Photography
Lighting basics for product photography
Four set-ups that cover most products, and the two principles that explain why they work.
The two principles
First: the apparent size of a light source relative to the subject controls shadow softness. A large softbox close to a small product wraps light around it; the same box moved far away behaves like a hard point source. Second: what you see in a shiny surface is a reflection of the room, so on reflective products you are arranging reflections, not illuminating an object.
Four set-ups to copy
- 1
Soft and simple
One large source at 45° to the side and slightly above, white card opposite to lift shadows. Works for most matte products, packaging and textiles.
- 2
Backlit for glow
Light behind and above the product aimed at the background, with a reflector in front. Good for drinks, glass and anything translucent.
- 3
Tented for reflective
Surround the product with diffusion and light through it, leaving a small gap for the lens. Standard for jewellery, chrome and glossy plastic.
- 4
Hard light for drama
One small, undiffused source at a steep angle for crisp shadow edges and texture. Suits leather, cosmetics packaging and anything with surface detail.
Difficult materials
| Material | The problem | The fix |
|---|---|---|
| Glossy plastic, chrome | Reflects the whole room, including you | Tent it; light through diffusion |
| Glass and liquid | Disappears against a white background | Light the background, or use dark-field edges |
| Matte black | Loses shape, turns into a silhouette | Rim light from behind to separate edges |
| White on white | Product merges with background | Slight gradient on background, subtle edge shadow |
| Jewellery and gems | Needs hard light to sparkle, soft for metal | Mix: small hard source for stone, diffusion for metal |
| Fabric | Texture flattens | Raking side light to reveal weave |
Frequently asked questions
What is the minimum kit to start?
One continuous LED with a softbox, a tripod, a couple of A2 white foam boards and a roll of paper. That covers a surprising amount of product work, and you will learn more from shaping one light than owning four.
Continuous light or flash?
Continuous for anyone learning and for anything that also needs video, because you see the result live. Flash gives more power and freezes motion, which matters for liquids and splashes.
Can window light work professionally?
Yes, for soft looks, and plenty of published work is shot that way. The limitation is consistency — the sun moves, weather changes, and matching yesterday's images becomes impossible.
Why do my photos look flat?
Usually light coming from too close to the camera axis, or too many sources filling every shadow. Move the light further to the side and remove fill until shadows return.
Have something worth filming?
Tell us what you are launching and we will come back with ideas, a plan and a quote within two working days.