Whisky Photography

This live photography workshop covers the start to finish process of a product photography shoot, photographing a bottle of whisky to advertising standards, using just a three light setup.

Karl guides you through each step of the process, from planning and previsualization, to the retouching required to finish the shot.

How to light reflective surfaces, controlling gradient light, using reflectors and useful post production techniques are all covered in this exciting shoot. Karl also shares a number of little-known industry secrets that help elevate a shot to advertising standard.


In this live photography workshop we cover the following:

  • Product photography: How to photograph bottles
  • Product photography lighting tips
  • Lighting setups for bottle photography
  • Photographing using multiple lights
  • Useful post production techniques for product photography
  • Creating a composite image in Photoshop

If you have any question about this photography workshop, post them in the comments box below.

Comments

  1. Hi Karl,

    You mentioned that an option is to use some gel on the top light to warm up the shot. Do you advise getting a pack of gels or are there just a few that is needed in general for food and product photography? If so, please advise the colour code or pack and size to get. Thanks!

    1. Hi Joycelje, please email the studio or contact customer support through your home page and ask them for the details of the filters of our ‘technical pack’ as I’m away at the moment but they should be able to give you the specifics.

  2. Lastly,

    Do you use a coat of white primer on the hardboard before painting the color you chose?

    1. Hi Kelloosh, no I normally just paint straight on with a roller, two coats of the colour with about 40mins drying time between.

  3. Hi Karl,

    Would a Godox AD-200 Flash work ok for the background glow? The unfortunate thing is that the barn door attachment will not fit on the bare bulb head but does attach to the speedlight flash head. Worried I won’t get a round glow due to the shape of the flash…

    1. Hi Kelloosh, I’m afraid I can’t really answer that without trying which is what you are best doing in this case. If it doesn’t work try to figure out why it’s not working and what you can make to solve it.

  4. Hi Karl,
    Thanks for this amazing live show! I have checked rosco white diffusion rolls, and there multiple numbers of them. Can you tell which one you usually use or specifically in this live?
    Thank you,
    Saeed

  5. Hi Karl,

    I was wondering if I could get a response to my question above that I posted Feb 21st.

    Thanks
    Todd

  6. Hi Karl,

    I just joined KTE yesterday and just finished watching this video. Thank you for sharing your knowledge and for letting us in on your process. I will definitely try a whiskey shoot, but curious what reflectors you’d use other beverages that are either bright red, purple, or even yellow. Would you stick to gold on warmer tones, and Silver for the colder ones?

    1. Hi, thanks for joining us and I’m sure you’re going to love some of our other content too. If you need the colour to remain true then silver is the best choice, gold is only good if you need to ‘richen’ whiskies etc. So for example as it’s a warm colour it would enhance yellow, orange or red liquid but it may take them away from their intended form but you wouldn’t use it on blue or purple unless you wanted to make them less blue or purple. Talking of which you might find this useful – Kind regards Karl.
      https://karltayloreducation.com/class/understanding-basic-colour-theory/
      https://karltayloreducation.com/class/live-workshop-post-production-techniques/

  7. Hi Karl,
    This tutorial impressed me so much I am going to try to duplicate it just to see if I can. I finally found a bottle of Dalmore to shoot. I’ve had a difficult time finding the color of paint you used for the hardboard. Finding the hardboard proved a bit more troublesome than I thought. The ‘cognac’ color the stores here have is a reddish color instead of what looks like a mossy green in the video when you lift the board off the floor. I think I found a suitable substitute. We’ll see as I have to go about this a piece at a time as the budget permits. The question I have is, what are those clamps you are using to secure the hardboard to the support and, what is that support? Would a standard backdrop stand suffice or is the aluminum not sturdy enough to use the clamps, in other words, would the clamps crush the cross bar. If so, what do you suggest as a support for the hardboard backdrop. Also I’m going to try to shoot this in my very small apartment and I’m not sure I’ll be able to get the lighting right. THAT will be my problem to solve along with the rest of it.

    Thanks in advance for your quick response.
    Todd

    1. Hi Todd,

      Please accept my apologies for the late reply, this one must have got missed in the whole covid lockdown matrix! I think I used differrent types of clamps but it would have been one of these –
      https://www.manfrotto.com/uk-en/spring-clamp-clamps-on-to-bars-up-to-40mm-175/
      https://www.manfrotto.com/uk-en/super-photo-clamp-without-stud-aluminium-035/
      https://www.manfrotto.com/uk-en/quick-action-super-clamp-635/
      https://www.manfrotto.com/uk-en/avenger-grip/pelican-gaffer-grip-c500/

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