How to photograph objects on a white background. Shooting white on white and black on black

It's no secret that the number of online stores today is increasing day by day. Competition is growing, and the strongest wins. One of the factors that pushes people to make a purchase is a clear presentation of the product using professional photographs.

As a rule, the most popular photographs of products for a catalog are on a white background. Moreover, the background must be white, that is, have the values ​​of all RGB channels equal to 255.

In this article, you will learn about two ways to shoot catalog products on a white background, and also watch a training video on replacing the background with white using clipping in Photoshop.

So, the first method is shooting on a stage.

The simplest object layer is a piece of curved plastic mounted on an aluminum frame.

For filming we will use the following equipment:

• Camera (any SLR or mirrorless camera with a hot shoe and the ability to shoot in M ​​mode)
• Lens with focal length from 85 mm. Using a macro lens is ideal, but for beginner photographers this is very rare.
• Tripod (any sufficiently strong tripod with good support for the camera will do).
• Stage table is 60 cm wide (enough for shooting most subjects and much cheaper than a large table).
• Two pulsed light sources with softening attachments. These can be either simple on-camera flashes, for example, Yongnuo YN-560 III, or studio monoblocks. You can even shine ordinary construction spotlights through tracing paper.
• Synchronizer.

The camera settings for shooting are standard (when using pulsed light), ISO 100, f/11 aperture for good depth of field, 1/125 sec shutter speed. If you use on-camera flashes, which have lower power, or constant light, then the settings will be different.

The light circuit is shown in the figure below. The softbox behind the subject table will illuminate the surface behind and under the subject, and the octobox above the camera will illuminate the subject itself.

The illumination of the background should exceed the illumination of the subject by approximately one level. If the background is too bright, the edges of the object will begin to “burn out”, merging with the background. If the background is illuminated weaker than the subject, then it will no longer be close to white, but gray.

Most likely, you will need to take several test shots before you find the optimal power of the light sources.

Photography process

We prepare the object, clean it of dust and place it on the object table.

A camera with a synchronizer must be mounted on a tripod and the height adjusted so as to shoot from the level of the subject or slightly higher.

Then we focus, preferably in Live View mode, and turn off autofocus on the lens.

We take test shots, check sharpness and exposure. If necessary, adjust the power of the light sources.

Having selected the necessary parameters, we take the final photos.

Here is an example of a photo straight out of the camera, without any processing.

And this is already a cropped photograph.

The next method that is often used is

Shooting in lightcube.

We use almost the same equipment. For example, I simply placed the lightcube on the object table.

IN in this case One light source is enough for me.

Inside the lightcube we fix the pre-ironed (so that there are no folds) complete White background, we place an object on it, close the front wall, leaving a minimum of space for the lens, select the lighting power and shoot.

Here is an example of a photo from the camera:

And this is a photo after clipping in Photoshop.

As you can see, these shooting methods are very simple, but they require time to post-process the image by cutting out the object along the contour (clipping).

A video on how to clip using the Pen Tool will be released soon.

Instructions

The way to solve this problem is to separate one white object from another or the background, making sure that they do not merge. Ideally, you need to get a photograph where there are many shades of white, light gray and there will be no “knocked out” areas (those in which there are no details).

In a scene of white elements, one of the main factors will be the dynamic range of the matrix. It will allow you to achieve maximum large quantity halftones, making more difference in the white. Use the latest DSLR models digital cameras, preferably a professional segment with a full-size matrix. The ISO value should be set as low as possible, ideally 50-400. It is worth noting that the quality of shooting is greatly influenced by the characteristics of the optics used. Choose fast prime lenses or top-of-the-line zoom lenses.

If you're using studio lights, position the fixtures so that the light hits different objects differently. For example, if you're shooting a glass against a white background, light the glass of milk a little brighter than the background and other elements. The direction of the devices should also be diversified. The light can be directed directly at the background, and at the glass of milk from above and from the side. When using natural light, avoid direct sun rays. Look for the most diffused light possible. This could be side light from a window or direct light in cloudy weather.

A shallow depth of field can add extra emphasis, making one subject stand out in contrast to others or the background. Experiment with placing your subjects at some distance from each other. Use fast lenses and shoot at the minimum aperture (maximum aperture). It is better to choose optics such as portrait or telephoto lenses. Reduce the distance between the subject you will be focusing on and the camera as much as possible.

An external exposure meter is very convenient, which can measure the value of the incident light from high accuracy. If there is none, shoot in aperture priority and center-weighted metering mode, setting the exposure bracketing value to plus and experimenting with its values. Don't forget to control the shooting result using the histogram. Do not allow such exposure when the histogram graph moves too far to the right edge.

Shoot only in RAW. Modern graphic editor will help correct some shortcomings of the photo, as well as bring the white balance, brightness and contrast of the photo to optimal.

Our photos don't always turn out perfect. Sometimes the lighting sucks, sometimes a bad angle ruins everything. Agree, strangers and objects in the frame are unlikely to allow you to put an image on your avatar.

Surely you have often wondered how to make a white background in a photo? Today you can edit a photo in just a few minutes. All you need is a “Home Photo Studio”. By following the instructions below, you can easily learn how to process any photos.

Step 1. Download the utility

Before you start, you need a photo editor from the official website. Wait until the distribution downloads completely. Next, unpack the downloaded archive, after which the Installation Wizard will open. Based on its instructions, install the program components on your computer. For easy access to the editor, create a Home Photo Studio shortcut on your desktop. Launch the software and proceed to the second step.

Step 2. Upload a photo

Now you need to add the photo that you are going to edit. Click the "Open Photo" button. Find the picture in your computer's folder browser and double-click on it. As soon as it appears in the main window, you can start working. To learn how to create a white background in a photo, read on.

Step 3. Retouch

The first stage of working with photos is retouching. This means correction color range, smoothing out wrinkles and much more. You can start by eliminating red eye. To do this, it is recommended to go to the “Defect Elimination” section. If you click on the pupils of the eyes one by one, you can thus color them in an acceptable color. To remove wrinkles and pimples, use the stamp tool located in the action panel on the left.

And if you want to improve image quality, then take a look at the “Enhancement Catalog” presets. Select from the suggested options the preset that you require - for example, improving saturation or highlight correction. Then simply apply the template with a double click.

Step 4: Change the background to white

It's time to figure out how to make a white background in a photo. The program has a special filter for this. To get to it, click Effects > Background Replacement. In the background selection column, select white. Next, you need to highlight the object in the photo using a dotted line. Once you succeed, double-click the selection. The area around the object will automatically turn white. After this manipulation of the background, you can apply masks or .

Step 5: Save the photo

All that remains is to save the photo in the format you need. Make sure to save all changes to the photo. After that, click File > Save from the main menu. Select an image format from the list: it can be JPEG, PNG, GIF, etc. Give the file a name and save it in one of the folders on your PC. You can also print the photo on paper of any format by choosing one of the options for placing the photo on a sheet.

It's easier to work with the background if it has texture. Everything is different when a portrait is being taken and the photographer wants to get a completely white background.

In eight-bit color model RGB this background has color R=255, G=255, B=255(or ffffff). If the photographer achieves exactly this background color at the time of shooting, subsequent processing of the finished frames will be significantly simplified.

If we look at stock photography, this shooting technique is used quite often. The resulting images are in some cases called “isolates.” It’s worth taking a closer look at shooting a portrait on a white background – how to proceed, what to do to get the ideal result.

Methods for shooting on a white background

Many novice stock photographers often wonder how they can easily get a simple white background without subsequent lengthy processing in one editor or another (for editing they usually choose “ Photoshop", but there is other software).

There are 4 ways that make it quite easy to get pictures of a person and objects on a completely white background.

About all methods in detail:

1. You can use a chromakey background (blue, green), which can then easily be changed to the required one (including white);
2. Some people use a glass podium to separate the subject and background - not the best choice For portrait photography, the podium is too bulky. But for subject photography this approach is perfect;
3. Some people use special glass ball backgrounds. This method is expensive, requires a ring flash. Solution for subject photography fits perfectly;
4. A number of photographers use glare (highly reflective) backgrounds in their work.

More details

If we consider the first method in detail, it is widely in demand when filming video - both outdoors and in a studio. Indeed, why waste extra resources when you can do it in the studio and finalize the result on a computer?

There are still some disadvantages:

• Green highlights from the background may be visible on parts of the body directly in front of the background (such as feet)
• A similar effect is also noticeable if a person sits on green, lies on it (comes too close to the background);
• Another disadvantage is that you have to be selective in terms of clothes and watch their color. Blue and green wardrobe items will have to be put aside, otherwise there will be problems with separating the person from the background.

What is remarkable about methods 2 and 3? They are used mainly in subject photography. They are rarely used for portrait photography - it is expensive and inconvenient.

Such options are also not suitable for those people who prefer to create their own shadows from objects during post-processing. The point is this: when filming, either with a glass podium or with glass ball backgrounds, there are no shadows on the background, and there will be no reflections from objects.

A person (or any object) seems to be located in the air without any support. This result looks unnatural. However, an experienced specialist will easily be able to draw the desired shadow if necessary.

The final method is suitable for both portrait sessions and product photography. But there are also disadvantages: the method is not very suitable for photographing transparent products. And yet, it is the latter method of shooting on a white background that is currently recognized as the most universal, even taking into account the fact that transparent fabric cannot be removed well, just like glass or containers with liquid. It is worth telling about it in more detail.

Glare backgrounds for shooting on white

Light arrangement diagram

The scheme here is simple:

• A pair of pulsed lighting devices (they have reflectors) should be aimed at the background at a slight angle;
• The key light will be created by the octabox;
• Any other light source can also be used as a key light source. An umbrella is suitable for this, portable dishes are often used, some prefer to use a softbox and more (everything is determined by what kind of light pattern you need to get);
• To fill the shadows, an additional source is sometimes used;
• Plexiglass on top of a white background is laid directly on the floor. Thanks to this approach, the surface becomes highly reflective - now it is almost a mirror;
• The reflection from the model appears on the floor, the shadows disappear.

It is not necessary to use plexiglass - you can use polycarbonate white or fiberboard panels that are painted with white glossy paint. Mezonite panels will also do the job perfectly. This option is generally convenient in many respects - cost, size.

The undoubted advantage of plexiglass is that it can be placed not only on a white background, but also on any other background - the surface will be protected from shoes. The photo above clearly shows the layout lighting fixtures. The same frame also shows the basic principle of obtaining a completely white background: overexposed wall background reflected in the glare floor. Where the background is not reflected, the floor remains dark.

It is recommended to set the background light power so that the background illumination is greater than the illumination of the model - at least by 2 exposure levels. For example, for shooting a model, the aperture is suitable f/5.6. In this case, it is better to choose an aperture for the background f/11. In a nutshell: if the aperture is set on the camera f/11, the background, with the same power of the sources, will be exposed correctly, but there will not be the necessary overexposure.

Three important aspects that need to be taken into account when shooting using this scheme.

1. Shooting angle. ONLY THE REFLECTION OF THE WALL BACKGROUND SHOULD BE VISIBLE IN THE FLOOR! The lens won't fit any wider here. 70mm. In this case, nothing unnecessary will get into the frame, and the background will be completely white WITHOUT ANY PHOTOSHOP
2. THE LENS MUST BE ABLE TO HOLD BACK LIGHT. If the lens cannot cope with the firelight, or catches glare, then the image will not be contrasty. Sometimes this can be caused by a protective filter on the lens; it will have to be removed.
3. THE DISTANCE FROM THE BACKGROUND TO THE MODEL SHOULD BE AT LEAST TWO METERS. At a shorter distance, backlight from the background onto the model is simply inevitable. Therefore, in order not to lose the contours of even white clothes, choose the distance correctly.

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In this article, I do not set myself the task of covering all the nuances of subject photography without exception in all its diversity. Rather, I strive to help a novice photographer who is thinking about product photography for the first time (for commercial or for some other purposes), but does not know how to approach it.

We will talk about shooting isolated objects on a white background, since it is this type of subject photography that is most in demand in photo banks and, by a happy coincidence, is extremely easy to learn. First of all, you will need to be careful and pay attention to detail.

Comfortable and uncomfortable items

Not all objects are equally suitable for isolation on a white background. I don't want to say that you should limit yourself to photographing only simple objects - you can photograph almost anything. However, shooting some things involves considerable difficulties, both directly during shooting and during post-processing.

Let's consider the properties of an ideal object:

• It is noticeably darker than the background and has no white areas. This makes it easy to adjust the exposure so that the subject is exposed normally and the white background is slightly overexposed.
• The object has clear boundaries. Fur, fluff, and the like make it very difficult to selectively bleach backgrounds in Photoshop.
• The object has simple form. Complex openwork structures, through which the background shines through, are not easy to isolate.
• The surface of the object is matte. Glossy shiny objects reflect everything around, including you and your studio, requiring special attention to the highlights and their shape. Transparent objects are even more difficult to work with.
• The object is motionless. Photographing pets is extremely fun, but requires skill and agility. Still lifes allow you to work slowly.
• The object is not large, but not too small either. Small objects definitely need a macro lens and are very demanding about the cleanliness of the workspace. Large objects are simply too bulky for a home studio.

Thus, the ideal objects for shooting on a white background are: walnut; unglazed clay pot; wooden box and so on. An example of the worst object would be, say, a white long-haired cat trying to fish a goldfish out of a round glass aquarium.

Purity

Make sure that the items you remove are clean. The dust, invisible at first glance, will be clearly visible when carefully viewing the images on a computer monitor. If you are shooting a small object so that it appears larger than its actual size in the photograph, then be prepared for the fact that any dirt and dust will become intrusively obvious at 100% magnification.

To bring shooting subjects into marketable condition It is best to use optical brushes and microfiber cloths, i.e. those tools that do not leave marks or fibers.

On smooth and especially glossy surfaces, fingerprints are clearly visible and must also be eliminated. To avoid leaving new prints, it is sometimes advisable to wear medical gloves made of latex or nitrile before work.

Of course, dust, small stains of dirt and individual fingerprints can be removed in Photoshop. Another question is, how long will it take? In my opinion, it’s easier and faster to take care of proper cleanliness once than to then remove the same specks of dust over and over again on each of the hundreds of processed images.

Equipment

Camera

I have had the opportunity to do subject photography even on fresh air, setting up a table in the middle of the lawn at his dacha. On a moderately cloudy day, the cloudy sky is a source of perfectly diffused light, quite suitable for subject photography.

Typically, isolates photographed for photobanks have a slight blurry shadow underneath them. If complete isolation without any shadows is required, then the objects are placed on frosted glass or thin white plastic and additionally illuminated from below.

To isolate without shadows, I placed a piece of glass on top of four clear glasses, thus raising the cup above the paper.

And if I had not been too lazy to find frosted glass,
the reflection would also disappear.

Exposition

General information about exposure can be found in the article “Exposure: Theory”. About exposure when working with studio flashes, see the article “Studio flashes”.

If you use studio flashes, you should prefer manual exposure mode, but for constant light, aperture priority mode will work.

I usually use an aperture around f/16, but sometimes you may need a greater depth of field.

Use a histogram to evaluate exposure. Your goal is to work the subject well without overexposing it. The white background can be overexposed completely freely, provided that the overexposed area does not interfere with the object. Don't try to make the entire background completely white - you'll still have to etch it out in Photoshop. Just try to get as close to the final version as possible to make later editing easier.

Thank you for your attention!

Vasily A.

Post scriptum

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