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  • Hi, I’m Karl Taylor,

  • and I’ve got less than ten minutes

  • to convince you

  • how good our Pro training stuff really is.

  • So, what I’m going to do is

  • show you through a

  • professional-level product shoot here.

  • And, show you all step-by-step, all completely free.

  • Just to give you an insight onto

  • our knowledge and what we can do for you.

  • So, let’s take a look at the set-up.

  • And well break it down, show you the lighting,

  • show you how we make a shot like this work.

  • And, hopefully youll be able to take away something

  • from this that will give you

  • a better insight to this type of photography

  • which is often considered quite difficult.

  • Because liquids, bottles, glass product photography

  • can be quite a difficult shooting scenario.

  • But I’m going to break it down into some simple

  • step-by-step sequences for you.

  • So, let’s take a look at the set.

  • I’ve got a sheet of blackPerspexas my base;

  • sometimes called acrylic, ‘Melamine’, different things.

  • This is a glossy black plastic, basically.

  • It’s commonly used in product photography,

  • a lot of jewelry photography, liquids, bottles.

  • Here, I’m using it because it gives a beautiful reflection

  • of the product.

  • It’s a very classy look, and classy feel to the product.

  • I’ve got one light here at the moment,

  • which is just putting a light onto the label of the bottle.

  • You can see the shadow from my fingers there

  • on the bottle.

  • Well come back to that in a little bit more detail shortly.

  • On the background here, if you come around this side,

  • I’ve got a light on my background,

  • which is creating a gentle glow.

  • It looks quite harsh at the moment

  • because the modeling light is on full power,

  • but this is creating a gentle glow

  • on the background just to give us a little bit of

  • light above our horizon

  • at the back edge of the picture, OK?

  • Now, my depth-of-field for this shot

  • is only going to run the depth of the whiskey bottle,

  • to make sure the bottle and the label are sharp.

  • I’m going to keep the glass out of focus.

  • Now, some other key things on the back here

  • are some reflector cut-out panels.

  • If you have a look at these things,

  • you can see that I’ve got some

  • bits of cardgold foil cardthat I’m using,

  • carefully positioned, behind the liquids

  • to bounce the light from my main light sources on this side

  • through the liquids

  • to give them a lovely, rich glow,

  • to bring the product to life.

  • Let’s go back around the other side

  • to look at the main lighting.

  • So, if we look on this side,

  • youll see I’ve got two soft boxes.

  • I’ve got two, thin, strip-light-type soft boxes.

  • One of them you can see here at the front

  • is a little bit further away from my trace,

  • and the other one is a little bit closer.

  • Now, the tracing paper

  • is used to diffuse my soft boxes even further,

  • because I don’t want to get

  • a really harsh strip-light on the bottle.

  • I want a lovely, graduated soft light,

  • and the reason I’ve got two of these lights

  • is so that I can get one light as an edge light down the bottle,

  • and one as a general light on the bottle.

  • So, what were going to do is

  • were going to film through another camera

  • to allow you to see what each light is doing on the bottle

  • so you can fully understand

  • the lighting set-up that weve got here.

  • Were also going to film the result of what those reflectors do

  • that are behind the glass and the whiskey bottle,

  • so you can appreciate how important they are to the shot.

  • And we are going to get a really stunning image out of this,

  • and this set-up will show you how easy it is.

  • Now, you might be thinking, “Well, actually, I don’t have,

  • necessarily, this particular type of soft box.

  • I’m not using fancy studio lighting like this.”

  • Well, interestingly, these particular soft boxes by Broncolor,

  • these have a speed ring adapter,

  • so you can attach a strobe or normal flash gun

  • to this type of soft box to shine it through.

  • So, you could create most of this set-up

  • even with a pretty basic lighting.

  • Oh, there’s one other thing we need to look at.

  • Just come around this side.

  • Youll see, as well as the two soft boxes here,

  • I’ve got this piece of black card.

  • And, if you have a look here,

  • this black card is shielding this soft box,

  • so that I’m not getting any light spill

  • from this soft box hitting my background.

  • Because, if I take this away,

  • youll see when we look through the other camera,

  • the light that would hit the background and spoil the shot.

  • So, let’s take a look at each of these lights and what each of them are doing.

  • OK, forgot to mention before about the ice in the glass:

  • fake ice

  • This is an acrylic ice cube.

  • These are readily available from most studio suppliers.

  • So, I’ve got a couple of those fake ice cubes.

  • Obvious reason: doesn’t melt,

  • won’t cause us any problems, stays where we need it to stay.

  • So, let’s start looking at what’s happening on this bottle.

  • What I want to do is break it all down,

  • and then put it all back,

  • so you can see exactly what’s going on.

  • So, Fabian is going to take these lights out,

  • so what I’d like you to do, Fabian, is

  • take the two soft boxes out completely.

  • You can leave them switched on,

  • because we just need a bit of light

  • so we can see what were doing.

  • Just take them out.

  • OK, so were left now with a piece of trace,

  • and you can see a light on the bottle.

  • Now, that light on the bottle is

  • from this light that I spoke about earlier.

  • This is just a little projection light

  • that allows you to pinpoint a specific area or a light.

  • Now, this is a projection light with a lens in it,

  • which allows me to focus the light,

  • or de-focus it, so I’ve softened it slightly.

  • And, it’s got what’s calledgobos,” which are little adjusters,

  • which allow me to

  • reduce the size or the box of the light

  • to a specific size that I choose.

  • Now, you could use a snoot,

  • you could use something a little bit more simpler,

  • a little bit more cost-efficient,

  • but this is particularly useful for product photography work,

  • for highlighting little details and labels.

  • Youll also notice now

  • that the illumination through the liquid has completely disappeared,

  • because Fabian has taken away our main lighting,

  • which was hitting the reflectors behind the liquids

  • and bouncing through them.

  • So, now that main lighting is gone,

  • weve lost that effect.

  • Now, weve got the tracing paper

  • attached to a big c-stand with a big rod going over the top

  • for that roll to hang from.

  • Were gonna take that out, as well, to start with,

  • but at the moment weve got this attached,

  • which is just a shield to stop the lights hitting the back.

  • Just a piece of card, gonna take that out, as well.

  • Well put that back in in a minute.

  • So, what I want to demonstrate

  • actually, we won’t take this out, well just spin this,

  • just to make it a little bit easier.

  • So, I’m just going to spin that out of the way.

  • Is that getting clear past that light?

  • Because, what I want you to see

  • is how nasty the light would be

  • if we weren’t using the trace.

  • So, Fab, if I could get you to take that soft box,

  • and put it into,

  • yeah, around about here, just so you can see.

  • Now, look at the lighting on that label,

  • or on the bottle.

  • Sorry, just my filter gels had fallen off from the back here.

  • If you look at the lighting on the bottle now,

  • youll see weve got this harsh, horrible block of light.

  • And, this is a common mistake made

  • when people try to illuminate glassware or bottles,

  • is using this very defined, rectangular light

  • that doesn’t gradate away,

  • and that’s the reason for the tracing paper,

  • is to create a gradation of light.

  • So, we definitely don’t want that.

  • That demonstrates that we need the tracing paper

  • to give the effect that I wan to achieve on this bottle.

  • So, let’s take that light out, Fab.

  • Now, well put the tracing paper back in.

  • So, it’s just a roll of tracing paper that weve doubled up.

  • Just going to spin that back into position.

  • And, if we look at the bottle,

  • as Fabian now introduces the backlight into position,

  • watch what happens to the bottle.

  • Stop there, Fab.

  • So, youve got a lovely soft light already starting to create there,

  • but this light is to create an edge light on the bottle,

  • so that we just get a nice light down one edge of the bottle,

  • to separate it from the background.

  • So, if you push it into position now, please, Fabian,

  • youll see that light become a little bit stronger,

  • and create a lovely line down the edge of our bottle.

  • And, what I want you to do now, Fabian,

  • to just flick that light on and off for a second,

  • so they can see the effect of it.

  • That’s it, back on again.

  • And now, just pull it out further away,

  • so they can see the shape of the light

  • change based on the distance.

  • There you go, so you can see that light enlarging.

  • And, then, slide the light over towards this direction,

  • so you can see how it will wrap around the bottle

  • and light the bottle differently on each time.

  • So, were gonna put that light back into its correct position,

  • and that will give us the edge light.

  • Now, the problem that weve got from that light, at the moment,

  • is that we will get some of that light

  • spilling onto our background,

  • because that light, and I can see that light here,

  • and a lot of that light is going to come

  • and hit my dark gray background,

  • which is going to ruin the shot,

  • because I want to just control the light on the background

  • with this background light here.

  • So, that’s why we bring in the card.

  • So, this black card is going to attach to our c-stand

  • to create what we call a “flag,”

  • to stop any light from getting through onto our background,

  • which we certainly don’t want.

  • And, that, basically, is it

  • just attaching a piece of card to act as a shield

  • to stop the light coming through onto the background.

  • Then, moving on from that,

  • were going to bring the main light in now.

  • So, this is the main fill light on the bottle.

  • You can see that lovely extra light that’s just come in on the bottle there, now.

  • And, if you push that light in really close, Fabian

  • you can watch it change quite dramatically

  • the harshness of the light as it comes through the trace.

  • You can still see it’s got that lovely, soft diffusion from the trace,

  • but it has become harsher as it’s got closer to the trace.

  • This time, take it right back, please, Fabian.

  • There you go, you see it change again,

  • and then bring it back into its correct position.

  • So, that’s the positioning on my lights,

  • the key lights for the bottle.

  • Youve seen the light for the label.

  • And then, my final light is

  • this light that is on the background.

  • So, I’ve just got a glow of light

  • running over the background, here.