High-end Headphones Product Shoot

In this photography workshop, Karl undertakes a product shoot of a pair of headphones on a white background.

This technically challenging advertising-style shot presented a myriad of challenges, including positioning the product to find the best composition, creating a white background without introducing flare, lighting both matte and reflective surfaces, controlling shadows and balancing multiple lights.

Karl details the step-by-step process of creating this shot, explaining his creative decisions, how he plans to overcome each challenge and the lighting setup. He also shares the post-production work required to reach the final image so that members can see the complete start to finish process.

In this class:

  • How to photograph a pair of headphones
  • Photographing products on a white background
  • How to light and photograph matte and reflective surfaces
  • How to create gradient lighting
  • Using ND and polarising gels for product photography
  • Controlling shadows

Questions? Please post them in the comments section below.

Comments

  1. Aung Khant

    Karl, I am an enthusiast from Myanmar. Although I want to go further in product photography, I am encountering a lot of problems to solve. One is “scrim”. Currently I am working in a tight space, I can’t fit one large enough.
    With all due respect sir, what would be the best solution for a scrim?

    1. Hi Aung, with photography we are bound by the laws of physics. Some shoots are acheivable in a small space and some are not, alot of the decisions on how big a scrim needs to be (or how close) are dictated by ‘angles of incidence and angles of reflectance’ as such there will be situations where there is no alternative to a certain size scrim or ‘wall’ as a reflector etc and that is it i’m afraid, because we can’t break the physics.

  2. Hi Karl, when the background was to dark, you said: “we are going to have to adjust the lighting or the ISO to suit. (not the aperture).
    As a beginner, I ask myself, why is adjusting the shutter speed no option?
    Thanks in advance.

  3. Some absolutely stellar advice in this video. I particularly like around 17mins — and your shooting area / surface. Many times in the past I’ve made it difficult for myself with larger surfaces and difficulty getting lights close enough.

    Remember, Photoshop exists.

    This is the kind of advice only an experienced pro can give…

    Thumbs up emoji, Karl.

  4. kenshi2008

    Always learn something from your courses. I am glad I sign up again. Just in case I look for work this be great additional skills for social media work like Levis, electronic company, or others. I have used some of the techniques with my speed lights on test practice products and for social media. I mostly do photography as a hobby but know a little about video in case I look for work part-time in retirement.

  5. Karl, question about the scrim placement. I had just watched the sunglasses tutorial where the scrim was above and very close.. mostly to add the gradient & control the reflections in the lenses. In this case, the scrim is around 60-80cm above the headphones. Is it strictly a matter of comfort and space available for that distance or a specific lighting reason? There are some chrome reflective bits. Did you choose the distance to work on those separately? Could you have shot this with the scrim far closer, for instance, because your studio is more confined?

    1. Hi Gary, with the sunglasses the main reason the scrim was so close is to increase its apparent size to the subject. Because the sunglasses were almost spherical and highly mirror like then having the scrim close meant I would fill more of the lenses with the scrim. In this case the tops of the headphones were a matt/lustre finish so not so essential and the chrome parts were to the side or underneath and much smaller so I knew I was going to use mirrors to bounce back into those areas. Working comfort would also have been a factor but only secondary to the results needed.

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