Hey guys, it's Juliet from Hypop and in this video
we're going to be teaching you
how to shoot product editorial photography in the studio.
Let's go.
So, this video is to add onto our how to shoot series
that we just started on our channel.
We hope you like these tutorials that we're doing
and let us know what else you want us to go through
whether it be dance photography, sport photography,
whatever we can do we'll try.
Just leave that down in the comments.
Thanks for watching.
If you like this video, make sure you subscribe to us.
Hit that notification bell and leave a comment down below.
Follow us on Instagram and Facebook
@hypop and check out our website hypop.com.au.
Let's get into the video.
Hey guys, we're in the studio now
and we're going to get started. So, follow us.
So, we're going to get started with our first setup.
So, we're going to be using the spectrum
basic color flat lay backdrops
and I'm going to have Josh over here who's our assistant today.
We're gonna set up the scene on this big plinth behind us now.
Josh and I have just set this up here.
You can basically do this on any table.
You don't have to do it on a plinth like we have.
Just using blue tack or tape.
But we're going to add in the props now
so you can actually see
where we're going with the direction of the shot.
So, we've just added the props.
We're going for a bit of like a gin editorial look here.
We're going to add in the lighting now.
With this particular setup,
we want to have a bit of light refraction and shadows.
The best way to kind of just see where your light needs to be
in terms of its positioning
is just to hand hold the light you're using
and just kind of go over the scene.
You can see in real time using a continuous light.
It's a little bit more finicky with flash
if you're using strobe
because you'll have to obviously test shot,
but that's why I really like using continuous
with this kind of stuff
because it just makes a lot easier for setup.
So, we've changed the angle of the light
and we've also moved the props around.
It's always a bit of a hit and miss
in terms of lighting setups.
You won't really know until you try it.
If you're trying to make that gin bottle
kind of the hero of the image,
it is a little bit left in the dark there.
So, I'm just going to add in a Boling P1.
I'm just going to turn this off now,
and then I'm just going to turn it back on.
So, it just fills in a little bit of that label.
You can see it a little bit better.
So, now we're going to get to actually shooting the shot
and we'll get back to you.
We're shooting the pictures like this now.
I'll just show you on screen what the picture looks like
before we flip it even before we edit it.
After post-production, we're going to flip the image.
So, it creates this illusion of these upside down bottles
kind of like flip the right way, and it'll look really cool.
So, we're gonna pack down this set
and we're gonna show you the result pictures on screen now.
Yeah. So, in this shot, we actually added
some complementary background colors for visual interest.
We decided to go with harsher lighting
because we had a lot of glass elements.
We wanted to add a bit more like punch to it.
So, adding that light
really causes that refraction to happen.
So, if you can find some glass objects,
aka, like we're using a gin bottle
or you can use champagne glass or something,
adds to that glowing and shiny look.
You can also play around with different colors
as your background, but you can go for like
really harsh contrast like black and white.
We decided to go with obviously like a light pink
and like a light caramel to really contrast our objects
and the overall image. Okie-dokie.
So, on to the next setup,
we're going to be using a full length paper backdrop.
This is our paper color in New York cheesecake.
About any kind of light yellow backdrop
will do even with this fabric if you have that lying around.
With this particular setup,
you'll notice you need quite a bit of negative space
and this is obviously our color backdrop is our negative space.
We're going to be shooting with what we have
and what we have is a staircase from above.
So, we'll be shooting from up there.
Alright, so we have our props ready to go on the backdrop.
So, of course we'll work on lighting now.
We're probably going to be using the VL300s.
We have two of them.
We both have 90 parabolic soft boxes on both of them.
And we're going to be pointing them downwards.
We just want the light coming like from above
and not like creating harsh shadows from the sides.
Also just tilting this down as well.
We're taking the grids off
because I think it's not bright enough.
The light is a bit stronger now just without the grid.
Lighting makes such a big difference in the shot.
So, obviously it's one of the variables
that you just have to change if it's not working.
We're going to shoot a shot now. I'm just going to go upstairs.
We're shooting from above here.
So, we're done with this set.
Now, I'm going to pop the result pictures on screen
so you can see what it all looks like.
So, in this set, we're using two kanken bags
to create kind of a bag editorial look.
Like you could probably see, this campaign imagery in idioms
that you get in your emails.
In this particular example where you see me on the staircase,
you don't necessarily have to be on a staircase for this shot.
You could use a tripod. We have an extension arm
like a flat lay arm that goes across.
Introducing more negative space
creates the feeling of a bigger dimension
and presents the opportunity for your eyes
to be guided towards the color.
So, we're moving on to our next setup.
And we're keeping the same lights
that we just used previously.
They're just the VL300s with soft boxes on them.
And we're going to be using a half paper roll.
This is in to chai for. It's a really beautiful beige
that we're gonna pair up with some of our artificial greenery.
Now that we're here, we want to use these leaves
to create a bit of dimension.
I'm just going to stick it diagonally like this.
So, we'll just tape these leaves by the stem
and we just use a bit of blue tack
to make sure the leaves kind of stay perpendicular.
And we're going to bring in a third light.
This is just going to create a bit more shadows
that I think the shot kind of needs.
From a very soft light to just a little bit more
with just a bit of shadows. There's a downside to this.
I can see the boxes in the shadows.
So, I might actually just try
and move the stems back a little bit.
So, we can kind of get more like this.
Again, it's all trial and error.
So, you never know what works until you try it.
So, we're just gonna leave that there.
I can see already that's a lot better.
I think this one is fine.
I do quite like the way it's composed.
And I don't mind that that leaf is kind of tilting this.
I think it looks a bit more natural.
So, let's try again. We'll try shoot this shot again.
So, I really like the way these turned out.
The added leaves add that extra dimensional feel.
So, we're going to make this into an infinite backdrop now.
So, I'm just going to bring this up and josh has a C-stand
that we're ready to just kind of move into it.
And there you go, just like that.
We're just going to change the lighting a little bit.
We still have the same lights that we've been using.
I've just turned down the intensity on this one
and I will do the same with this one here.
So, about 50% on both.
We've moved our spectrum light to the front
and we're going to start casting like shadows
into the background there for extra dimension.
You can do this with a C-stand you can attach it to it,
but we're gonna get you to kind of go quite close.
I want this to kind of feel with the front a little bit,
just a little bit dark in the front.
So, I'm just using an 85,
probably why I have to sit back a little bit,
but I really like using this lens.
So, pretty happy with the shots we got from this cool
set that we've made. We're gonna pack it down now
and we'll show you the result pictures on screen.
To create this larger scene that we have here,
we just simply put the backdrop paper onto a backdrop stand.
This way it creates that infinite backdrop
look that looks amazing for content like this.
Right. So, we've got our two quite tall plinths here.
We're going to make a mock-up corner.
Get your backdrop, slot it here. Josh has a bit of blue tack.
He's gonna just tack this side.
And now, I'm just gonna move this plinth
just so it kind of holds that back piece.
And I'm going to add this second one.
So, I'll get some blue tack as well
and I'm going to tack up this part.
I think the trick to getting this really well done
is just to blue tack everything just so it lies really flush
because you don't want the corner
to look weirdly like distorted. We'll add in our lighting now.
So, here we have our 20 cm mirror.
So, we'll leave it at that.
And then we're going to put in some of these acrylic rounds
and we've got multiple shapes that you can get.
We've got a square, a triangle, we've got a circle.
We also have another shape that we don't have here,
but it's like a scallop shape
which is really cute for kind of skin care.
So, we've decided to add a softbox to this set.
It was kind of a bit too harsh. I do like this.
I just find it a little bit flat,
especially when there's so many nice
reflective objects in the scene.
So, I'm just going to add Boling P1 again into the shot
to just fill in some of the side and create a nice highlight
that I think looks really good
with like perfume bottles and stuff.
So, I'm just going to leave that here.
This is without the Boling P1 and this is with the Boling P1.
It just makes it less flat, a bit more dimensional.
It just looks futuristic.
Adding that just that extra pop off light on the side
really makes these kind of products look really luxurious.
It really goes with that theme. Cool.
So, our next setup is basically going to be
using the same plinth in the same configuration.
We're just going to be changing it out with different colors.
And so, we just get a completely different vibe.
I'm putting the light on a desk stand.
So, it can really be on the ground with the set.
So, you can do some really cool shots like this
where some of the light is actually being blocked off.
So, it kind of creates this cool like afternoon light
I would say, I'm gonna get Josh to bring over a poly board.
So, we're gonna actually just bounce light back into the shot.
Mr. Josh, if you can. I might just add this Boling P1.
It's really bright.
Add a little bit something to the shot.
We always love our color monochromes here at Hypop.
So, obviously we went with a green theme with this one.
We also tucked the SL-60 behind the backdrop a little bit
so it creates that really cool shadow that you can see.
I feel like it just adds a bit more like realness to the shot
rather than it looking quite flat.
So, similar to our first setup,
we are back again with the big plinth.
Again, you can use a normal table.
We just have access to a big plinth.
So, we are using the big plinth.
We've got blue tack again on one of these backdrops that we have.
And we're just sliding it underneath.
I'll just show you what it looks like if you don't do that.
So Josh, if you just.
So, if you were to stick it directly above,
as you can see what might happen is it kind of does this.
So, you almost want that to just stay lower.
If you do this and you actually just push your
whatever you want on the ground here right against that,
that's going to keep it quite flush.
So, let's hack.
We've set up our coffee that we're about to put in our glass.
We've got some coffee beans as props.
When you're working with backdrops
that are mimicking something real sometimes
they do feel a little bit... - Unrealistic.
Yes, that's the word.
When you add things on top,
just extra elements besides what you're trying
to showcase here.
It just makes things feel a lot more real and believable.
We're going to actually change this to portrait
just so we can actually get more of like a bit of length
between the cup and the milk jug.
If he was to pull, his hand's going to get cut off.
It's those little things you got to think about.
So, I'm really happy with this little motion Gif
that we've created here with the milk
being poured into the coffee cup.
Looks amazing for products
that kind of require that little bit of action.
So, the shots we just shot with Josh pouring them,
it's going to go into a stop-motiony looking Gif.
Now, I'm obviously just going to shoot a few normal pictures.
First adding a few more props in the background
just to create a bit more color and stuff.
So, I think those might look quite nice in the shot.
We just added some wheat in the background
to add some extra warmth.
We really like the way that this came out.
Hey guys, thanks for coming along on this shoot.
We'll see you back in the office.
Hey, before we go,
did you know that everything we were using in the video
including the props, the plinths and the space itself,
you can hire out too?
That's right.
We just opened up our studio
and you can book too at this link.
Also, follow us on Instagram @hypop.studio.
We are still a baby,
so please give us some followers.
Anyway, thanks for watching.
If you like this video, make sure you leave us a big thumbs up
and comment down below what else you want to see.
Don't forget to follow us on Instagram and Facebook @hypop
and check out our website hypop.com.au.
See you next time.