Photography Studio lighting

Studio photographers spend large portions of their careers finding ways to eliminate sheen, glare, and reflections from the subjects. I agree that it’s true that there is such a thing as “bad” glare, but studio photographers do themselves a disservice by eliminating too much glare. As a matter of fact, I have a hard time getting enough glare when lighting my studio photography.

Why some studio lighting can look fake.

It’s my opinion one of the most challenging parts of a studio photographer’s job is to try to fool the viewer’s subconscious into believing that what they are viewing is as real as possible. Often times a studio photographer is attempting to simulate an environment while shooting in the confines of the studio. The studio (or still life) photographer will create elaborate sets to convince the viewer that the environment is indeed real.

They will do whatever they can to make the shot look as “environmental” as possible and still there are times when something just doesn’t look just quite right. Objectively looking at the picture will produce few overt clews as to whether the picture was shot on location or in the studio, but to the trained eye and to most people’s subconscious mind, the shot just doesn’t seem real.One of the biggest differences between “real” environments and the studio is that in the studio, everything is added to the shot and on location things are usually eliminated from the shot. On location, there may be a window off to the side of the table and in the studio, there may not even be a window. On location, the ceiling is probably five feet above the set and in the studio, the ceiling might be fifteen feet from the set. In the studio, the nearest table might be twenty feet away while on location, the table next to you may only be inches away. All these objects reflect light. Sure, most of these reflections end up being very small, but they’re there. Instead of being just a deep rich colored area of gravy in the studio, on location the same gravy would have a slight glare from the ceiling overhead or the white wall behind it. Which one is better? It all depends on what you want, or more likely, what you client wants. The gravy manufacturer would probably like the dark rich colored shot, but the magazine editor would probably prefer the slight glare and the more “natural” look.

Another thing that affects the number of reflections in a shot is the way a food photographer prefers to light their subjects. Many photographers prefer to use light boxes placed relatively close to the subject. This method of lighting usually eliminates much of the light from bouncing around the studio and therefore from lighting various things around the studio that might end up reflecting into the food subject.

The use of strobe light also affects the amount of reflections in a photograph. When a food photographers uses strobe light, they usually dial up the power and dial down the shutter speed. The whole idea is to overpower the existing light and to create the lighting that they think best displays the food. When a photographer overpowers the ambient light, they eliminate the light on the various objects and light sources in the environment that cause the miscellaneous reflections we are discussing. Like I mentioned earlier, these reflections are not necessarily good or bad things. Each reflection has its affect on the photograph. Some reflections add to the photo and some reflections detract. Not all viewers will agree on which reflection does what…

Bad Reflections in studio lighting
Again, I might like a reflection and you may not. I may generalize a little here, so keep in mind that what I’m about to write is subjective opinion, and you may totally disagree. Usually, a reflection from the dominant, or main light, is not a good thing. The reflection from the mail light is usually so bright that the highlight that it creates ends up being much “acute” in nature. These highlights end up being totally burnt out, with no tone to them what’s so ever. I often times select the placement of the main light specifically to avoid these acute highlights. Food items with rounded surfaces tend to be the most difficult to light without these “too bright” highlights. These types of highlights can sometimes be hidden by selecting the precise angle where the corners of the food minimize the reflections. Most of the time, you will just have to experiment with the placement of the main light to give the needed shape to the food while at the same time minimizing any unwanted glare you might create. The placement of the main light is often taken for granted by novice food photographers. Professionals know that the EXACT placement of the main light is one of the most important aspects of good food photography. Even an inch to one side or another, or an inch higher or lower, can make a huge difference in the final photographic results.

Other bad reflections are the ones that are so bright that they obscure the color of the food beneath them. Manufacturers are usually very picky about the color of their product. They want to see as much color as possible.