fancy way of saying how much of an image is in focus.

 

 



Sometimes we want shallow depth of field. We’ve all seen (and I have done) photos where the main part of the image is sharp and the rest of the image falls into soft focus. Using shallow depth of field is a way to increase drama, and if you’ve read some of my prior blog posts, you know increased drama = increased interest = increase sales. But just as often, especially for technically precise products like Gene’s, you want deep depth of field so the entire image is in clear focus. This allows potential customers to see the quality and detail of what you’re photographing.

 

There are three common ways to increase the depth of field in a photo:  

 

1) Close down the aperture (F-stop) of the camera. The smaller the aperture (higher F-stop) the greater the area in focus.

 

2) Manipulate the focus plane to increase the apparent depth of field of the image. This can be done either with a “tilt-shift” lens or a “view” camera. Both tilt-shift lenses and view cameras allow you to tilt the focus plane parallel to the subject matter allowing it to appear that more of the image is in focus.

 

3) Use focus stacking. Focus stacking uses several photos of the same object taken at different focus points. Those multiple photos are then combined in Photoshop to create one image where everything is in sharp focus.

 

 

B. Focus Stacking

 

With regard to very small objects, the first two methods of increasing depth of field - shooting at small apertures, or using a tilt-shift lens or view camera - usually come up short. Thus, focus stacking is the only way to get everything in sharp focus.

 

Below is an example of a group of Gene’s products. The first shot is the final image after focus stacking is applied. The individual shots I used to create the final image are below it.

 

 

 

 

There is no set formula for number of photos you’ll need to do focus stacking. The general rule is the smaller the object and/or higher the magnification, the more photos will be required. There is specialty software that automates the focus stacking process but I prefer to use Photoshop. Photoshop can automatically stack and align the individual images. Then I mask off the unsharp portions of each image by hand. This tends to be more time consuming, but I feel it yields better results.

 

A final side note: the higher the magnification the easier it is to see dirt, dust, dings and other imperfections in the product itself. This is true whether it’s an expensive piece of jewelry or a precision adjusting screw. So the better the condition of the samples when they arrive at my studio, the easier it is to get great product shots. That said, even the best samples usually require a fair amount of retouching when shooting at high magnifications.

 

So there it is: focus stacking to create deep depth of field in your micro precision product photos.

 

As always please contact me with questions or leave comments in the space below.

 



Taking Great Shoe and Footwear Photos

I enjoy sharing knowledge and techniques with others. I recently wrote an article which appears in the March/April 2013 issue of "Shoe Retailing Today", the official magazine of the National Shoe Retailers Association. The article discusses what goes into taking and making great shoe & footwear photos. You can download a pdf version of the article here.

As always, I'd love to hear your thoughts. Visit my website www.greatproductshots.com for more information or email me.

The Four C's of Making Great Product Photos

I have not posted in quite a while - combination of being quite busy and a bit lazy. Anyway, I’ve been thinking about what it takes to make great photos. For me, I’ve come up with the Four C’s - Color, Composition, Contrast and Content. I believe these four elements apply to any photo, but since this is a product photography blog, we'll use that as the context for our discussion.

1. Color

What is color and why is it important? Before we can understand color, we need a quick refresher on light. As I mentioned in an earlier blog post, most people think so-called “white” light represents the absence of all color. However, in reality, it is the inclusion of all colors. This is important because everything we are able to see, we are able to see because it reflects light. (If it didn’t reflect light, we wouldn’t be able to see it.) What this means is, the color of an object is the result of all other colors being absorbed by surface of that object. So, for instance, something that we see as “red” means that that object is absorbing all colors other than red.

Equally important to the discussion of color is the understanding that people have emotional responses to color. (Google "emotional responses to color".) Warm tones for instance evoke one type of emotional response, whereas cooler tones elicit another. It is also important to note that humans have learned responses to certain colors. For instance, red or yellow are often associated with danger, whereas green and blue often communicate safe conditions. 

A yellow background adds emotion to the image. Just remember that when this is done in-camera, the background can reflect color back on to the product changing its appearance. Try to light the product separately from the background whenever possible.

  
The last thing to say about color is that sometimes the most compelling images don’t have any color at all. We all know the power of black & white images. It’s hard to say why, but monochrome photos can be a very impactful way to reach your audience.

 

2. Composition

When discussing photography, composition refers to what we include - and exclude - from the frame. It also refers to camera angles, focal length and how we arrange our subject.

For instance, when shooting product shots I sometimes like to shoot from slightly below to give the product a larger than life appearance. (Shooting close-up with a wide angle lens can also give the same effect.) At the other extreme, we sometimes see images where the product appears quite small since there is a lot of "negative" (empty) space in the frame. This creates a feeling of emptiness or isolation (not typically what we are trying to achieve with a commercial product shot, but hey, whatever floats your boat.)

Another common example of using compositions creatively is to show only a small portion of the product. This is useful in creating interest by withholding from the audience (excluding from the frame) something of importance.

Compared to the shot above, this was done with a wide angle lens from a lower angle. This makes the product look more imposing.

Finally, composition can also include playing with balance within an image. When posing group of products for example, I often place taller items in the center of the frame to create symmetry and an overall feeling of harmony when viewing the image.

 

3. Contrast

Contrast describes the interplay between dark and light areas of a photo. In terms of product photography, contrast can be used to highlight or distinguish certain product features. It can also increase the overall impact of the photo.

An example of highlighting an important feature is the use of contrast to define the product's shape. It sounds pretty obvious to say the edges of the product define its shape. Yet I get a calls all the time from people wanting me to photograph white objects on a white background. This means little or no contrast between the product and the background. So it is my job to make the product - literally - stand out.

One way I do this is to place black cards along the sides of the product just outside view of the camera. This reduces the amount of light on the edges of the product (the black absorbs rather than reflects the light). It can be very subtle, but this is often enough to create the needed contrast.

Notice the lack of contrast between the edges of the product and the background in the shot on the left. In the shot on the right, I placed black cards just outside of the camera's view to darken the edges of the bottle.

Sometimes it's fun to do the opposite - instead of darkening the edges, I'll use so-called “rim” lighting to brighten the edges of the product. At its extreme, this creates a halo of light around the subject, giving the product an other-worldly glow (much to my clients' delight).

4. Content

It almost goes without saying that in the making of any great photo, content is king. The problem is, what is compelling to one person may not be compelling to another. (Just spend few minutes noticing what grabs your attention on Facebook tonight: is that person's cat photo adorable? Or a reason to unfriend them...)

As commercial product photographer, the issue of subject matter is easy for me: when I am hired to shoot a product, clearly the client thinks that product is compelling - and of course, my clients are always right. Their customers will also likely find these photos of interest: they give the customers valuable information about the product and (hopefully) heighten desire and reaffirm the customers' interest in making a purchase. So in these cases at least, the issue of content is not in doubt.

There you go - a cute cat and baby photo in one :-)

What about your own photos? All I can say is, when picking subject matter, be true to yourself. Shoot what speaks to you and let others get on board - unless of course you're being hired by someone else. In that case, shoot what speaks to them, and you'll both be happy.

There you have it - the Four C's to making great photos. Keep each of these in mind the next time you take any kind of photo and see if your work doesn't got to the next level.

Until next time, please visit my website: www.greatproductshots.com or email me at greatproductshots@gmail.com

Happy shooting!

Ghost Mannequin

Click on the photo to see a larger version.

An increasingly popular and powerful way to present clothing on a website or in a catalog is by using the Ghost Mannequin (or Invisible Mannequin) look. This dynamic, three dimensional representation helps capture and focus a potential customer's interest. It is an exciting alternative to an apparel laydown photo, or a standard model or mannequin shot.

1. Initial Photo

Without a great base image, the Ghost Mannequin technique can fall flat (pun intended). So I start with a carefully styled product shot on a mannequin. I pay special attention to my lighting. I generally use hard side lighting in combination with soft front lighting. This helps to accentuate the texture and detail of the clothing.

The initial photo is all important. Side plus front lighting to bring out details in the garment.

2. Insert Photos

I've tried different ways to capture the Ghost Mannequin look directly in-camera, but none really worked. So what I do is take additional photos of the parts of the garment I need to complete the look and then combine them with the base image in Photoshop. The additional photos may include interior shots of the collar, cuffs, waist band, hem line, pants legs or shoulder straps depending on the garment. (Tip: turn the item inside-out and then redress the mannequin. Shooting lingerie inside out is particularly fun - OK I'm easily amused. J)

The insert photos for a shirt include the interior of the collar and cuffs. Turning the garment inside out on the mannequin is a useful trick to get those shots.

3. Making a Selection in Photoshop

I keep saying it, but I usually spend more time in Photoshop working on photos than I do shooting them. The Ghost Mannequin technique is no exception. In fact, it requires more time in the computer than almost any other technique I use. I begin by creating a "selection" of the front of the garment. There are several selection tools in Photoshop, but I often end up drawing what is known as a "clipping path." A clipping path involves tracing a line around the outside edges of an item. Drawing a clipping path can be time consuming but it usually yields the most accurate selection.

Creating a selection in Photoshop allows me to remove the item from the mannequin and background and have a clean representation of the product to build the Ghost Mannequin effect.

 

4. Combining the Images in Photoshop

The next step is to combine my insert photos (in this case, the inside of the collar and cuffs) with my base image in Photoshop. This is as much art as science. First, I create a selection to grab those parts of the inserts that I need. Then I scale and align them with the base image so they appear normal. Then I create shadows along the inside of the inserts to sell the effect. For instance, the front collar of a shirt normally casts a shadow along the interior portions of the collar. These shadows have to be created in Photoshop. Experience and imagination really pay off here since an unnatural-looking shadow can undermine the entire look.

5. Finishing touches

To complete the look I may do some refining of the shape of the garment, such as smoothing bulges or creating a more flattering waist line (not much different than what I do when I shoot model pics.) I can also add a special background to the image, or a simulated drop shadow to polish the overall effect. I might also use one garment as my base image and then do color replacements in Photoshop to create identical-looking photos of a piece of clothing offered in several different colors. Finally, I adjust my color, contrast and saturation, and then do some sharpening to create the final image.

The final image may benefit from a drop shadow on the background, or an entirely new background. I can also do color replacement for clothing offered in more than one color.

That's it - everything you ever wanted to know about creating the Ghost Mannequin look. As always, I welcome any questions or comments. Please check back in a few weeks for my next post.

Peter Alessandria

www.greatproductshots.com

greatproductshots@gmail.com

Case Study: Le Donne Leather

I recently did some work for one of my favorite clients, Chris Le Donne of the Le Donne Leather Company (www.ledonneleather.com). Chris’s company has been a leading producer and distributor of Colombian Vaqueta leather goods in America for over 20 years. Here’s a behind the scenes look at how I shoot Chris’s product.

1. Staying in shape

My focus actually starts before the product leaves Chris’s office. I ask him to make sure each of the pieces is properly stuffed so they maintain their shape during shipping. I try to remind all my clients that my photos are only as good as the products they send. This is especially true for leather bags and cases. I augment the stuffing before I shoot, but it doesn’t end there. I also often have to figure out things like how to make an item stand up (weights placed at the bottom of a large handbag or knapsack lower the center of gravity and keep it from falling over), or how to suspend straps or handles while shooting so they look natural (a white wire coat hanger holds up straps nicely and is easily removed in Photoshop.)

Notice the wire coat hanger used to extend the straps. The hanger was removed and straps straightened a bit in Photoshop. I also used Photoshop to remove the dimples along the far end of the bag.

2. Losing weight in Photoshop

These days I often spend more time in Photoshop enhancing the product than I do actually photographing it. In Photoshop I can smooth out bumps and bulges, remove small surface imperfections, and reconstruct corners or edges of the product so it looks more natural and appealing. I will often copy and paste an entire area of the product from one side to the other to increase symmetry and balance. There’s also a tool called “Liquify” in Photoshop that allows me to bend and twist areas of the product to refine its shape (this tool also works great for enhancing the appearance of my portrait clients, allowing me to slim them down or tone them up without them ever having to go to the gym J ).

3. Go towards the light

As a commercial product photographer, my time is often spent trying to minimize highlights and reflections bouncing off an item. Shooting leather presents the opposite challenge: it often absorbs more light than it reflects. This is especially true with the black or dark brown smooth, non-distressed leathers. This means is I need to use my lights to create highlights to bring out the richness and texture of the items. I generally shoot Chris’s products using four light sources: a large rectangular softbox suspended above and slightly in front of the product (this is my key light); a second, gridded strobe that I can aim at the front, darker areas of the bag (I generally use a grid to help focus the light); and then two white cards (foam core) on either side of the bag. The key light being placed above the product creates a soft, natural shadow below the item, while also creating a highlight along the upper edges of the bag. The white cards reflect the illumination from my key light and help brighten/define the edges of the bag.

Four light sources: 1) key light from above; 2) gridded spot creating the highlight on the front of the bag; 3 & 4) white cards on either side reflecting light from the key light along the edges of the bag.

 

4. Inside Out

As part of the work I do for Chris, I shoot the interiors of the bags. Shooting a black bag with a black interior is a product photographer's worst nightmare. Luckily, Chris's goods usually come in three or more colors, including tan with a matching interior. Often the biggest challenge becomes keeping the bag open while shooting. I use a compliment of clamps and bungee cords (removing them later in Photoshop) to keep the inner compartments visible while shooting. To light the interior, I use a mix of a large softbox and one or more gridded strobes. We also use props (laptop, iPad, cell phone, etc.) to display the many useful pockets, sleeves and compartments in Chris's bags.

Bungee cords can help in keeping a bag open. Notice also the "Le Donne" label inside the bag: it was straightened using the Liquify tool in Photoshop. Finally, inserting props (in this case pens and an old school calculator) highlight the interior's features.

5. Getting a sense of scale

Good product photos not only build interest and entice a purchase, they also convey useful information. Chris is well aware that an important feature to his customers is the size and scale of the products he sells. Since a picture is worth a thousand words, we use a photo of the product styled on a mannequin to convey its overall shape and size. This is a typical image from Chris's latest collection.

6. What’s my color and finishing touches

Getting true color reproduction of a product is very important. I start by doing a custom white balance in-camera for each lighting setup. This tells the camera what true white is and is necessary to get an accurate reading of the product’s colors. However, that may not be enough. A problem I ran into early on with Chris’s bags was an over-saturation of the red channel. This wasn't anyone's fault: sometimes digital cameras tend to over-saturate one of the three (red, green, blue) color channels. There was some trial and error but I found I needed to desaturate the red channel in Photoshop to bring the color back to true. I also then adjust my overall exposure levels in Photoshop to bring the background to solid white (being careful to maintain the shadow underneath the product) and generally enhance the contrast of the item. One thing to keep in mind is the bag's hardware may blow out when adjusting levels. Silver zippers, d-rings, buckles, etc., reflect much more light than the leather they are attached to. For this reason, I sometimes do two separate exposures (one each for the hardware and the bag), and then combine the images in Photoshop.

The last steps are to crop and sharpen the image. For Chris’s leather goods, I prefer to use the High Pass filter in Photoshop to sharpen the image, as opposed to the Unsharp Mask or Smart Sharpen filter. This is more a matter of taste, but almost all digital images need some sharpening; more so if they are going to be printed.

So there you have it - how to shoot a leather bag in six easy steps. I shot Chris’s latest line a few weeks ago and the sweet smell of high quality leather still lingers in my head.

I welcome any questions or comments and check back in a few weeks for my next post.

 

Why Not White.

Last time we looked at placing products against a solid white background. This time we'll discuss why not to do that.

In one word, drama.

In two words, drama = emotion.
In three words, drama = emotion = interest.
And interest is where we want our customers to be.

To create drama and interest, use these three proven techniques:

1. Add Color - By adding color, we heighten the drama. There are two ways to add color: (a) with our lights or (b) with the surface/background. Here's an example:

Recall our modest soap dispenser from last time. Looks a bit more dramatic, yes? In this case, I gelled the background light yellow (although continued to use white light on the front of the product.) And I also switched out the white background for black Plexiglas® . The Plexiglas® has the added benefit of adding a reflection to our photo, another way of creating drama (discussed below).

2. Camera Angle - Go back and watch "Citizen Kane" (go ahead, I'll wait). Orson Wells uses extreme camera angles to build drama and suspense - mostly low and/or off-axis so-called "Dutch" angles. (In fact, legend has it he asked the studio to allow him to dig trenches inside his sound stage so he could place his cameras below ground level to make his protagonist look even larger than life.) We can do the same with product shots. Again, look at the image of our soap dispenser. The extreme high angle creates drama and interest. Same with our shoe below.

3. Reflections and/or Highlights - reflections under a product are widely used. Whether created in-camera or in Photoshop, they are eye-catching and make even basic product shots more interesting. Likewise, creating highlights or sparkles on the surface of a product heightens the drama and emotion of the shot. There's a reason humans are drawn to shiny objects (Google "why are humans attracted to shiny things" to see the answer.) As someone selling products you may not care why shiny things are more attractive to potential customers - you just need to know that they are. Remember our lowly tea kettle from last time? How you like me now?

"ROSEBUD", eh, I mean thanks for reading. Please get in touch with any questions or comments and check back in two weeks for my next post.