product-photography

name	product-photography
description	Produces a product photography setup including background recommendation, light position for specular vs. matte surfaces, camera angle options with visual effects, prop strategy, and retouching sequence. Applicable to any camera and any editing software. Use when the user asks to photograph products, merchandise, food, or objects for e-commerce, social media, or catalog purposes. Do NOT use for portrait photography (use portrait-technique), general lighting theory (use lighting-setup), or standalone photo editing workflow (use photo-editing-workflow).
license	Apache-2.0
metadata	{"author":"foundry-skills","version":"1.0.0","tags":"photography design template","category":"design-creative","subcategory":"photography","depends":"","disclaimer":"none","difficulty":"intermediate"}

Product Photography

When to Use

Use this skill when the user's request centers on capturing a physical product for commercial or promotional purposes -- where the primary goal is to make an object look compelling, accurate, and market-ready.

Use this skill when:

• A user wants to photograph products for an e-commerce platform (Etsy, Shopify, Amazon, eBay, wholesale catalogs) and needs a complete shooting plan including background, lighting, angle, and retouching workflow
• A user is photographing a specific product category (cosmetics, food, jewelry, packaged goods, clothing, beverages, electronics, home goods, or industrial components) and needs surface-specific lighting and styling guidance
• A user wants to build a consistent visual system for a product line -- multiple SKUs photographed with the same lighting, angle, background, and color treatment so they look cohesive on a product grid
• A user needs to photograph a product for social media content (Instagram, Pinterest, TikTok thumbnails) where compositional storytelling and prop styling matter as much as technical accuracy
• A user is setting up a permanent or semi-permanent product photography station and needs decisions about equipment, background, and lighting infrastructure that will serve many future shoots
• A user needs to photograph a technically difficult product -- transparent glass, mirrored metal, dark-on-dark packaging, products with embedded screens, or foods that degrade quickly -- and the general approach would fail without specialized technique
• A user needs to produce hero shots, catalog images, detail shots, or lifestyle shots for a product launch and must plan a shot list that covers all required deliverables

Do NOT use this skill when:

• The user needs to photograph a person, even if that person is holding or wearing a product -- use portrait-technique, which addresses human subjects, skin tones, and expression direction
• The user is asking about general lighting principles divorced from any specific product -- use lighting-setup for conceptual light theory, inverse square law, and modifier comparisons
• The user's primary need is post-processing an existing photo rather than setting up a new shoot -- use photo-editing-workflow for standalone retouching, color grading, or file preparation pipelines
• The user is photographing architecture, interiors, vehicles from an editorial perspective, or any subject where the photography genre is not product/object photography
• The user needs video product content -- shooting motion footage requires a fundamentally different skill covering frame rate, codec, motion blur, and stabilization
• The user is asking about photography contracts, licensing, pricing, or client management -- those are business skills, not photographic technique skills

---

Process

Step 1: Gather and Classify Product Information

Before recommending a single piece of equipment or camera setting, extract the variables that determine every downstream decision. Guessing these inputs leads to wrong recommendations.

• Product category: Classify into one of: hard goods (electronics, hardware, tools), soft goods (clothing, textiles, fabric), cosmetics/personal care, food and beverage, jewelry/watches/eyewear, transparent products (glass, clear packaging), packaging-forward products (boxes, bottles with printed labels), or large goods (furniture, appliances, bicycles)
• Surface optical behavior: This is the single most important variable. Classify the primary surface as: diffuse/matte (absorbs and scatters light), specular/glossy (reflects light sources as visible hotspots), mirror-like (reflects environment as a clear image), transparent (transmits light through the material), or mixed (common -- e.g., a cosmetics bottle with a matte label and a glossy cap). Each surface type requires a completely different lighting strategy.
• Product dimensions: Measure or estimate the longest dimension in centimeters. This determines whether a tabletop setup applies (under 50cm typically), whether a sweep of paper or fabric is sufficient as a background, and what working distance the camera needs for proper framing.
• Deliverable purpose: Determine the specific platform or use case -- Amazon (requires pure white #FFFFFF background, minimum 1000px on the longest side for zoom), Etsy (white or lifestyle both accepted), Instagram feed, Pinterest pin, printed catalog, billboard or large-format print. Each has specific resolution, aspect ratio, and background color requirements.
• Shoot scope: Determine whether this is a single product, multiple color variants of the same product (requiring consistent exposure across variants), a product family grouping (requiring a hero arrangement shot plus individual shots), or an ongoing system shoot (multiple sessions producing consistent results over time).
• Available equipment: Assess what the user actually has -- smartphone camera, mirrorless/DSLR, studio strobes, continuous LED lights, speedlights, no lighting equipment, a window. Recommendations must be achievable with the available tools. A recommendation for a 4-light tent setup is useless if the user has a window and a piece of white foam board.

---

Step 2: Select and Prepare the Background

The background choice is not aesthetic -- it is functional. The wrong background creates more post-processing work and may disqualify images from platform requirements.

• Pure white for e-commerce: Use white seamless paper (also called sweep or roll background) wide enough that the product has at least one product-width of empty white space on each side. The paper must extend forward onto the shooting surface so there is no visible seam or edge behind the product. Illuminate the background itself with a separate light set 1.5 to 2 stops brighter than the product exposure. This ensures the background reads as #FFFFFF (RGB 255, 255, 255) in post without needing manual clipping for simple products.
• Contextual surfaces for lifestyle shots: Use physical surfaces that telegraph the product's use context -- a weathered oak board for rustic goods, a marble tile or slab for cosmetics and beauty products, a raw linen fabric for artisan food products, a dark slate for coffee or tea products, a clean white painted wood surface for Scandinavian-style home goods. These surfaces are purchased inexpensively as tiles, boards, or fabric samples from home improvement and fabric stores.
• Dark/luxury backgrounds: Black velvet is the standard for jewelry on dark background because it absorbs almost all light and does not produce visible reflections or texture that compete with the product. Matte black paper is used for non-jewelry luxury products. Warning: dark backgrounds require that the product has enough light to separate from the background -- if the product is also dark, edge lighting or a thin accent light from behind is required to define the product's silhouette.
• Gradient backgrounds: Can be created optically by placing a colored paper sweep and lighting one end more than the other, or by positioning the background light off-center. No post-processing gradient overlay required. This technique produces backgrounds that look professional and are difficult to achieve cleanly in post.
• Background for transparent products: Two primary choices -- a bright white backlit panel (product appears as colored highlights against white, clean and technical) or a black background with two edge lights creating outline reflections (dramatic and high-contrast). Both approaches require the background and the product to be lit independently. The third option is a color gel backlight which creates a colored luminous background behind glass or liquid -- effective for beverage photography.

Background preparation checklist before shooting:

• Remove all wrinkles, creases, and curl from paper backgrounds (steam or weight flat)
• Wipe down surfaces that will be in frame (marble, wood, metal) with a microfiber cloth to remove dust, fingerprints, and particles that will be visible at high resolution
• Use a lint roller on any fabric surfaces
• Check the background through the camera viewfinder or monitor -- imperfections that look minor to the naked eye are often highly visible at full resolution

---

Step 3: Design the Lighting for the Specific Surface Type

This is the most technical step and the one where most product photography fails. Lighting design must match the product's optical behavior, not follow a generic three-point portrait formula.

DIFFUSE/MATTE SURFACES (fabric, cardboard, chalk paint, unfinished wood, matte ceramic, most food):

• Primary light: large softbox (minimum 24x36 inches / 60x90cm) positioned at the 10 o'clock position relative to the product, elevated to approximately 45 degrees above the product plane, with the near edge of the softbox at least 1.5x the softbox long dimension away from the product
• The larger the light source relative to the product, the softer and more wrapping the light. A 24-inch softbox for a coffee mug is large relative to the subject; the same softbox for a pair of boots is merely adequate.
• Fill light: white foam board reflector (minimum 20x30 inches) positioned opposite the key light at the 4 o'clock position, angled to reflect key light back into the shadow. Distance controls fill ratio -- closer reflector = brighter fill = lower contrast. Target a 2:1 to 3:1 key-to-fill ratio for most commercial product shots.
• Background light: separate small strobe or LED aimed at the background sweep from below the product surface level, pointing upward at the sweep. This avoids casting product shadows on the background.
• For textured matte surfaces specifically: move the key light to a 3 o'clock or 9 o'clock side position and lower it to 20-30 degrees above the product plane. Side grazing light creates micro-shadows in texture that make the surface look tactile and three-dimensional. The lower the light angle, the more pronounced the texture.

SPECULAR/GLOSSY SURFACES (lacquered wood, glossy plastic, polished stone, painted metal, glossy labels, patent leather):

• Never aim a light source directly at a glossy product. The product will display a visible, distracting reflection of the light source shape (softbox pattern, bare bulb, window frame). This is the single most common mistake in product photography.
• The correct approach: create large, uniform luminous surfaces and position them so the product reflects those surfaces. A 4x6 foot white diffusion panel (a white bedsheet stretched on a frame, a white foam board, or a commercial diffusion panel) positioned adjacent to the product will be reflected as a smooth, gradated white or gray area.
• Use black cards (flags) -- typically black foam board or black fabric -- placed at the opposite side to create dark edge reflections on the product. Glossy products look three-dimensional when they have a gradation from bright highlight to dark edge reflection. A product that is only bright with no dark areas looks flat.
• The tent technique: for very small, highly reflective products like metal hardware or polished cosmetics components, construct a light tent -- a cube of white diffusion material that surrounds the product on all sides, with lights aimed at the outside of the tent. The product is surrounded by soft, even light sources on every surface. Open the front for the camera. This technique eliminates hotspots entirely but also reduces contrast -- add black cards inside the tent to restore definition.
• For lacquered/piano black finishes: light almost entirely with controlled reflections of white shapes against black surroundings. The product itself may receive almost no direct light -- it is lit entirely by reflection of surrounding cards.

TRANSPARENT PRODUCTS (clear glass bottles, crystal, clear plastic packaging, liquid in glass):

• Primary technique -- backlight panel: position a large white diffusion panel behind the product, light that panel from behind with one or two softboxes or LED panels. The light passes through the product, revealing its color, clarity, and any internal details (liquid color, carbonation bubbles, label inside the glass). This is called transmitted light photography.
• Side black cards: with the white panel behind, the edges of the glass go transparent (you cannot see the glass edge). Black foam board cards placed on the left and right sides of the product, just outside the frame, are reflected in the glass walls and create dark edge lines that define the product's shape. Without these, glass appears to "disappear" against the white background.
• Front reflection control: avoid placing lights directly in front of transparent products. Any front light creates a bright reflection on the glass face that blocks the view of the liquid or contents inside. If front fill is needed, use a large diffusion panel far from the product.
• Condensation for beverages: real condensation can be produced by refrigerating the product and shooting immediately (window of 10-15 minutes before it evaporates). Artificial condensation is produced by spraying glycerin mixed with water (approximately 2:1 glycerin to water ratio) on the glass surface -- this produces condensation-like beading that holds for hours.

MIXED SURFACES (most real products -- a bottle with a matte label and a glossy cap, a phone with a matte body and glass screen, a shoe with matte leather and glossy rubber sole):

• Identify the primary selling surface -- the surface the customer needs to evaluate to make a purchase decision.
• Light for the primary surface first. Then use flags and cards to correct the secondary surfaces.
• For a product with a matte label and glossy cap: light for the label (soft front-angled key). Then use a black card above and behind to add a dark reflection in the glossy cap that prevents it from washing out.
• Accept that one lighting setup rarely solves all surfaces perfectly. A two-exposure composite is often the professional solution -- light the top/glossy portion in one exposure, light the bottom/matte portion in a second exposure, composite in post.

Lighting equipment alternatives for users without studio lights:

• Window light: north-facing window on a cloudy day produces large, soft, directional light suitable for matte products. Hang a white curtain or tape white tissue paper over the window to diffuse bright sunlight. Supplement with a white reflector opposite the window.
• LED video panels: continuous light allows real-time preview of reflections before shooting, which is critical for glossy products. Position identically to strobes. Use daylight-balanced panels (5500-5600K) for consistent color.
• Speedlights (hotshoe flashes): can be used off-camera with a radio trigger or optical slave. A bare speedlight is a tiny, harsh light source. Always add a diffusion panel, bounce card, or small softbox attachment. Never fire directly at a glossy product.

---

Step 4: Select Camera Angle and Determine Focal Length

Camera angle is a communication decision: it determines what information the viewer sees about the product and what emotional relationship they have with it. Focal length is a distortion decision: short focal lengths exaggerate perspective (things closer to the camera appear larger relative to background elements), while longer focal lengths compress perspective (the product and background appear on a similar plane).

Angle selection by product type:

Angle	Degrees Above Product Plane	Visual Effect	Optimal Product Categories
Eye level	0 degrees	Intimate, peer-relationship, shows labels and branding clearly	Bottles, cans, boxes, anything with a front face and prominent branding
Slightly elevated	15-25 degrees	Standard commercial angle -- shows both front face and top surface, suggests the product's three-dimensional form	Most products; this is the default starting angle for any unfamiliar product
Three-quarter	40-50 degrees	Strong three-dimensional impression, shows front, top, and side simultaneously	Electronics, packaged goods, shoes, cosmetics, anything with distinct form language
High three-quarter	60-70 degrees	Shows the top surface predominantly, useful for products with important top details	Plates of food, open boxes, keyboards, flat items where the top is the primary surface
Flat lay (overhead)	90 degrees -- camera aimed straight down	Pattern, collection, arrangement, no perspective distortion	Clothing (laid flat), flat food preparation, collections of small products, social media arrangements
Low angle	-10 to -20 degrees (camera below product eye level)	Makes product appear larger, more dominant, more powerful	Tall bottles, luxury goods, items that should feel aspirational or premium

Focal length guidelines:

• Macro products (jewelry, coins, electronic components under 5cm): dedicated macro lens at 1:1 reproduction ratio, or a standard lens with extension tubes. Use at f/11-f/16 to maximize depth of field, which is measured in millimeters at macro distances.
• Small tabletop products (cosmetics, small bottles, shoes): 50mm to 90mm equivalent. This focal length produces natural perspective that matches how the object looks held at arm's length.
• Medium products (electronics, small appliances, stacked products): 85mm to 105mm equivalent. The mild telephoto compression makes products look more substantial and reduces the apparent size difference between foreground and background props.
• Large products (furniture, bicycles, large appliances): 35mm to 50mm in a large space. Move the camera back rather than using a wide angle -- wide angles at close range create converging lines and make products look unstable.
• Overhead flat lay: the focal length matters less than keeping the camera perfectly level (sensor plane parallel to the product surface). Even 1-2 degrees of tilt produces a keystone distortion that makes the arrangement look asymmetric.

---

Step 5: Plan Props and Styling

Props serve one function: to clarify and amplify the product's story. Every prop must earn its place by adding information or context that the product alone cannot convey.

• The subtraction test: After assembling a styled shot, identify the prop that contributes least to the narrative. Remove it and look again. If the shot is better without it, it should not be there. Apply until removing any remaining prop would harm the composition.
• Scale reference: If a product's size is not apparent from the product alone, include an object of universally known size nearby -- a hand, a common household item, or a standardized reference. A single earring photographed without context looks either tiny or enormous depending on how it fills the frame.
• Color relationships: Props should be in one of three color relationships to the product: analogous (adjacent hues on the color wheel, produce harmony), complementary (opposite hues, create contrast and visual energy), or neutral (grays, whites, natural wood tones that recede visually). Never use a prop in the same hue and saturation as the product -- it competes for attention. If the product is forest green, do not use green props.
• Surface and texture contrast: Props with different surface textures from the product create visual interest. A smooth glass product on a rough linen surface reads as sophisticated contrast. A smooth glass product on a smooth glass surface reads as undifferentiated.
• Props for food photography specifically: Use real ingredients or components of the dish rather than generic food props. Show the provenance of the food -- the herbs it contains, the bowl it is served in, the spoon used to eat it. Real steam, real condensation on cold drinks, and real imperfections (a crumb, a slight drip, an uneven dusting of sugar) make food look appetizing rather than clinical.
• Placement hierarchy: The product must occupy the largest visual mass and/or the most visually prominent position in the frame. Typically this means placing the product on the rule-of-thirds intersection or at the center with props distributed to the secondary intersections. Props should never overlap the product's primary face or branding.

---

Step 6: Set Camera Settings and Exposure

Product photography on a tripod removes the tradeoffs required in handheld or action photography. Every setting can be optimized for image quality rather than speed.

• Aperture: f/8 to f/11 for most product photography with a standard to telephoto lens. This range sits in the lens's sharpest performance window (most lenses are slightly soft wide open and diffraction-limited above f/16). For macro photography of small products, f/11 to f/16 is required for acceptable depth of field, but diffraction softening begins -- consider focus stacking instead of stopping down further.
• ISO: Use the camera's base (lowest native) ISO setting. For most cameras this is ISO 100. At base ISO, the sensor produces its cleanest signal with the widest dynamic range. There is no justification for higher ISO in a studio or controlled lighting environment with a tripod.
• Shutter speed: On a tripod with flash/strobe lighting, shutter speed is not the exposure variable -- it must simply be at or below the flash sync speed (typically 1/160 to 1/200 for most cameras with focal plane shutters). With continuous LED or window light, shutter speed is determined by aperture and ISO. On a tripod, 1/4 second or 1 second exposures are completely usable for still products.
• White balance: Set a custom white balance from a gray card or color checker under the actual shoot lighting. Do not rely on Auto White Balance (AWB) because it shifts between frames, making color consistency across a product line impossible. If shooting RAW, a shot of a color checker card at the start of each lighting setup enables accurate correction in post.
• RAW vs JPEG: Shoot RAW for any product that requires color accuracy or will be retouched significantly. JPEG compresses color information and limits recovery of highlights and shadows. The only valid reason to shoot JPEG for products is if the images go directly to a client without post-processing.
• Histogram reading: For white backgrounds, expose so the background histogram spike sits at the far right edge of the histogram (right side of the graph) without clipping. The product itself should have tonal values across the midrange. If the histogram shows the background clipping (blinking highlights warning), reduce exposure by 1/3 stop -- a very bright white that is not clipped reads as #FFFFFF in post with minimal cleanup.
• Mirror lockup and remote shutter release: Use both whenever possible to eliminate camera vibration entirely. Even on a tripod, the mirror slap of a DSLR causes microscopic vibration that is visible in high-resolution macro shots.

---

Step 7: Define the Shot List and Retouching Sequence

A shot list is a production document that ensures all required deliverables are captured before the setup is dismantled. Retouching sequence order prevents working against previous corrections.

Shot list construction -- required shot categories for e-commerce product pages:

• Hero shot: the primary image that appears as the first listing image. Usually the most visually compelling single-product angle with optimal lighting.
• Front face: straight-on or slightly elevated, showing the product's primary branding or design element. This is often the hero shot for packaged goods.
• Three-quarter view: shows depth and form.
• Back/alternate view: required by many platforms (Amazon) and allows customers to evaluate branding, ingredient lists, or design on the reverse.
• Detail shots: 1-3 close-up shots of the product's most important features (texture, closure mechanism, hardware, label printing quality). These shots require moving the camera closer or switching to a longer focal length.
• Scale/context shot: shows the product in use or next to a reference object.
• Lifestyle shot: product in environment with props and contextual styling (may be photographed on a different background with different lighting in the same session).

Retouching sequence (always in this order):

1. Global corrections first: exposure adjustment, white balance correction, lens corrections (distortion, chromatic aberration, vignette removal). Apply these to all images in the session simultaneously in batch.
2. Background work: if the background is white, use Curves to bring the background to pure white (#FFFFFF) while retaining shadow detail at the base of the product. For lifestyle shots, remove sensor dust spots and distracting elements from the background.
3. Product corrections: remove physical blemishes that were not present on the actual product (dust particles, fingerprints, minor packaging damage from shipping). Do NOT remove intentional design features -- this is misrepresentation.
4. Color accuracy: compare the product on screen to the physical product or reference color values. Adjust hue and saturation selectively on the product (use HSL panel or selective color adjustments, not global shifts that also affect the background).
5. Sharpening and detail: apply output sharpening tuned to the final output size and medium. Web/screen output requires less sharpening than print. Apply sharpening only to the product, not to the background (sharpened white backgrounds show noise).
6. Clipping path or masking (if required for e-commerce): create a clean product mask for placement on different backgrounds. For Amazon compliance, the clipped product must fill 85% of the frame area.
7. Export: match resolution, color space, and format to platform specifications (see platform requirements in Rules section).

---

Output Format

## Product Photography Setup: [Product Name and Category]

**Product:** [Specific description -- material, finish, dimensions, distinguishing features]
**Surface Classification:** [Matte / Glossy / Mirror / Transparent / Mixed -- specify each surface zone if mixed]
**Primary Purpose:** [E-commerce platform name / Lifestyle social media / Catalog print / Hero marketing]
**Secondary Purpose (if applicable):** [Second deliverable type]
**Product Dimensions:** [Longest dimension, to determine setup scale]

---

### Background

**Primary background:** [White seamless paper / contextual surface / dark velvet / backlit panel]
**Background preparation:** [Wrinkle removal / surface cleaning / sweep extension notes]
**Background illumination strategy:** [How the background is lit separately from the product]
**Lifestyle background (if applicable):** [Specific surface material, color, and context rationale]

---

### Lighting Setup

**Surface lighting strategy:** [Brief explanation of why this approach is correct for this surface type]

**Key light:**
- Type and size: [Softbox 24x36in / diffusion panel / window with diffusion]
- Position: [Clock position, e.g., 10 o'clock] at [angle above product plane, e.g., 45 degrees]
- Distance: [in feet or cm from product] -- rationale: [why this distance]
- Power/intensity: [relative to fill, e.g., 1 stop brighter than fill]

**Fill:**
- Type: [White foam board reflector / second softbox / diffusion panel]
- Position: [Clock position] at [angle]
- Distance: [distance from product]
- Effect: [Key-to-fill ratio, e.g., 3:1 -- moderate shadow depth]

**Background light (if applicable):**
- Type and position: [Small LED panel or strobe below and behind the sweep]
- Intensity relative to key: [+1.5 stops -- ensures white background reads as #FFFFFF]

**Accent/edge/backlight (if applicable):**
- Type and position: [Narrow strip softbox at rear quarter, rim lighting for dark products]
 Purpose: [Edge separation, rim definition on dark product against dark background]


 [Position 1]: [Purpose -- blocks light from [surface], creates dark reflection in [surface]]
 [Position 2]: [if applicable]

 [What the product will reflect, where diffusion panels are placed for clean reflections]

---



| Setting | Value | Rationale |
|---------|-------|-----------|
| Focal length | [Xmm (equivalent)] | [Perspective and distortion reason for this product] |
| Aperture | f/[X] | [Depth of field needed across [product dimension]] |
| ISO | [100 / base native] | [Cleanest signal, tripod eliminates motion variable] |
| Shutter speed | [X -- at/below sync speed for flash, or X for continuous] | [Sync speed compliance / exposure requirement] |
| White balance | [Custom / Kelvin value] from [gray card / color checker] | [Consistency across all frames in session] |
| File format | RAW | [Enables white balance correction and color accuracy in post] |
| Focus method | [Manual / single-shot AF] on [specific point on product] | [Why this point -- primary feature, sharpest needed area] |
| Tripod | Required | [Enables low ISO, consistent framing between angles] |
| Remote shutter / self-timer | [2-second self-timer or remote] | [Eliminates camera shake from shutter button press] |

---



 [X degrees above product plane, X o'clock camera position]
 Framing: [What fills the frame, how much negative space]
 What this communicates: [Why this angle sells this specific product]

 [Angle, degrees]
 Purpose: [What additional product information this reveals]

 [Angle, lens distance to subject]
 Focus point: [Specific product feature this captures]

 [Angle, relationship to props]

---





| Prop | Material/Color | Purpose | Placement |
|------|---------------|---------|-----------|
| [Prop 1] | [Description] | [Narrative purpose] | [Position relative to product] |
| [Prop 2] | [Description] | [Narrative purpose] | [Position relative to product] |


 Product primary color(s): [color values or descriptions]
 Background/surface color: [color]
 Prop colors: [colors and their relationship to product -- analogous / complementary / neutral]

 [Arrangement logic, negative space direction, scale relationships, any preparation required (steaming clothing, styling hair, preparing food)]

---



  [Exposure, white balance, lens correction -- applied to all images]
  [White balance to #FFFFFF / background cleanup / sweep imperfection removal]
  [Dust, fingerprints, transit damage -- list specific areas likely to need cleanup for this product type]
  [Specific channels/ranges to check -- e.g., match the label blue to brand color reference]
  [Where and how much -- specific to this product's detail requirements]
  [Mask creation, white background composite for platform compliance]
  [Format, resolution, color space, file size limit -- matched to deliverable platform]

---



| # | Shot Type | Angle | Focal Distance | Focus Point | Purpose / Platform Use |
|---|-----------|-------|---------------|-------------|----------------------|
| 1 | Hero | [degrees, position] | [Xft/cm] | [Primary feature] | Main listing image |
| 2 | Front face | Eye level, 0 degrees | [distance] | [Branding/label] | Secondary listing image |
| 3 | Three-quarter | 45 degrees | [distance] | [Product body] | Form/depth image |
| 4 | Rear / alternate view | [angle] | [distance] | [Back surface] | Third listing image / required by platform |
| 5 | Detail | [close-up angle] | [macro distance] | [Key feature] | Detail close-up |
| 6 | Scale / context | [angle] | [wider] | [Product center] | Size reference image |
| 7 | Lifestyle | [angle] | [wider] | [Product in scene] | Lifestyle/social media image |

---



| Platform | Background | Min Resolution | Aspect Ratio | Color Space | Notes |
|----------|------------|---------------|--------------|-------------|-------|
| [Platform name] | [Required background] | [pixels] | [ratio] | [sRGB / CMYK] | [Any specific requirements] |

---

Rules

1. Never fire a light source directly at a glossy, mirror, or transparent surface. The product surface will display a visible reflection of the light source shape -- a hotspot in the shape of a softbox or rectangular LED panel. Instead, illuminate large diffusion panels and let the product reflect those smooth, even surfaces. This is the single most important rule in product photography technique.

2. Always use a tripod without exception. Handheld product photography introduces exposure inconsistency, framing drift between shots, and motion blur at the low ISOs required for quality. A tripod also enables precise incremental adjustments (shifting the camera 1cm to improve a reflection angle) that are impossible handheld. Use a remote shutter release or 2-second self-timer to eliminate camera shake at the moment of exposure.

3. Set f/8 to f/11 as the default aperture for product photography. Shallow depth of field appropriate for portrait photography is almost never appropriate for products -- the customer needs to evaluate the entire product, not just a focus slice. Exceptions: deliberate creative choice for a lifestyle or editorial shot where a blurred foreground prop adds depth, or macro photography where f/8 already produces extremely shallow depth of field.

4. Always use the camera's base (lowest native) ISO. For nearly all cameras this is ISO 100. No noise is acceptable in commercial product photography -- a slightly soft white background edge with noise looks unfinished and undermines perceived product quality. The tripod eliminates the need for any ISO compromise.

5. Set a fixed custom white balance at the start of every shoot and every time lighting is adjusted. AWB shifts between frames in ways that are visually invisible in a single image but catastrophically obvious when multiple product variants are displayed together on a product grid. Set white balance from a gray card or color checker and do not change it for the duration of a consistent lighting setup.

6. The retouching sequence must always proceed from global to local, structural to detail. Performing color accuracy correction before white balance is correct wastes work. Sharpening before removing blemishes introduces sharpened artifacts. The sequence defined in Step 7 is not optional.

7. Props must never occlude, overlap, or compete with the product's primary selling surface or branding. A prop that covers a label, overlaps the product's main visual, or draws the eye away from the product before the eye reaches the product is a prop that must be removed or repositioned. When in doubt, apply the subtraction test.

8. For e-commerce platforms with white background requirements, the background in-camera must be bright enough that it post-processes to pure white #FFFFFF without destroying product shadow. This means the background must be exposed 1.5 to 2 stops brighter than the product in the original capture. If the background is exposed the same as the product, achieving a pure white background in post requires aggressive curves adjustments that also bleach the product base and destroy shadow detail.

---

Edge Cases

Jewelry, Watches, and Very Small Products (Under 5cm)

At macro shooting distances, depth of field collapses to millimeters even at f/11. A ring photographed at 1:1 magnification at f/11 has approximately 2-3mm of acceptable sharpness -- not enough to capture the full ring in a single exposure.

Solution -- focus stacking: Photograph the product in 10-30 exposures, moving the focus plane forward by 0.5-1mm between each frame (use a focusing rail, not the focus ring, which also changes magnification). Merge the exposures using focus stacking software, which takes the sharpest region from each frame and composites a single fully-sharp image. The result appears physically impossible -- total depth from front to back is sharp at macro distances.

Lighting for jewelry: Gemstones require sparkle -- a very small, bright specular light source (bare LED point light or a narrow-gridded light) positioned to create the internal fire reflection within each stone. This is the opposite of the diffuse large-source rule -- gemstone sparkle is created by small, intense sources. Use a large source for the metal setting and add a small point source specifically for the stones.

Metal finishes on jewelry: Yellow gold, rose gold, and silver each require different background colors to look their best. Yellow gold is most vibrant on a black or very dark background. Rose gold reads best on white or pale blush. Silver is shown on white or medium gray. Mixing jewelry metals in a single shot requires compromise background selection.

---

Dark Products on Dark Backgrounds (Luxury Black Packaging, Dark Electronics, Matte Black Goods)

Dark products on dark backgrounds lose definition and appear as undifferentiated dark masses. This is a contrast and edge separation problem.

Solutions:

• Rim light from behind at the rear quarter (4 o'clock or 8 o'clock position behind the product), aimed to create a thin bright edge on the product's silhouette that separates it from the background. Rim light should be 1-2 stops brighter than the key light.
• Position the product on a surface slightly lighter than the product itself -- a dark charcoal gray instead of black, or a deep navy instead of pure black. The product's black reads darker than the background, providing inherent separation.
• A very thin strip light from behind with a narrow modifier creates a "halo" effect -- a thin bright line outlining the product's form.
• In post, a subtle drop shadow (1-3 pixels of blur, 30-50% opacity) adds ground-plane separation between product and background.

---

Food Photography with Biological Time Constraints

Many foods look their best in a narrow time window after preparation. Ice cream melts within 5-7 minutes. Steam from hot food dissipates in 2-3 minutes. Fresh herbs wilt. Salads oxidize and lose crispness. Sauce pools spread and absorb into surfaces.

Production approach:

• Complete all lighting, camera setup, framing, and hero prop arrangement before the food is prepared. Use a stand-in object (a similarly sized and colored prop or a previous print) to finalize all technical settings.
• Shoot the hero image within the first 3-5 minutes of the food's optimal window.
• Prepare duplicate portions of the same dish to allow multiple fresh attempts. Food photographers working with perishable subject matter always request backup portions.
• For hot food steam: a mug of just-boiled water placed behind the dish (outside the frame) creates steam that appears to rise from the dish in a wide shot. For tight shots, a steamer wand aimed at the dish from just below frame produces controllable steam.
• For condensation on cold beverages: refrigerate the glass for 30 minutes before shooting. Spray the exterior lightly with the glycerin-water mixture (2 parts glycerin, 1 part water) immediately before shooting. This holds condensation appearance for hours versus minutes for real condensation.
• Sauce and liquid control: use small amounts of clear caulk or food-safe gel to hold sauce in position and prevent spreading during the shoot.

---

Products with Embedded Screens or LED Displays

Electronic products with active screens create a fundamental exposure mismatch -- the screen is much brighter than the product body, or the screen is the only bright element in a dark product shot.

Technical approach:

• The screen's pixel refresh rate or LED scan frequency interacts with shutter speed. LCD screens typically require shutter speeds of 1/30 second or slower to avoid banding. OLED screens are less prone to banding. Test at 1/15, 1/30, and 1/60 to find the clean exposure.
• At slow shutter speeds with a tripod, the product body can be correctly exposed. If the screen is still overexposed, a two-exposure composite is required: one exposure for the product body (correctly lit), one exposure for the screen (typically with overall exposure reduced and screen capture mode active on the device, displaying the actual UI or a clean representative screen state).
• The screen content must accurately represent the product's actual interface -- showing a misleading or idealized screen state on an e-commerce listing is considered deceptive advertising.
• If the product will be photographed showing an app or interface, capture screenshots from the actual device at high resolution for digital composite if the on-device exposure does not work.

---

Clothing Without a Model (Ghost Mannequin / Flat Lay)

Clothing on a flat surface loses all the dimensional information that communicates how the garment fits and drapes. Clothing on a visible mannequin creates a competing visual element.

Ghost mannequin technique:

• Dress a mannequin with the garment styled to optimal appearance -- tuck collars, position sleeves, ensure any embroidery or print features are visible.
• Photograph the exterior of the garment on the mannequin (front and back).
• Turn the garment inside out and photograph the inside of the neck/waistband separately.
• Remove the mannequin body in post (selection tools with refine edge for fabric boundaries), leaving only the garment floating in space as if on an invisible body.
• Composite the inner neckline/waistband from the inside-out shot into the ghost mannequin shot to create a complete, seamless illusion.
• To give the garment body and shape: stuff it lightly with acid-free tissue paper before mannequin dressing. Secure excess fabric at the back with non-marking binder clips (any clips in-frame will be removed in post).

Flat lay approach: Works for garments where drape and fit are less critical (T-shirts, accessories, folded knitwear). Iron or steam the garment first. Shoot from directly overhead at 90 degrees with the sensor plane exactly parallel to the garment. Natural or artificial light from a 45-degree side angle shows fabric texture. Style sleeves and collars with pins hidden under the garment.

---

Very Large Products (Furniture, Exercise Equipment, Appliances)

Large products cannot be photographed on a tabletop with a paper sweep. They require a different infrastructure approach.

• Setting: A large room, garage, or studio with high ceilings. Remove all background clutter from the shooting space. Position the product against the largest clear wall available. If a white background is required, tape or hang white seamless paper in the largest available roll width (107 inches is the widest standard roll) or use a painted white wall.
• Lighting: Multiple large light sources -- two or three softboxes or umbrella setups -- to cover the product's full extent without leaving dark zones. For a large sofa, a single key light creates a bright left side and a very dark right side; a second fill light at the right is required.
• Perspective distortion: Wide-angle lenses at close distances to large products create converging vertical lines (the product appears to lean backward). Use a tilt-shift lens to correct perspective optically, or keep the camera lens at the vertical center of the product and use a longer focal length from farther away. Correct residual perspective distortion in post using a transform/perspective correction tool.
• Stylists for furniture: Furniture photography requires a set stylist to arrange cushions, throws, table objects, and adjacent styling elements. The product is the anchor but the surrounding scene tells the lifestyle story that justifies the price.

---

Multi-SKU Product Lines Requiring Consistent Appearance

When photographing multiple color variants of the same product (10 lip shades, 8 sneaker colors, 5 bag colorways), color accuracy and exposure consistency across the series are non-negotiable -- the images will appear side-by-side in a product grid, and any inconsistency in exposure, white balance, or shadow character is immediately visible.

System consistency requirements:

• Photograph all variants in a single session without changing the lighting, camera position, or camera settings.
• Use a color checker card in the first frame of each product color change. This provides a per-image color reference for batch correction in post.
• Use a consistent product positioning template -- a small mark on the shooting surface indicating exact product placement, so framing is identical across all variants.
• Shoot a gray card frame between each product change to provide a white balance reference even if the product color is not the reference target.
• In post-processing, synchronize the global corrections from one representative image to all images in the series, then make individual product-color adjustments only for hue/saturation accuracy. Do not make global exposure or contrast changes per-image.

---

Example

Input: "I need to photograph a 60ml serum in a dark amber glass bottle with a gold dropper cap. It's for our Shopify store hero image and a few detail shots. The bottle has a white paper label with printed botanical line art. We're also running Instagram ads so I need one lifestyle shot on a textured surface."

---

Product Photography Setup: Dark Amber Glass Serum Bottle with Gold Dropper Cap

Product: 60ml serum, dark amber glass bottle, gold metal dropper cap, white paper label with botanical illustration, cylindrical form approximately 14cm tall by 3.5cm diameter Surface Classification: Mixed -- Dark amber glass body (transparent with deep color tint), mirror-finish gold metal cap, matte white paper label Primary Purpose: E-commerce (Shopify) -- hero listing image and detail shots Secondary Purpose: Instagram advertising (lifestyle image) Product Dimensions: 14cm tall, 3.5cm diameter -- tabletop setup appropriate

---

Background

Primary background (e-commerce shots): White seamless paper sweep, minimum 60cm wide, extended forward 40cm onto the shooting surface. The background will be illuminated independently to achieve a clean post-processing path to #FFFFFF. Background illumination strategy: One small LED panel positioned below the product surface level, aimed upward at the white sweep from behind the product's position. This panel is set to approximately 1.5 stops brighter than the key light at the product, ensuring the background reads as near-white in camera and requires only minor curves adjustment to achieve pure white. Lifestyle background: A slab of raw white marble (available as floor tile samples at tile stores for under $10) positioned horizontally as the shooting surface. The marble provides texture contrast against the smooth glass bottle, implies luxury and cleanliness appropriate to a skincare serum, and photographs well with warm side lighting that picks up the veining.

---

Lighting Setup

Surface lighting strategy: This product has three optically distinct surfaces requiring a layered lighting approach. The dominant challenge is the gold metal cap -- it is mirror-like and will reflect every light source and object in the room. The amber glass body responds to backlight beautifully, showing the product's warm color and liquid clarity. The matte paper label needs soft front diffusion light to read cleanly. The solution is: a large diffusion panel as the key (which the gold cap reflects as a smooth graduation), a backlight panel for the amber glass luminosity, and a white card fill for the label.

Key light:

• Type and size: Large white diffusion panel, 80 x 120cm (constructed from a foam board frame with white ripstop nylon or a shower curtain as the diffusion surface; alternatively, a 60x90cm softbox positioned at a distance sufficient to make it appear large relative to the product)
• Position: 10 o'clock (slightly left of camera axis, relative to the front face of the product) at 50 degrees above the product plane
• Distance: 45cm from the product -- the diffusion panel occupies a large apparent angle from the product's perspective, creating a wide, smooth reflection in the gold cap
• Power: Serves as both key light and the primary reflection source for the gold cap. The panel should be bright enough to properly expose the label while providing a clean white/gray reflection that grades from bright at top to darker at bottom in the cap.

Fill:

• Type: White foam board reflector, 50 x 75cm
• Position: 4 o'clock (opposite the key panel) at 30 degrees above product plane
• Distance: 25cm from the product
• Effect: Provides 3:1 key-to-fill ratio -- enough fill to open up shadow on the label while keeping a shadow gradient that shows the bottle's cylindrical form. Closer positioning (15cm) would reduce this to 2:1 if the shadow side appears too dark on the label.

Background light:

• Type: Small LED panel (or hotshoe flash with diffuser) positioned on the shooting surface behind the product, below the product's base level, aimed upward at the white sweep
• Intensity relative to key: +1.5 stops brighter than the key light -- ensures background reaches near-#FFFFFF in camera

Backlight for amber glass:

• Type: Second LED panel or softbox positioned directly behind the product, aimed at a white card placed 20cm behind the bottle
• Purpose: The light passes through the amber glass, illuminating the product's color from within. This creates the warm amber glow that shows the serum's quality and color. This light must be carefully powered -- too bright and it bleaches the amber to orange-white; too dim and it has no visible effect. Start at the same power as the key and adjust to taste.
• The backlight will also create a bright rim glow on the front glass edges of the bottle -- visually striking and shows the product's form.

Flags (black cards) used:

• Right side of gold cap: A strip of black foam board (8cm wide) positioned at 2 o'clock at the gold cap's level, just outside the frame. This creates a dark reflection in the right side of the gold cap -- without it, the cap is uniformly bright and appears flat and dimensionless. The dark reflection defines the cap's cylindrical curvature.
• Left side of gold cap: Another black strip at 10 o'clock close position creates a paired dark reflection. The cap now has: dark left edge, white graduation from panel reflection, dark right edge. This reads as a polished, three-dimensional metal form.

Reflective surface notes: The gold cap will be the most demanding surface. Before shooting, rotate the bottle slowly while looking at the cap in the camera monitor (use live view). Observe where reflections of the room, the camera, and surrounding equipment appear. Use additional black cards or white cards to replace any unwanted room reflections with controlled ones. If the camera itself is reflected in the cap, mount a black card with a hole cut for the lens in front of the camera (a "donut" card) to replace the camera's bright reflection with a dark one.

---

Camera Configuration

Setting	Value	Rationale
Focal length	85mm to 100mm equivalent	Mild telephoto compresses the relationship between the bottle's foreground label and the background sweep; prevents the bottom of the bottle appearing disproportionately large from the perspective distortion of a shorter lens
Aperture	f/8	At 50-60cm working distance, f/8 provides sharp focus from the dropper tip to the bottle base -- approximately 4-5cm of depth, which covers the 3.5cm bottle diameter at slight angle. f/11 if the three-quarter shot requires more depth.
ISO	100	Lowest native ISO, maximum dynamic range. Critical for the white background -- noise in white areas is immediately visible.
Shutter speed	1/160 second (at flash sync speed limit) or 1/4 second (LED continuous light)	Flash: must be at or below sync speed. LED continuous: determined by aperture and ISO -- typically 1/4 to 1 second on tripod.