Glass, metal and polished surfaces.
WHY THEY ARE DIFFICULT
They show what is around them rather than themselves.
WHAT THAT MEANS
You are lighting the reflection, not the object.
WHAT TO CONTROL
Everything the object can see.
WHAT WORKS FOR METAL
Large, even sources filling the reflection White card surrounding the object A tent enclosing it entirely
WHY LARGE SOURCES
Small ones appear as distracting bright spots.
WHAT WORKS FOR GLASS
Lighting from behind, through a diffuser Dark cards at the sides, creating defining edges
WHY DARK CARDS
They produce the dark outlines that make glass readable.
WHAT TO AVOID
Direct front light The camera and photographer reflected Cluttered surroundings visible in the surface
WHAT TO CHECK
The object at shooting position, looking for your own reflection.
WHAT POLARISING FILTERS DO
Reduce reflections from non-metallic surfaces.
WHERE THEY HELP
Glass and liquid, though not metal.
WHAT TO DO ABOUT LIQUID
Fill glasses fully, and photograph promptly before bubbles form.
WHAT TO CLEAN OBSESSIVELY
Every surface, since fingerprints and dust are magnified by reflection.
WHAT TO EXPECT
That this takes far longer than ordinary product work.
