How to Avoid Reflections in Product Photography

In this article I try and explain how to avoid reflections in product photography. I look at three lighting setups aimed at minimising reflections when photographing products with reflective surfaces.

There are many challenges while photographing highly-reflective products like sunglasses, watches, and other products. However, the photographer who can shape and control light and shade, therefore eliminating reflections and other distractions, such as bright highlights, has a definite edge over their competition. Photographing these type of products become as easy as photographing non-reflective products.

Let’s get Started

In this article I will look at using several different lighting variations and products to hopefully demonstrate how to correctly light reflective objects and achieve high quality images. Following this guide on how to avoid reflections in product photography, should show you how to photograph sunglasses, watches, glass objects, without unwanted glare.

Photographing Glass without unwanted Glare

There are a few different ways to photograph glass products, but the most flattering and visually-striking method is to light a glass product from behind.

This technique is called ‘backlighting’ and it will flatter any glass product by taking advantage of glass’ translucency to give your product a “crystal-clear” appearance.

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Arranging your setup for backlighting

In order to create a backlighting setup, you will need to position your light source behind the product so that the brightest area of light shines directly through the glass and emphasises the outer edges and highlights the natural curves of each product. You can use continuous lighting or strobe lighting—either way is fine because you will be using a tripod for stability.

Next, you need to diffuse the light source. You can either use a light umbrella or some or thin white fabric, (handkerchiefs are good.). Position the white paper or fabric between the product and the light. If you want a reflection then place a reflective surface under the product; if not, use a something with a non reflective surface, like cloth.

This lighting setup is trying to imitate natural, soft window light, where you want the light to wrap around your subject evenly without creating harsh ‘white spots of glare’ or distracting reflections.

If you want to emphasise the outline shape of the product, try using black foam boards placed either side of your product. This will help better saturate your colours and emphasize the edges of your glassware.

The final step before you adjust your camera settings and start shooting, is to double check that your product has been cleaned with glass cleaner and is free of dust and smudges. I use a pair of gloves and a soft cloth to ensure that the surfaces are blemish free.

How to avoid reflections in product photography with correct the camera settings

Depending on what style of lighting you choose, you could adjust your white balance using your camera’s built in options. I prefer to use the AWB (automatic white balance), setting and take care of any colour cast post shoot.

Obtaining Focus

Manual focus is more reliable than your camera’s autofocusing system, because it needs a defined object to focus on, (usually an edge.) As long as you aren’t using a very shallow DOF like f2.8 or even f1.4 the whole product should fall into the focal plane. If it doesn’t, then assuming you are using f8 or f11, you need to look at the distance between the lens and the object.

I normally use a 100mm prime. I tend to shoot in AV mode, with my ISO set at 100, with an aperture of f8. Invariably I am using a tripod with a 2 second timer delay. If the product is particularly deep I move the lens further back from the subject to extend the focal plane.

Expect to take a lot of test shots, and be making making small adjustments to your lighting setup and camera settings in order to capture the best images possible to promote your products. It is time consuming, but pays off big time in the final results.

You will be focusing on one of the outer parts of your glassware because your camera’s autofocusing system needs a defined object to focus on. Choose an element of your subject that is well defined, making it easier for your camera lock onto when focusing.

However, since it is important to overexpose the background when backlighting images to properly expose your subject, you will probably need to adjust your shutter speed down one or two stops from what your camera’s light meter recommends. Again, play around with the settings until you get the effect you are after.

In order of photo: Too much light, Perfect, Too little light

Using foam boards

In the image series below, you can see the differences between:

using nothing to the side of the product
using a pair of whiteboards
using a pair of black boards
using the same black boards positioned close to the product.

You should notice that the outer black line of the vase gradually becomes more defined as foam boards are added, darkened and moved in closer. This gives the object a more definition and depth.

In order of photo: No boards, White boards, Black boards, Black boards closer

Post-Production Processing

Backlighting should blow out any imperfections on your glass product, which will greatly simplify your post-production workflow. If any spots or smudges are visible, clone them out. After that, work on desaturating and cleaning up your background to pure white.

These simple, quick touch-ups will make your images look much more professional.

The following images were shot with the same “box” backlighting setup that we demonstrated earlier in this tutorial, which you can see is flattering to each piece.

Side lighting: Photographing Detailed Glassy Products

Photographing glassware is easy because you’re able to overexpose the glass itself, but other reflective products like sunglasses and watches contain details that you cannot blow out with backlighting.

These types of products need to be lit differently so that customers will be able to see the full product that you are trying to sell.

Studio Setup

You will need a large table to set your product on and one large light diffused by an umbrella positioned to the left of your product.
Next, hang white rolled paper so that it sweeps down underneath your product; for best results, connect the end of the sweep to the bottom of your camera lens to reflect some light back onto the product and eliminate any foreground reflections.
Much like the “box” backlighting setup, you will need to place foam board next to the product on the side opposite from the light source, which can be either a continuous lamp or a strobe. It’s best to tape two pieces of foam board together into a “V” to funnel the reflected light around the product and achieve soft, even light.

The product photos below demonstrate both bad and good lighting techniques.

Bad. The reflections here will distract customers from the product and lower perceptions of its quality.

Good. Attaching white paper to the bottom of the camera lens allows for a more becoming reflection.

Left: Bad example of a watch. Right: Good example of a watch.

To achieve the effective lighting in the watch photo on the right, we moved our light source from direct side lighting to 45-degree side lighting so that the watch’s face would become brighter without causing a spot glare on the face.

You will also need to utilize a tripod with this setup to keep your image framing consistent.

Position your camera slightly higher than you would to light a backlit glass product so that you are shooting slightly down at your product. This will eliminate reflections and allow for a flattering angle of your product.
As always, make sure that your product has been cleaned thoroughly.

Camera Settings

As with the backlighting setup, you will need to adjust your white balance according to the type of lighting you are using (e.g. tungsten, fluorescent, daylight, etc.).

Focusing is easy with sunglasses and watches because these products contain more detail for your camera’s autofocus to lock onto. Focus on the center part of your object and use an aperture of at least f/11 to get the sharpest images.
With side lighting, it’s fine to simply follow the promptings of your camera’s light meter to set your shutter speed. If you’re having trouble finding the right settings, set your camera to Aperture Priority mode and your camera will optimize shutter speed for you.
Don’t forget to set your ISO to the lowest possible setting. If you’ve taken our advice to use a tripod, you should be able to use ISO 100 without a problem.