Hey, let's talk product photography. So I'm here in my studio and you can probably potentially hear the girls in the background, I don't know whether you can, but sorry if it's noisy, but I'm just thought I'd check the camera on and walk you through a quick little product photography tutorial. So behind me is actually the setup I've got. I'm in a natural light studio, which is my studio and I've got a bunch of windows over here. You can see the natural light filtering through and I'm doing product photography for a superfoods brand and they're all glass bottles so they're very reflective. So I wanted to give you a quick couple of tips on how I lit this scenario to reduce the reflections and how to get the best results basically. And there's a dog. Hello. Oh, I'm mean. I'm in the round of the 40s, just cause I can lean in with that reflection. Okay. Thought I'd actually show you the bottle. You can already see there's a bunch of reflections from the massive windows I have. So that's going to be an issue if I don't know how to control that light because no matter what, we're trying to get a really clean image of this bottle but there's a crap load of light. There that's going to affect the reflections what you can see. So how do we fix that? The easiest way to fix it is I have a set of fee flats. So there are two pieces of polystyrene foam, quite large. There are about two meters tall or a bit longer than that. And one side has been painted black, one side's white so I can either fill light or negative fill light which is remove light. So in this case, I'll show you with a bit of video footage but I've actually decided to backlight the bottle. So I've actually got a bare-bolved flash sitting above where the bottle is but a little bit behind it so that it does not picking up any reflection from the front. So that gives it like a surrounded, like a, imagine a warm hug of light coming from the back. I've got a piece of paper which I can show you better but I've got a table and I've got my paper roll kind of coming down and then just naturally falling onto the table like a little miniature version of a normal paper roll. So that gives it that infinity white background so there's no obvious kind of, you know, points where the base and the wall begin. So it's like a little mini cyclorama. And then when I was doing that lighting I was looking at how it looked and the front of the bottle looked really bland and not lit up enough. So there's only a few ways you can do it. So what I've done is I've actually mounted a little behind me, I don't know if you can see it in frame, probably not just actually hanging above my head. There's a little diffusion grid that I've put in front of a bare-bolved pro photo B10 little wireless battery-powered light. And that's just there to fill the front to give it a nice little wash. And as you can see in the photos, I'll be showing you there's a tiny little white dot on the front of the bottle. So everything else is really clean. And then there's a tiny singular white dot that's really easy to retouch out. I can just use a healing brush and capture one or Photoshop and that makes it look really clean. So really, really quick video just to show you how to set it up. Some of the other things I didn't talk about, I'm using my Fuji Film GFX 100S with the 45 to 100 lens on it. I've just got it set at 100mm shooting at F8. So I want a very deep image. I need things to be in focus. And I've needed for the flash to be, Fuji Film have a weird thing where you can only have it at one over one, two, five for the shutter speed. So I needed to set my ISO to the base level ISO. The shutter speed that allows me to sync up my flash and then I was able to control the flash just with my normal trigger. So the flash that I've got lighting the back is a Profoto D2. So it's a 1000 watt. It's a really powerful flash. That's running at a low power. And then I've got the little B10 up the top that's just doing the front film. So I'll show you a couple of examples of when I was testing it, I wanted to say, just light it with an umbrella from the front, light it from the side. But there's all these kind of reflections that you need to figure out how to get around. So for me, I just talked to the client and I asked him what he wanted because the shadow was a big consideration. So he wanted a shadow kind of going to the back of the bottle. So as if the light is sitting front at a 45 degree angle on the right-hand side of camera and then the shadow would naturally kind of go up and to the left at the back. But in doing that, you get a lot of reflections. So I actually just confirm with him. I said, look, if I backlight it, the shadow's just going to be at the bottom. It's going to look really clean. And I think that'd be preferential and he was happy to do that. So that's it. It's a super quick product tutorial. How to shoot stuff, how to shoot without reflections. And the reason I've got these V-flats is I'm creating a space with no reflections because obviously there's a bunch of windows, but I can control the light then. I can bounce it. I can create a really even light around the bottle and then just filling in the front with that little flash. And yeah, it's looking very smick. So hope you learnt something. A little bit less crazy than my editorial tutorial. But nonetheless, these are things that photographers will come up all the time. So hopefully you got something out of it. And if you liked it, subscribe, comments. Tell me what else you want to see. And we'll see you in the next video. I've got a couple of really exciting ones coming up, a long-term review on the GFX100S. And a couple of other ones that I think you really like. Thanks guys, talk to you soon.