Subject photography of wine bottles. Object shooting

The first, main and only rule: photograph any alcohol, no matter cognac in a bottle or a cocktail in a glass, as a person - trying to show his character as you see him. Everything else is just nuances, but we will definitely tell you about them too. So…

Four life hacks for photographing bottles

Atmospheric shots of alcohol in bottles are much easier to make than it might seem at first glance:

Angle. Try looking at your subject from a fresh perspective: from above, below or from the side. Don’t be afraid to experiment: block the horizon or the fact that not the whole bottle will be in the frame. And don’t neglect the simplest rules of composition that you were taught about in art classes at school. The only thing you should avoid is shooting head-on at a right angle: such photographs, even very high-quality ones, are boring and are only suitable for placement in an online store catalogue.

Background. Do you know what the best background for shooting is? Unnoticeable! If you are not a professional photographer (and if you are reading this article, then most likely you are), then simply remove all unnecessary objects from the frame, even if it is just crumbs on the dinner table. But this does not mean that only one bottle should be included in the frame: if you want to add something else to the photo, for example, glasses, ice cubes, wine accessories, just think about how to place all the objects in the frame beautifully.

Light. Photography is translated from ancient Greek as “light painting”. In this case, sometimes beautiful light is even more important than an interesting angle. Experiment, try to make it fall from the side, from below, in backlight, or use and combine several sources (windows, fluorescent and table lamps, furniture lamps, flash, etc.) - all this will add volume and atmosphere to your photo .

Color. Play with color saturation and filters: sometimes bright colors can look great, but other times they can look out of place. The same can be said about converting an image to black and white, which can add charm to one frame and completely ruin another.

Actually, these same rules apply when photographing cocktails and other alcoholic drinks in glasses. But such shooting has more nuances.

Cheers, or How to shoot drinks in glasses “deliciously”

Shooting alcohol in glasses is complicated by the fact that it needs to be done quickly, otherwise everything that makes the drink “alive” will disappear: air bubbles in a glass of wine, gas bubbles in champagne, play of color in a glass of cocktail, perfect layering, a head of foam on beer , droplets of perspiration on the glass, beautiful shape of ice cubes and other details that evoke a burning desire to drink this drink.

But there are a couple more points:

Two or more light sources. If a bottle of alcohol can be photographed beautifully with one light source (side from a window or backlight, for example), then this trick will not work with a drink in a glass - the frame will turn out flat and boring. Therefore, there must be at least two of them. You can also use reflectors to beautifully highlight shadows or simply add volume to your photo. By the way, many improvised objects can act as them - mirror surfaces, sheets of white paper or something else.

Two types of background. Relatively speaking, it’s black and white: the first one looks good with opaque drinks and the fancy shape of the glasses, while the second one looks good with transparent ones.

That's all the secrets. Although the art of photography is, first of all, practice, not theory. Don't be afraid to experiment. If you have your own life hacks for shooting alcoholic drinks, then share them with us and our readers.

When photographing objects, one of the most difficult tasks for a photographer is working with glass or metal surfaces. That is, with any shiny objects whose surface creates glare and reflections of light. These can be elegant wine glasses, watches, perfume bottles and much more. Here the photographer has to solve a whole range of issues: he needs to convey the volume and transparency of the subject, distinguish it from the surrounding environment, arrange the lighting correctly, and avoid the presence of unpleasant glare in the photograph.

Although photographing glass objects is challenging, it is also very attractive because objects made of glass or chromed metal can look very interesting in the frame. You can experiment with them and take a creative approach to the shooting process itself. What should you pay attention to first when shooting glass objects in order to get high-quality results? Let's look at this in more detail.

The main difficulty in photographing objects made of glass or polished wood is that glare from light sources appears on their smooth surface. In addition, such a shiny surface often reflects any surrounding objects, including the camera lens. Of course, all this negatively affects the quality of the pictures. In addition to the presence of halos and simply flare, the images are not the most attractive in terms of conveying the texture and type of material from which the object being photographed is made.

However, in some cases, distortions or reflections in a glass object can benefit the photo, allowing you to create interesting artistic effects. For example, to convey the transparency of glass, you can reflect something, some surrounding objects, on its surface. But still, in most cases, the photographer is forced to deal with unpleasant glare and reflections that spoil the image. To do this, in particular, you have to refuse to use a flash, because it produces excessively bright and harsh light, which contributes to the occurrence of these undesirable effects.

In general, photographing subjects with smooth, shiny surfaces requires the use of even lighting. This best allows you to emphasize the shape of an object and reveal its volume. When shooting something made of glass, proper, even lighting also helps show off the matte or texture of the glass. Considering that the same glass can have curves, edges or engravings, then a photography enthusiast faces a rather difficult task. So, when photographing objects with glass or glare surfaces, you need to pay attention to several points.

Preparing glass objects for photography

When preparing, be sure to inspect the glass surfaces for small cracks and scratches, and also pay attention to their cleanliness. There should be no scratches or fingerprints on the glass, otherwise you will have to process the resulting images for a long time in a graphics editor to bring the photographed surface into proper form. Objects made from cheap glass, as a rule, are distinguished by the fact that they do not have the smoothest surface and different thicknesses of glass around the entire perimeter. The same beer glass bottles have a clearly visible seam. It is better to choose good glass for shooting that does not have such disadvantages. For example, expensive glass wine glasses. Before shooting, of course, our “models” must be thoroughly washed and wiped with a dry cloth. It is best not to wash glass items in the dishwasher as they may cause small scratches on the glass. Subsequently, they will be clearly visible in the photographs.

Selecting a background

When photographing objects made of glass, quite often the photographic images turn out faded and uninteresting. This may be due to the wrong choice of background. Indeed, the background plays a significant role when shooting glass and things with smooth, reflective surfaces. It is best to use a plain background to accurately convey the shape of the object and small details. The classic is a white or black background. Sometimes interesting effects can be obtained by photographing glass against the background of fabric with numerous folds or an object that has some complex structure. True, here you need to ensure that the shape of the glass object does not get lost against such a complex background.

Light preparation

Objects made of glass or chromed metal have some properties of reflecting light. This is important to consider when designing lighting correctly. When photographing a glass object against a black background, the light sources are usually placed on the sides. The main thing is that the light does not fall on the photographer himself, otherwise you will probably see your reflection on the glass surface.

To convey not only the shape of an object, but also its texture and material characteristics, it is necessary to use light sources wisely. The rule applies here: the identification of texture improves with increasing illumination and decreasing the angle of incidence of light rays on the surface of the object itself. It is clear that the illumination can be adjusted simply by moving the light source away or bringing it closer. But the angle of incidence of light rays can be changed by lowering or raising the light source. To convey the individual details of an object as sharply and clearly as possible in a photograph, it is necessary to use the smallest possible aperture openings.

Lighting and background play a key role in creating the illusion of glass transparency. When shooting, it is recommended to use weak light sources to avoid creating unpleasant glare. Direct moderate light is used only to highlight the outline of a glass or metal object, while diffused side lighting should help reveal the transparency and volume of the product. Instead of the side light or in combination with it, you can use the top light, especially if you plan to shoot the subject from the top point. By illuminating a glass object from below, you can literally fill it with light from the inside and create an interesting, artistic effect. In this case, it is necessary to shoot from above, but not directly, but at a certain angle to the object. It is advisable to illuminate the background with one light source.

When working with glass in product photography, two methods of photography are most widely used. In the first case, the glass object appears dark in the image, but its contours are drawn in white. To do this, use a simple cardboard box, a sheet of Whatman paper or another white background, plus a flash. Three walls of a cardboard box are removed to form a kind of “arch”. It allows you to protect your subject from the reflection of surrounding objects. It is precisely the far side of this arch that is covered with a white background.

The item is placed in a box. The flash is directed towards the background outside. The flash requires a special attachment with curtains so that the light from a bright light source does not glare on the surface of the object being photographed. That is, in this situation, backlight is used when the light source is placed behind the subject being photographed. This allows you to “draw” the contours of a glass product with light. The second method allows you to obtain a clearly visible, light glass object with darkened contours. Here you also need to use backlight, but use a dark sheet of cardboard as the background.

Fighting glare

There are several ways to combat glare and unwanted reflections on shiny surfaces. For example, you can try to bring a glass item from a cold place into a warm room, or fill it with ice water. You need to take pictures immediately, when the glass surface becomes a little foggy and large water droplets have not yet formed on it. The surface will temporarily turn matte and ugly highlights will disappear. You can put a piece of ice in a glass goblet or vase before shooting - the effect will be the same. This method can also be used to photograph metal utensils.

However, such cooling methods cannot be applied to some things with a shiny surface. For example, for products made of varnished wood. In these cases, you can experiment with lighting. Try to position the light sources, subject and camera in relation to each other so that glare is minimized or eliminated altogether. To eliminate reflections when photographing subjects with a large glass surface, such as a shop window, place a black cloth behind the camera. Or place such fabric in front of the camera, but leave a hole in it for the lens.

A polarizing filter can be indispensable when photographing glass objects. With its help you can remove a significant part of the light glare. A polarizing filter is good to use when photographing through glass surfaces. This filter can be successfully used to eliminate glare when photographing items made of glass, porcelain, polished or varnished wood, and plastic.

Using soft boxes

However, all the above methods are not always effective. The most effective way to eliminate glare and reflections on the surface of objects is to limit access to the photographed object of rays from light sources and the surrounding environment. To do this, the subject is placed in a cardboard box according to the principle described above, or surrounded by special shields that can reflect light. The best option here is to use a soft box - a special light-protective box that serves to protect the subject from light rays. A soft box can be made on the basis of a wooden or wire frame, which is covered on all sides, except the bottom wall, with thin light-colored fabric. The front wall of the soft box has a hole for the camera lens.

You can make such a simple design yourself at home or buy ready-made solutions, including convenient folding soft boxes. After an object with shiny surfaces is placed in the soft box, it is illuminated from the sides and from above. The light passing through the fabric becomes diffused and uniform. Ready-made soft boxes usually offer the photographer a set of interchangeable backgrounds of various colors. If you set out to professionally photograph objects made of glass or metal, you simply need such a soft box. So-called softbox strips, whose length is significantly greater than their width, are best suited.

Many photography enthusiasts avoid photographing objects or compositions with glass because they are afraid of unpleasant glare and distortion. However, as soon as you begin to practice more in photographing such objects, you will acquire the appropriate experience, and photographing shiny things will no longer be such a difficult, insoluble task for you. In addition, this will open up a wide field for creative experiments for you, because photographing objects made of glass is really very interesting.

Theory of photography

This may not be the most popular question among photographers, but I have come across this too. What to do when you want to beautifully photograph a bottle of your favorite alcohol? I have one answer - take it and remove it.

First of all, we need to decide why we are taking the shot? If you just want to remember the name of the drink, then the question is filmed using a camera in a cell phone - the result will not disappoint. It’s another matter if you want to take an artistic or commercial shot, and not just capture your pet, but also try to convey the character of the drink. There are not many difficulties here - you just need to listen to your imagination and take into account a couple of nuances.

Angle

When photographing a bottle, as when photographing any other object, all the classical rules of composition apply. If you are taking an artistic shot, forget about shooting at a right angle, the result of which is only suitable for use on the pages of an online store. Don't be afraid to experiment and look for an angle that will make the shot more interesting. Don’t worry too much if the whole bottle doesn’t get into the frame - the main thing is to convey the essence. The choice of aperture and focal length is also entirely at your discretion. Experiment.

Background when shooting alcohol

Another nuance that often spoils the perception of a frame is the presence of a part of the person shooting in the frame. The Internet is full of photographs of bottles of fine alcohol at arm's length that catch the eye. Try to spare the viewer from looking at your shirt. Shooting a bottle against the background of a kitchen table with plates and crumbs is also not the best solution. The background must fulfill its main task - to be invisible. In some cases, it is better to abandon the “backdrop” altogether and use the close-up technique. But the presence of “appropriate” accessories in the frame can add points to your photo.

Light when shooting alcohol

First of all, you need to understand that the more light sources, the more interesting the frame will be. Imagination will help you choose the color and layout of the sources. Don't be afraid to shoot in backlight and don't worry about glare in the frame, which can make your shot even more interesting.

Color when shooting alcohol

I would say that there are no clear recommendations. Only the design will help determine the level of color saturation or lack of color in the frame. The bottle label can be a clue to the color issue. Whiskeys from the Laphroaig distillery, for example, are labeled with a monochrome label. In this case, the presence of color in the frame would only hinder the perception, especially for connoisseurs of this whiskey.

Do not treat this text as a mathematics textbook. Try to perceive it as a subjective view of the subject. Each of us is an artist. Experiment.

Theory of photography

Angle

Background when shooting alcohol

Light when shooting alcohol

Color when shooting alcohol

Many people think that photographing a subject is boring and uncomplicated. But this is far from true.
Product photography can be both complex and exciting, just as portrait photography, for example, may not be.
In this post I will tell you how we shot oil bottles for the catalogue. Perhaps this information will be useful to someone :)

Recently, a client, a charismatic Greek, approached our studio with a request to film his company’s products in a high-quality manner.
It was clear that the man was passionate about his business, which is why he ordered professional photography, instead of entrusting this task to managers, who usually do an excellent job with this task, filming the product on a soap dish against the background of sheets.

We thought out the lighting design in advance, so when the client arrived, we quickly prepared the bottles and took the first test shot.

Imagine our surprise when the businessman, looking at the screen, said that he was satisfied with everything, and it was clear that it was not in vain that he contacted us :) We had to upset him, saying that this was just a test and the final picture was still very far away. ..

So, the light is set, the test shot is taken and it is already clear that everything is not working out the way we expected.
The fact is that the bottles turned out to be made of black, highly reflective glass, which reflects everything around.
The main problem was that the glass's glossy surface reflected the stage table, causing the bottle to appear partially frosted. This can be seen in the first picture above (which, by the way, the client approved).
:))))

The next problem was that due to the bending of the glass surface, the glare did not reach the bottom of the bottle, breaking off at the break of the shape. The solution turned out to be simple.
We installed the bottle on a glass “podium” and the softboxes at an angle
They brought her under her. Then we partially covered the surface of the boxes with black flags to obtain the desired width and shape of the highlights.
We adjusted the intensity of the reflections using a circular polarizing filter on the lens.

Next, we suggested that the client make the bottle not black, but “glowing from the inside.” The proposal was accepted and a source without a reflector was installed behind the object table for illumination.

When the required picture was built, we decided to add shine to the label by illuminating it with a separate light source with a conical nozzle.
And in order to completely eliminate all sorts of ugly reflections on the surface of the glass, a small white panel was installed above the table, and a large one in front, with a hole for the lens.

So the picture is received, the client is satisfied, but the final version is far from being completed, since retouching is still required.
The fact is that the products were provided rather shabby, with defects on the labels and scratches.

To remove scratches, as usual, we use the Healing Brush and Clone Stamp, alternately. But it’s convenient to complete the letters and contours with a regular thin brush.

When the label is in perfect shape, we proceed to the lid and glass surface. We stamp where necessary and adjust the shape of the highlights with the Liquify tool. Then we remove the remains of the glass pedestal from under the bottom and adjust the tonality using curves. The picture is ready.

Of course, this is far from the maximum that can be done.

For example, it would be nice:

Choose bottles that are less shabby.

Remove the back label, which gives unsightly dark streaks and does not allow the glass to shine at its full potential. This can be seen in the picture.

Receive a vector label layout from the client to use in the final image.

As they say, there is no limit to perfection, but here you need to take into account the amount of payment.
If you get a modest amount for your work, is it worth bothering with the order all day long?

Studio: "Visual Aesthetics"
Photographers: Dmitry Lukyanov, Pavel Zatsepin

P.S. We accept orders for photography and rent out our studio!