Fishing Reel Photoshoot

For this class, Karl undertook one of the most challenging shoots of his career — photographing an Abu Garcia fishing reel.

Key to the shot was controlling highlights on the metallic surfaces of the product, lighting key areas of the reel and achieving sufficient depth of field, and you’ll see how Karl tackled each of these, and other challenges, through careful control of light, patience and experimentation.

Class objectives:

  • Demonstrate how to photograph metallic products
  • Techniques for creating gradient lighting
  • How to light small details using specialist lighting modifiers and mirrors
  • Demonstrate the effect of flare & how to reduce it
  • Controlling light bounce in a studio
  • How to achieve greater depth of field using focus stacking

If you enjoyed this class, other related tutorials you may find useful include:

If you have any questions about this class, please post in the comment section below.


When it comes to product photography, understanding your product and the key features is paramount. As a keen fisherman, I knew what was important to show on this particular product, but lighting each of the elements would prove to be no small task.

With a highly reflective product such as this, it goes without saying that gradient lighting would form part of the setup. For this shoot, that’s where I started before moving on to lighting details such as the logo on the side of the product.

Lighting setup for fishing reel product shoot

Creating an overhead gradient light was the first stage of the lighting setup.

As I progressed through the shoot, flare and light bounce proved to be two major challenges. This was caused by two main factors — lights shining into the lens, and light reflecting off the metal of the product and bouncing into the lens — and this was something that I had to address a few times throughout the shoot.

Flare visible in the shot

Flare was one of the challenges that had to be overcome during the shoot.

I spent the majority of this shoot lighting and refining the lighting on the product, before finishing with the background light and focus stack. To fully capture all of the details on the product, this was the only way I was able to get sufficient depth of field.

By working methodically and addressing each ‘problem’ as I went, I was able to reach an end result that I was happy with.

Photograph of an Abu Garcia fishing reel

The final fishing reel photo.

Comments

  1. Neri

    Wonderful session, learned a lot in this one combining a lot of lessons from other courses.

    Wondering if the water reflection would be mimiced nicely by using a bounce card from beneath with scrambled aluminium foil on it. So instead of shooting through the acrylic a light would shoot down on the bounce card. r maybe some wrinkly tracing paper on the acrylic?! Maybe it would also be too busy. Not sure, didn’t test, just a thought.

    1. Neri

      Additionally I realized that not all focus stacks made it into the final image – the rod fades out.

      I guess it would be predefined with a client in the brief. Even if so, would it be a good move to show both versions to the client?

      1. Hi, no not necessarily sometimes you can present too much and the client can then get confused. It’s better to deliver what the art director wanted unless you feel strongly and discussed first that an alternative would be better. I decided that this was the DOF I wanted so there wasn’t really a need for me to do another.

        1. Neri

          Hi, thanks for your thoughts and experience on this. Will keep it in mind and discipline myself. Sometimes you get carried away and ignore the clients position. Making a bad impression even with a great result would be a terrible situation.

    2. Hi, yes and that’s a good way of thinking, anything that can replicate a real world scenario will give more believable results.

  2. Karl,
    Your attention to detail is a refreshing delight to watch.
    Big respect sir.

    Happy New Year.
    Cheers

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