Personal Study

For my personal study, I am going to be investigating the different uses of lighting for product photography
within adverts, and how the lighting can affect the setting. I will be doing so by researching different
photographers and their styles to support the points I make. I will be taking two of my inspirational
photographers and comparing their styles and similarities. I want to research how different lighting is used
within different product shots and how this is effective in relation to its genre.

There are many different lighting setups that can be used to create impact on an image, too many to cover in
this essay alone. Lighting types are as follows; Low key, high key, soft and harsh. I am going to begin by talking
about low key lighting. This is achieved by having an underexposed background, situating the object a distance
forward from the background. The light source(s) that fall onto the object, in terms of product photography,
can have a dramatic effect. This can be useful to highlight parts of the product itself, or to outline the object
when being lit from the side, known as rim lighting. Low key lighting most often utilizes the studio, and is most
effective when no light casts onto the backdrop, as the hard light is used to increase the shadows. This lighting
uses one key light, e.g. a soft box with say a reflector to
catch the edges and calm the contrast. This way of lighting
the setting can be affective as brand labels can be the
focus point, excluding any other feature with the
surrounding darkness. This is given the label doesn’t
merge with the background, for example SONY is in white,
contrasting with the darkness. The object itself looks bold
and dramatic, making it suitable for advertisement
purposes. Rim lighting often uses two key lights from the
side to cast light onto either side of the subject. Low key
lighting is the label for any picture which uses a higher
light ratio with mainly darker surroundings.

Fig 1

Next, I am going to be covering the high key lighting style which is the opposite to what I have been
researching prior. High key lighting is bright and white, where the
background is overexposed. This lighting is created when the
background is white and or brightly lit, and the subject does not catch
all of this light as its situated further back. It consists of a reduced light
ratio, this means for a less dramatic impact than low key lighting
however the photo seems more to the point and formal, showing a
clear, clean representation of the item (Johnson, J 2010). The use of
high key removes the shadowing and can form a fairly flat image,
depending on the angle and brightness. The bright atmosphere within
the image can have positive connotations, suggesting potentially
happiness in contrast to darkness. In cinematography, this effect can be
used to represent dreaming. The stylish impact this can have is
important to its genre of product photography as it makes the item
more attractive to consumers and ensures the label is prominent.

Fig 2

In figure two, the use of a reflective surface has enabled the glass to be mirrored onto the darker surface as
the lighting has been directed to the background in order to over expose. This brightness is useful as it
removes any distractions and moves seems to push the object forward from the flat, solid background. This
glass is very stylish, and the lighting allows for the shapes of the glass to shine through, this is further
supported by the clarity. Whereas, figure 1 shows the use of low key lighting to highlight the product, isolating
it from its surroundings. Although this can have negative connation’s, in terms of product photography its
useful to broaden the item whilst giving it a dramatic effect. Despite both high key and low-key lighting having
different effects, being almost opposite, the results from both dramatic in a sense with differing connotations
depending which end of the scale the photo is lit. James Thurber (1961) explains this difference well with this
quote, "There are two kinds of light, the glow that illuminates, and the glare that obscures."

The first photographer I am going to be researching is Jonathan Knowles. Knowles uses differing settings
depending on the product and its style. For example, to represent flavours he uses colours. In combination
with a darkened background to make it clearer, but to also theme the photo with each colour (flavour) of the
drink. All of his images undergo editing to achieve the result which is effective in creating motion and action
within a still shot which works to his advantage as it brings life into the shot. The use of brighter lighting within
his shots creates a positive impression for the audience, like I mentioned previously. For the most part, these
photos are taken within the studio to achieve the lighting perfection. This photo is constructed in layers, the
background was most likely made with powder paints, then the
glass and bottle would have been shot separately within a
studio, with a soft box lighting from either side (like mentioned
earlier within low-key lighting). The splash and the ice would’ve
also been taken within the studio using a fast shutter speed
and would’ve used a brighter light in order to compensate for
the shutter speed and to illuminate the colour itself. These
would’ve have then been compiled together within Photoshop
to form the final image.

Fig 3

Philip Karlberg is the second photographer I am going to be researching, Karlberg’s photos are taken with a
different stance and differ in style when compared to Knowles work. Many of his photos are taken from a high
angle, almost directing facing down upon the objects in focus. He uses a soft warm lighting situated around the
focus point (not in shot), to create an even bright light across the shot. This adds to the plain surface which
works as a background, casting soft shadows to add levels to the image, this adds depths preventing it from
seeming too flat. This minimalistic setting is useful as it doesn’t take away from the object in question.
Karlberg’s creative format allows for faces to be formed from the objects placed within the shot, these adds a
subconscious display to the picture. Figures four and five shows an array of items forming a face, with a French
theme to it, somewhat like a souvenir. I feel the lighting compliments this as creates a calm, soft effect in
which gives the photo formality and life.

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Fig 4 Fig 5
The examples I have studied from both Knowles and Karlberg use very different set ups as well as lighting to
get their outcomes and both are effective, using features and techniques that I discussed towards the start of
this piece.

Bibliography

Fig 1 – Colin. Sony a77 II product shot. (2014). [online image]. Available from:
https://commons.wikimedia.org/wiki/File:Sony_A77_II.jpg [Assessed Jan 8 2018]

Johnson, J (2010). [online]. Available from: https://photography.tutsplus.com/tutorials/the-complete-

beginners-guide-to-shooting-high-key--photo-2949 [Accessed Jan 11 2018]

Fig 2 – Varney D. High Key Glassware. (2015). [online image]. Available from: https://domvarney.com/product-
photography/ [Assessed 6 January 2018]

James Thurber Lanterns and Lances (1961), p. 146; also misquoted as "There are two kinds of light — the glow
that illuminates, and the glare that obscures."

Fig 3 – Knowles J. Jonathan Knowles for Smirnoff. (2014). [online image]. Available from:
http://blog.graphis.com/photography-annual-2014-submission-spotlight-jonathan-knowles/ [Accessed 8
January 2018]

Fig 4 – Karlberg P. Pay Ex. (2013). [online image]. Available from: https://www.itsnicethat.com/articles/philip-
karlberg-pay-ex [Accessed 8 January 2018]

Fig 5 – Karlberg P. Pay Ex 2. (2013). [online image]. Available from: https://www.thearthunters.com/creative-

works-by-philip-karlberg/ [Accessed 8 January 2018]