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Can't believe I just found your site. Great tutorials. I have a small space to work from. Just ordered your disc plate & acrylic squares. Best part of your videos is how you show the method to find the best positions and the effects.
There's a certain level of depth and knowledge in your videos which come at us through your sentences and efficiency, you are very educative, easy to understand, soft on ears, and to the point. Thank you for producing these videos, sharing them with the world and being good at what you do, it's a learning experience for everyone.
A great tutorial! I like that you move right along, without repeating yourself -- since the left arrow key does that just fine! Very detailed, and a high degree of certainty. Your promotional mention was smooth, and you jumped right back to the point. I'm also impressed by how you asked so nicely for comments and thumbs up. The first of your video's I've watched; I'm very impressed, and happy to take the time to comment. Thank you for all the time you put into this excellent instruction!
I appreciate the comment, really -- thanks! Love your point about the left arrow, I certainly prefer concise teaching as well. Stay tuned, I'm sure you'll like some upcoming episodes in the works. Take care, Blair!
I've been working on my bottle renders a lot lately and I really love the soft highlights on the left of the bottle. I've been able to emulate the soft box look by aiming an area light at a polygon with the roughness turned up a bit to make the edges softer
Fantastic tutorials dude! Crisp image, non-intrusive short intro, super informative and always straight to the point. I don't even photograph much except with my phone, but I always take a few minutes to watch the videos you upload! Keep it up!
Dustin, another great video, I like the Gradiation. I learn so much just watching you. I love your Lightroom tips and shortcuts, that is where I am weak. Thank you for showing your workflow, I have not seen anyone else on youtube who goes through this type of workflow. Keep the video's coming.
Wow this was a really good explanation and a beautiful rendition of the wine bottle and grapes. I took a lot from this, thank you. What a shoot, bravo!
Thanks your methods are very informative. I always use a front diffuse flashed label layer as well, so I have the option to mask in or strengthen the label text or any label features.
You could "erase" the banding. Just apply some blur filter. I know some of the pixels from the background are going to contaminate the bottle, but you already have a good selection of the bottle: Just make it active, invert the selection and mask it! Try it! That's what I do, and it works for me. Thanks for your tutorials. I have enjoyed this one, and the one you made of the apple beverage with just ONE light. Very rarely I do commercial shots like these, but it is always good to learn something new.
Wondering if you could create a subtle pool of light around the base of the bottle and grapes by shining a low output diffused light, perhaps a constant color corrected LED, from below and through the plexiglass…may need to create a circular or oval pattern of the right size using black wrap or some other sort of modifier though not many are available for LEDs. I’m going to try this with both constant and a low power speed lite or small strobe. Normally pools of light created shooting down from above but shooting up from below may be a cool effect. Thoughts ?
Another stunning shot nicely taken through - thank you! I love how you use light to make your selections it's really opened my eyes to being able to make far more detailed and difficult selections of things I might not have attempted before. I'd love to see more photoshop techniques explained you have a great way of putting them across 👍
Enigma Vapes Thanks! I got the idea for the light selection while slaving away with the pen tool. I hope you enjoy our future episodes, thanks for engaging we appreciate it bigly!
It is just ASKING for a Spritz! You can almost taste the Dollarama. Thanks for watching the videos Neil, I hope you like our next video this week on glassware!
Hi, I'm really enjoying your videos! I'm somewhat new to photography, and have never worked with lights before. Could you let me know why one would use speedlights over say, always on LED panels? If the lights were always on, you would be able to see how they light the subject no? Or do you just get more light out of a flash? Thanks!
Great question, a lot of my tutorials are interchangeable using constant lighting, I own an LED panel myself. The benefit of a flash is a brief flash duration, which can freeze motion (see my other classical wine episode). That and, the batteries are very efficient (-: Do you shoot with constant lighting?
Not yet, I'm beginning to build a shopping list though to start setting up a home 'studio' of sorts, tossing up between the two. Thanks for the insight!
Dustin, Great Videos! Could you share some of the technical sides of this photography, What shutter speed you use most of the time, and if you change, why? What aperture, if change, why? Are you shooting in a dark room? Thanks.
Great questions. I always shoot at 1/200s - because that is the darkest shutter speed I can use while my flash still syncs (research your own flashes max sync speed). I shoot in the darkest room possible, though my typical settings of f/11 ISO100 1/200 render a black frame when the flash is not firing - which is deal. Sometimes I stop-down to f/13-f/16 when it is vital the edges are really sharp on a deeper item. Thanks!
Great tutorial Dustin! Have you tried to use a remote for your camera before? I noticed you often walk to your camera and some shots are a little bit offset from each other from you physically pressing the button, and was wondering if a cable release or an IR remote would be beneficial.
How do you manage to get absolutely no shake/motion blur when using the manual shutter release on camera? In this episode, unlike others where you’ve used a wireless remote, the pics are steady and perfect. Always great tutorials!
with the BIG freeze coming our way (as per the weatherman) thought i'd try a it of still life and product photography and i must say it's consumed me totally. i'm totally loving it cos i can take photos any time despite the lousy weather. luckily, i stumbled upon your channel and i must say i'm really enjoying the way you construct the shot step by step and explain everything so clearly. you make everything look so easy. i've learnt some good concepts from your videos. the only thing i'm struggling with is the compositing and masks. no reflection on you. photoshop is my weak point. you're doing a great job. i was wondering if you could make some videos on compositing, masks and other essential techniques for beginners like me. keep up the good work :)
you lost the sliver lines on the side of the wine label. Very interesting about the bit depth towards the end. Are you working in 8 or 16 bit? good job on your videos too!
@@workphlo thinking about the banding - I know my graphic designer friend had to buy a top pro monitor because he couldn't see banding in a gradient, and he was doing a 4 color run for a client :-(. I know PixImperfect did a video on 8bit vs 16 bit and banding. thanks! oh. wanted to ask, why you are still using speedlites instead of real studio strobes - just wondering. I can see it maybe with high speed sync, but... I was wondering if you've ever compared switching out with regular studio strobes & if there is any difference lighting wise visually. I am amazed what you and others are doing with speedlites. again, thank you so much
Thanks for sharing this! If you want to add flexibility to your background workflow, I recommend using fill and gradient layers, instead of using the fill and gradient tools. This way you can adjust color, shape and location easily without having to use the separate tools. Also, about your gradient question; once you convert your image from 16-bit to 8-bit (per channel), photoshop will automatically smooth out the gradients, so it doesn't really matter what they look like while still editing.
Thank you for this video, going fast and need to come back and practice to really catch everything but as I like photographing wine, it is not a problem :-)
Well done Dustin, I just need to improve my PS skills. The only thing didn't convince me was the silver square around the grape, but is just personal observation, keep posting, here we still learning. :D
Hello Dustin, thanks for your superb tutos! :-) I want to ask how you did it with the black plexy surface from amazon, because you have linked us a transparency glass instead of black? Did you use this or a black? Did you have another link or a hint how you make it shine black? Thanks and regards Guido
Hey there! I used transparent plexiglass here, and linked the black plexiglass I use 95% of the time, in the description. You can also get small sheets of clear plexiglas -- which I use in our white wine tutorial, give it a look as well! (-:
Hey Dustin, sorry but you did it in the other way, for German Amazon you linked the transparency Version and i cannot find the black one that you use all the time! Did you have a correct link for me? Thanks so much! :-)
Color background gives a lot more drama, but completely black background givs more strogness. Its like the colord one is the sweet wine and the black one isn't, its can be a photographic way to tell about the nature of wine))) Kipp working hard my friend, and hope you will give a lot great ideas
I used the technique and it worked fine, but I had difficulty showing the black color of a bottle. The bottle reflected everything in the room. How can a bottle become black or the color of wine as it is in reality? I used white dispersion, or what is called transparencies, and its reflection appeared to me in a blurry white color. I really want you to help me. How is it possible to show the color of the bottle if it tends to be black without any reflection on it?
learning a lot from this thank you! Question @ 11:44 when you paste white you're retaining the shape of your black object. When I paste white it pastes in the shape of my "crude" lasso. Any help on how you get it to retain the bottle shape and not the lasso tool selection shape. Thank you!
Thanks for asking Jeff, I hope I understood what you mean. I simply inverted the selection (Ctrl+Shift+i) before pasting. The black shape was already cut out on perfect white, so the result is a seamless layer. Let me know if I misunderstood!
Dustin you rock! I'm learning so much with you.Thank you! Once you have the black bottle on perfect white how do you then get the clipping path? Are you manually tracing the black bottle or is there a quick way to make a selection path from the Bottle outline?
Jeff Shreiner Happy to help! So the perfect silhouette of the bottle IS all you need to mask it. You Can simply copy the whole layer and paste it into your 'layer mask' -- I just used the saved 'clipping path' to save the data in the interim. For more tips on masking my video 'Single Speedlight Product Compositing' will help lots! Cheers and thanks again for watching.
Try 16bit or 32bit color mode to reduce banding, save BG then bring it back in @ 8bit if your comp can't handle it. 30 to 40 layers and 25 gig files are killers on CPU.
So I use 2 kinds, a bag of 10 black clamps which are heavy duty and produced by Neewer (sorry can't get the link at the moment, order on Canada amazon though) and a pack of 2 -- same clamps but with light stand attachments for the large diffusion material I use. Best of luck!
Hi Dustin, What size is the softbox that you placed behind the bottle to get the selection outline. I see a link for a 120x30 but the one you used appeared to be bigger than that. Can you please confirm the size?
Hey Chris! The Canadian link is the exact model I used -- by a brand called LA Softbox (only choice pretty much in Canada). I will have to get back to you with a confirmation of the width, I just picked up a smaller softbox as well -- I usually take whatever one is prime certified with a "often bought with" speedlight adapter.
workphlo Thanks Dustin, I will take a look at the Canadian link but if you confirm the size for definite that would be great. Also could you confirm the size of the Octabox in the Clinique Lipstick video that would be great. Just having a rewatch of all your videos for the third time 😍
Sorry I let you down on the release date yesterday, new video will be up shortly! The octabox is 100% a 120cm octabox -- again I bought the inexpensive brand umbrella style, prime certified. Actually got it for $39.99 though haven't seen it for that good of price. Newwer and other 3rd party brands will have one for a decent price -- I highly recommend getting this... great piece of equipment for portraits and products. I also got a tri-mount umbrella adapter that allows me to place multiple Speedlights for more "juice".
Hi, thanks for the reply. No worries about the upload, I'm sure it will be worth waiting for. With regards to the stripbox, if it is the 18 x 48 inch one that works out at 45cm x 122cm in the UK. The closest we have over here is 30cm x 120cm of which I already have 2 of and the next closest is 40cm x 200cm which is very tall. A 40cm or 50cm x 120cm would have been perfect. I may have to get a 40cm x 200cm just to give me the extra width although I will play with the 30cm ones first. The ones I have are made by a company called Phot-R.com and seem really good alsol.
good video. I wonder if you could not just use pen tool for making selection of bottle and grapes much faster than taking extra pictures and messing with layers masks and combining them all together only to make final selection.
Usually one shot back-lit suffices, though even when some tweaking is needed I seriously prefer letting light determine my selection when possible! Thanks for watching, Milan.
Dustin, what's a "specular highlight?" I notice you use that term often, and the highlights it describes sometimes seem to have nothing in common for me to wrap my brain around.
Well done! You might be able to save a bit of walking if you use the 560TX to adjust the power on the 560IV remotely, rather than walking around to the flash.
Hi! ThE best solution to banding in this case is to apply noise to the gradient layer. Please have a try and let me know ;) BTW i uploaded my first product photo to the facebook group! Thank you for all you teach us!!!
To fix the gradient banding, change the image to 16 bits/channel before you start editing and when you've finished all of your edits, revert back to 8 bits/channel and save the PSD then :) This will give you super smooth gradient transition, but not make the file size too big.
Would be great if you could do a video on just how to create the layer mask & put this onto a backgound, keeping it real simple and slow, using menus rather than keyboard shortcuts. Your method looks so powerful, but far to complex for some of us to follow. Thanks.
Thank-you, I will consider doing a long-form of this method. Watch slowly and re-watch when you have time, it's really just a handful of shortcuts I use and name them all outloud!
Hi Thanks for taking the trouble to reply. Love your channel as it gives ideas for things we can do at home without the need for a studio. Have re-watched but your photoshop knowledge is way to advanced for me to follow, looks like some of the other viewers struggle also. Would love some simpler vids to follow or maybe something like this vid broken down into separate units, setup, lighting, layer mask, final editing etc, but no keyboard shortcuts please, they are only shortcuts if you know what they mean :o) Thanks for taking the time to make these videos, will keep liking & watching to help bump you up the youtube list.
Loved the tutorial, but the selection part it's too much work for nothing. Could have used channel mode and levels to speed up the process. Anyways thank you for this tutorial, helped A LOT, in particular the shooting process
If your brush is set to overlay mode, painting black on anything 100% white won't modify it, and it will blacken every other pixel values. Of course the reverse is true, painting white will only affect non 100% black pixels.
man... have you ever shot for an ad agency? you've got some serious learning to do )) without discussing mistakes with the lighting the product, I just want to make sure that everyone watching this understands that creating this shot without photoshop literally takes 10 minutes, including the background gradient. if using real studio lights and a grid is not an option, it is still doable with speedlights.
The applications of having a bottle selection go farther than this example, we just put a quick gradient in the back. Would love to see your shots, Irakly -- mind linking your portfolio?
Thank you for your explanation on utilities of bottle selections. I started with Photoshop 2.0. I haven't done product photography since 2011. So, nothing new here. www.clients.shanidze.com/home-2/galleries/gallery/product-photography/
My OCD kicked in hard watching this. Lol! I keep wanting to rotate the bottle to cheat the label to the right. Your lighting causes the label to look off center to my eyes.
u need extra money for that "pen tool" probably Wacom Tablet starts at $100-$500 so for the starter; that's a big Amount. U must be a RICH BOY Pogolas, see? the guys just used Speedlight for the lighting setup, meaning this kind of video encouraging those BEGINNERS?, He just trying to show how POWERFUL PHOTOSHOP is?, not what his equipment; common sense DUDE???...U MUST BE WATCHING A DIFFERENT CHANNEL. . . U MUST BE WATCHING "WHAT IS UR GADGETS", tell you what?, even Popular and well-known Photographers in the US and Europe can't afford to buy a HASSELBLAD CAMERA..........I own Canon 5DM4 and 1DxM2 body, and EF 16-35mm f/2.8L Ver3, EF 24-70mm f/2.8L Ver2, and EF 70-200mm f/2.8L Ver3, and Sony A73, A7R3, A7R4, and A7S2 and Solid FE 90mm f/2.8 Macro G OSS,, FE 50mm f/2.8 Macro, FE 16-35GM, FE 24-70GM, FE 70-200GM, but still I can't afford to buy HasselBlad Camera for no reason at all
The method you use for creating masks is very slow and convoluted when compared to proper lighting methods. You are making a lot of work for yourself when the simple use of black cards and control of lighting rations will do all the work for you.
Im not talking about the pen tool, Im talking about correct lighting techniques. Firstly you need to make the difference between your front light source and your back light source 1 1/2 stops. Secondly you use black cards to help create a perfect silhouette around the subject. This all takes less than 1 minute. Once done correctly no need for the pen tool.
