Lighting Technique for Pottery Photographs

[sofie_dittmann]

<p>Please check out these pottery photographs and give constructive pointers: <a href="../photodb/folder?folder_id=917749">http://www.photo.net/photodb/folder?folder_id=917749</a></p>

[anthea50]

<p>Hi Sofie - perhaps you could give some more details about the shoot. Like, the pupose of the shots - are they to promote the pots, i.e. for display, or business, or what?<br>

Also, what lighting etc did you use?<br>

It is very hard to comment when you don't give much detail. IMO, they look good, but once again, it's hard to know given i don't know your objective for taking the shots. They look a little flat, lacking in impact, for example, but if they are for 'sale' then maybe that's ok.<br>

Cheers, Anthea</p>

[Charles_Webster]

<p>Shiny cylindrical objects look best when there is only one spectral highlight and that is toward the front and off center, leaving the sides of the object darker. If you look at your pictures, each has bright sides and a dark center, exactly the opposite effect of what you need to make your ceramic cylinders look cylindrical.</p>

<p>Check out the "Specular Highlights" theme in the archives for this Lighting forum, there's lots of great info on how to make shiny round objects look good.</p>

<p><Chas><br /></p>

<p> </p>

[peter_wang6]

<p>As someone who makes ceramics as well as takes photos, here is my advice:</p>

 

<ol>

<li>If these images are for publication, leave a bit more space around the subject. This allows for more flexible layout by the editor.</li>

<li>The images are too side-lit, not top-lit. Bring the light further away, and more above the subject.</li>

<li>Unless the pieces are intended to be a diptych or triptych, frame each in their own shot. The pieces you show are clearly thematically related so this isn't a problem.</li>

<li>Experiment with focal length. Longer tends to be better.</li>

<li>I'm not a real fan of detail shots. I want to see the piece as a whole. The first thing I do when I encounter someone's work is turn it, and look at the bottom. Since I can't do that with a photo, the second best thing is to be able to evaluate the overall form.</li>

<li>Ideally, the entire depth of the piece should be in focus at all times. Deliberately using shallow/selective DOF is rare, I have found.</li>

</ol>

 

[sofie_dittmann]

<p>Thanks to all for your answers so far. Here are some details on this shot.<br>

1. These images were shot in a Cubelite light tent w/ a 50 mm prime f/1.8 lens, ISO 100, f/13, 5s. The client requested a picture of both of the pots together, some separate ones and some details.<br>

2. They will be used for an art catalogue.<br>

3. They are lit by a side light on the left and the right each, no top lighting; background is a graduated flotone background, "thunder gray".<br>

4. The client's glazes are as shiny as glass.</p>

[peter_wang6]

<blockquote>

<p>Thanks to all for your answers so far. Here are some details on this shot.<br /> 1. These images were shot in a Cubelite light tent w/ a 50 mm prime f/1.8 lens, ISO 100, f/13, 5s. The client requested a picture of both of the pots together, some separate ones and some details.<br /> 2. They will be used for an art catalogue.<br /> 3. They are lit by a side light on the left and the right each, no top lighting; background is a graduated flotone background, "thunder gray".<br /> 4. The client's glazes are as shiny as glass.</p>

</blockquote>

<p>50mm is a bit too short for product photography, IMHO. It exaggerates the perspective of tall or large vessels. Try 85, 100, or 135 mm.</p>

<p>f/13 is very small. You are starting to hit up against diffraction, especially if you are shooting with an APS-size sensor with a high pixel density. My suggestion is to not go any smaller than f/8 if you want optimal sharpness.</p>

<p>As mentioned previously, try adjusting the lighting direction. From the sides is a bit strange because then you create a bit of visual dissonance with the graduated backdrop. The eye perceives the backdrop as lighting from above, whereas the reflection off the actual light sources show that they are coming from the sides.</p>

<p>The client's glazes are as shiny as glass, because they <strong>are</strong> glass. :D Glaze is a thin, vitreous coating on ceramic that is composed primarily of silica and metallic oxide fluxes to promote melting. There are a variety of glazes (matte, shiny, even special types like crater or lichen), but they all operate on the same basic principle--mostly silica and fluxes.</p>

<p>By the way, the pieces are quite beautiful! And I do like your overall presentation of them. Feel free to play around and experiment with different lighting. Many setups for ceramic photography consist of just an overhead softbox, and the pot sits on a large piece of gray seamless that has been rolled out.</p>

[sofie_dittmann]

<p>@Peter:<br>

You've been extremely helpful. Your pointers are great, exactly what I was hoping for. I'll certainly keep your suggestions in mind for the next one. I have an 85mm prime I was thinking about using, and I'll have to adjust my setup accordingly - but it should work.<br>

BTW, I said "shiny as glass" b/c the other pottery I have photographed before is NOTHING like these pieces. No matter what you do, it shows up - VERY UNFORGIVING, even in the Cubelite. Yet, as you said, the pieces are gorgeous, so I was thrilled to work with them. He's actually using metal compounds of sorts in his glazes, or so he told me, and he sprays them on, which creates that amazing gradient in the glaze.<br>

I am happy to report my client was pleased with these photos (reasonable price and nobody else doing it locally at this quality), so if I can do even better next time, he should be thrilled, right?</p>

[thom_bennett]

<p>Nice work! I think the answer has already been covered but I would say get these pieces out of the cubelite, pull your lights more around to the front, up higher and angled down and use a large piece of foamcore behind the camera to kick some light into the front of the pieces. Very tough pieces to photograph since they are so reflective but you've made them look quite good.</p>

[sofie_dittmann]

<p>@Thom<br>

Thanks for the pointers and great feedback. Here's a question tho: I got the Cubelite specifically BECAUSE I had such a hard time w/ all the stuff reflecting off of the glaze, and I don't think I could control the reflections the same way if I did away w/ the tent.</p>