If your product photography lighting challenge includes subjects that need to be displayed together, you’ll be glad to take a few minutes to consider whether to shoot them together in the first place, or separately and grouped later in post-production. Let’s look at some considerations for each:
Product shots often require groupings, but what if one of those items becomes unavailable, changes color, or otherwise makes a reshoot necessary? Will it be the same lighting, setting or even the same photographer? If each item in the group was shot separately, then the solution can take as little as ten minutes in Photoshop. Sometimes the nature of the items makes the decision for you. A group that consists of nothing but bottles that stand upright and have labels that need to be read is one thing. You might not be that lucky though. Introduce draping garments or rolled-up wash towels, and shooting the group begins to make more sense.
When you can shoot individual items, it’s important to keep the lighting, shooting angle and distance consistent between shots. Ideally you’ll be using the same camera with the same lens for each.
Photographing Grouped Items
Best practices include being sure that you’ve got good focus, white balance and lighting for any shot before moving on to the next setup, but that becomes doubly important when shooting a group of items. I’ve taken as long as a half hour just adjusting items for a single group exposure, even then not sure whether or not the client will agree with my choices. If the decision-maker is nearby that’s not a problem of course, but when they’re not, I’ve learned to get singles when practical, just in case. Once it came in handy to repair a shadowed area in a single bottle within a group.
Shadows are as much a part of our images as light is, but what about the “255-255-255” standard for all white backgrounds? My approach is to shoot for minimum shadows at capture: I use continuous light umbrellas positioned at about 45 degrees: Key high left and fill lower right. I adjust the key to eliminate reflections, and the fill to eliminate dark areas caused by the key – turning it slightly to “feather” it down a bit. The object is to not have any noticeable shadows, while still conveying a hint of depth. If you select (i.e. cut out) your subject from the background in post, and your subject has a dark shadowed side that suddenly ends at its edge, that’s not good. Drop shadows can mitigate that somewhat, but the rule there is “less is better”. If you’re a Photoshop person, be sure to see our “Drop Shadow” tutorial under our Editing tab.