Bellows, Bugs, and a Free Checklist!

Greetings everyone!

A product photograph

It has been another busy weekend, with a competition to judge and a results video to record and edit, but I loved every moment of it. Working on the “Product Photography” competition with Graham Carey was a clear highlight. He is a thoughtful and fair judge who calls it as he sees it while remaining generous and gentle in his balanced and constructive criticism. My channel and I are most grateful to Graham for his hard work and constant enthusiasm during this process. I should add that I cornered Graham and asked him to do this, but it does not have to happen that way! If you would like to join me as guest judge in an upcoming competition, you are invited to come forward and let me know. If you have been around macro photography for a while, or have experience judging competitions like this, and would like to spend a day or so looking at and talking about macro photographs with me - let me know and I will be in touch.

Congratulations to the winner of this month’s competition, and to everyone who entered. If you want to know who that might be, watch the results video, released earlier today. You can watch it over on YouTube by following this link … https://youtu.be/eBTz2HBWWUY

Another product photograph

In retrospect, this topic, product photography, was one of the hardest assignments I have given for this competition. Product photography is a fairly unique discipline for a couple of reasons - firstly, it is absolutely unforgiving  when it comes to accuracy and fidelity in your depiction of the product. Next, it demands that you have mastered the art of telling a story through images alone. Then it requires you to tell that story, without ambiguity or uncertainty, so that the product is the undisputed hero of the tale, and something that the viewer of the image will be drawn to and moved by. Remember that the product photograph exists for one reason - to influence the purchasing decisions of those who see your image. It is probably true that most casual viewers will not notice a slight softening in part of an image, or some noise in the darker parts of the composition. They may not be able to point out that the horizon is tilted this way, or that. But they will notice that there is something not quite right with the image. One doesn’t need to be a photo-critic to feel that something is off in an image, and that feeling is all it takes to leave the potential customer with doubts about the product.

And another

In this most recent competition, the task was to produce an image of a product of your choosing in such a way that viewers of the image would form an emotional connection to the item - they would want to have one. As I looked at the entries it quickly became apparent that I had failed to make this as clear as I should have. There were a number of issues that came up over and over again, some of which were related to technical photographic missteps, but most of which were a result of confusion over the prime directive of the product photograph. So I thought it might be useful to summarize the key points that came out of this exercise and provide some guidance to those who may feel the urge to enter a competition with a similar theme in the future.

So here we go - a checklist for the next product photo competition you want to enter (and win!).

PRODUCT PHOTOGRAPHY CHECKLIST

A Checklist for Non-product Photographers (or how to win a product photography competition)

This is a checklist for “studio” based product photography. It is only a partial list drawn from personal experience and from evaluating the work of students of photography. Some of this also pertains to other disciplines of studio still life photography but most is specific to this kind of work.

When faced with entering a competition like this, think hard about your subject and make sure you can answer all these questions in the affirmative:

1) Is it absolutely crystal clear what my subject is - can an ordinary person look at the object and know what it is?

2) if not, can I tell my viewer what they are looking at in one or two words?

3) can I make this object look desirable?

4) when someone looks at my product image will they have enough information to track down and buy the item?

When you have a promising subject/product lined up, you may proceed …

1) Product Selection -

          a) Select a subject that is, at least, potentially desirable to a broad range of people (not a tube of hemorrhoidal ointment, for example)

          b) Select a subject that can be identified clearly and unambiguously from the photograph you will take (e.g. a camera body with “Sony” and “A9” visible)

          c) Select a subject that is produced in sufficient quantity to justify the expense of an advertising campaign and expensive product photography (avoid unique items unless they are widely accepted as representative of a class of products)

          d) Select a subject that is less demanding to photography (avoid glass and polished metal, favor simple geometry and matt finishes)

2) Product Preparation and Staging

          a) Clean the product, then clean it again. Repeat until it is devoid of fingerprints, dust, or blemishes. Examine under a magnifying glass or microscope and repeat cleaning if needed.

          b) Remove cellophane of packing materials from all surfaces

          c) Use lint-free cotton gloves to clean and stage product

          d) Take product out of its package - packaging may be shown in the image if it is recognizable, unusually attractive or noteworthy, or is symbolic of brand

          e) Labels must be straight, unstained, not peeling, symmetrically positioned - soak, remove, and replace if needed

3) Product Positioning

          a) With rare exception, use a background that is neutral and unlikely to compete with the product for viewer interest

          b) If the brand or model number of the item are visible on the product, position the subject such that this can be clearly seen

          c) Position the product so that all of it will be visible in the frame

          d) If the product is in a bottle and the bottle is translucent, position it in such a way that it can be transilluminated to reveal contents

          e) If the product will be accompanied but a prop, make sure the product is positioned dominantly and the prop is positioned realistically in relation to the product. The prop should not compete with the product

          f) Backgrounds may be contextual but must never draw attention away from the product

4) The Photograph

          a) Use lowest ISO available (usually base-native - 80 to 200 for most sensors) and avoid extended ISO settings

          b) You control the light - use the highest quality continuous or flash lighting that you can afford, avoiding mixed sources

          c) Use the amount of light needed to keep the ISO at base and shutter speed fast enough to avoid any motion artifact

          d) Always use a color/gray card to ensure color accuracy in post-production - do not guess at color

          e) Set up lighting carefully and deliberately, using position, distance and diffusion to avoid specular highlights, unwanted shadows

           f) Build up lighting one source at a time, using test frames to ensure desired effect

          g) Focus accurately - do not hesitate to use focus stacking or tilt/shift lens manipulation if required

          h) Use only the best prime lens you have, at the correct focal length for the desired effect

          i) Inspect and clean your sensor if needed

          j) Use only your sturdiest camera stand or tripod

          k) Avoid crowding the frame and leave room for adding script in post

          l) Trust your histogram and shoot for the center of the curve - reject images with clipping

          m) When focus stacking, use the correct method based on subject size (lens helicoid for larger subjects etc.)

          n) Always take a few frames of the background without the subject, but with the lighting precisely as it will be for the final image

          o) Take more shots than you think you will need

5) Post Production

          a) Edit for the subject first

          b) If script is required to clarify brand or model information, use the fewest words possible and a font that is product-suitable and clear

          c) Position script carefully, avoiding peripheral or poorly balanced asymmetrical placement

          d) Avoid adding shading blocks under script  to increase contrast - shoot with script placement in mind

          e) Use caution editing colors - use a calibrated screen and triple check the color accuracy of final image

          f) Crop with care, but do not avoid cropping to balance final image if needed

          g) Avoid compositing unless you are very good at it

That should be enough to go on. We could probably expand this list indefinitely, but this should cover most of the important stuff.

An important note to October’s contestants

I am presenting this list of tips after judging the photo competition for October, 2025. I am not doing it to be critical of any of this months entries and hope you will not take it that way. On the contrary, I am doing because I recognize how hard you all must have worked to produce these remarkable entries. If I am being critical of anything it is of my poor work in helping you prepare for this difficult challenge. I feel like I could have done much more to give you the tools required to rise to this occasion. I personally love product photography and the unusually rigorous challenges it offers. I also think it is some of the best training for all forms of closeup imaging and well worth the investment to learn. This is my attempt to make it a little easier for you to learn these skills and experience the same joy and excitement that I find in this unique and demanding corner of photography. If you want help, let me know and I will do what I can.

One last product shot

So with that done we should talk about the week to come.

My livestreams this week are not following a particular theme - they are subjects that have come up in conversation and strike me as interesting enough to warrant a closer look. On Tuesday, for example, I am going to revisit the bellows and come at it from a slightly different angle. This will be useful, I hope, for beginners and seasoned experts alike as I will start out by explaining when and why bellows is the best choice for extension. I will compare tube extension with bellows work and talk about the criteria I use to decide on which to use. Then I will talk about the different bellows available and how they compare in terms or features, durability, and cost. I will also discuss some of the less typical ways the bellows are used in modern photography, including rear-bellows focus and infinity focus calibration. Lastly I plan to demonstrate how to set up a bellows for internal lens mounting and show my setup for rear-bellows focus. I think it should be interesting and a lot of fun. You can join the livestream using this link - https://youtube.com/live/TgSTcPVXrB4?feature=share

On Thursday in Macro Talk Too, I am planning to do a 2025 update on the global insect market. With winter right around the corner, this is the time of year that many of us start to think about winter projects. Especially those of us who now live in places that have real winters. I have been looking around the various vendors and markets around the world and have seen some availability and pricing trends that I think are worth discussing. I will also give some updated recommendations on the vendors that I think will be most responsive to the insect photographer’s needs this winter. I will make one caveat concerning this discussion - I may  have to delay it a little while if I do not get all the information that I am still waiting on. I don’t think I will need to postpone, but just wanted to alert you to the possibility. Either way, your link to the discussion is here … https://youtube.com/live/EpytPEaVlWQ?feature=share

Do you know what this photograph is of?

Saturday sees our first Pzoom of November, from 10AM until noon, and I already have a couple of items lined up. If you need time for an update or introduction, let me know through Patreon and I will sure to reserve your time. More information about the upcoming Pzoom can be found over on the Patreon website by visiting https://www,patreon.com/allanwallsphotography (which is also the place to go for more information on how to become part of our super-cool macro group).

An unusually gorgeous crystal

Don’t forget that the Crystal Art zoom gathering takes place next Friday, November 14th, 2025, at 2PM - I will post the invitation in next week’s blog post. The group is all about making and photographing incredible birefringent crystals and is free for anyone interested in attending. It is a lot of fun well worth a visit (IMHO)!

playing around with the bellows

Hope to see you at one of this week’s events!

Product Photography for Macro Photographers

Greetings everyone,

My apologies in advance for what will be a perfunctory post today. There is much to be done for the coming week and there are still a number of important side-projects that need to be attended to. So I will get straight into today’s business. The theme for this week is “Product Photography”, a discipline with which macro photography has much in common. I have always found this type of photography especially satisfying. It is extremely demanding, requires a great deal of precision and attention to detail, and is probably the best way to learn lighting for macro photography. It is also one of the few ways, other than teaching, that I have actually earned some income over the years. And, of course, it will soon be gone forever.

This type of technical photography has been one of the prime targets for automation and standardization. Much of the day-to-day product photography, the bulk cataloging of a business’ line of goods, the pack shots, is already being taken over by clever automated systems that can produce decent pack shots quickly and with relatively little human intervention. But this is not where the product photographer makes her money. That is from the  creative “hero” shots, the images that are designed to sell a product by creating a  legend around the product, by telling a compelling story, and by making the product look bigger, better, faster, more desirable than the competition. The problem for product photographers is that they no longer need to spend a week photographing the latest Mercedes sport coupe, in fact, they don’t have to photograph it at all. A robot at the factory has already captured thousands of hi-resolution images to create a stunningly detailed 3-dimensional model of the car. The manufacturer can, with a few keystrokes, put the car on a Tuscan hilltop, or on the streets of Atlanta, it can change the color of the paint and the  style of upholstery, They can fill the car with beautiful people, or show it driving autonomously. This is not something we might expect to see within the coming decade - it is already here - and the top end product photographer has already begun to feel his relevance starting to fade as computational image-making becomes more and more capable with every passing week.

I think this is a real shame, of course, because I like to create interesting and creative product photographs, but that is not the main reason. The primary concern that I have is that as some of these technical disciplines are taken over by machines, photographers will forget how this sort of work is done, and we will no longer think it is worth teaching - and that will be a great loss. Product photography requires an attention to detail that is not seen in most other areas of picture making. Products must wow the audience while being tru to life in the tiniest fdetails. The images must touch something in the viewer and get them excited about the product. The images, to be reproduced on billboards, in movie theaters, magazines, and on the internet must be color perfect wherever they are seen. Learning how to photograph a product in the studio is one of the best ways I have found to teach lighting at the macro scale. When we learn how to develop a workflow when using multiple off-camera flash sources, or how to use a tilt/shift lens, or design a table-top composition that can sell a $20,000 watch, we are learning how to take full control of the entire studio environment. To really learn product photography you learn how to control all the ambient light, eliminate reflections and vibrations, use bounce cards, mirrors, flags, and snoots, along with filters, gels, and polarizers. I would go so far as to say that almost every skill that I have acquired in the studio, has been informed in some way or another but lessons learned in product photography.

And that is why I want to spend a couple of days this week talking about what we can take from product photography to use in our macro practices. On Tuesday (my birthday!) we will take a closer look at product photography and talk about some of the most valuable lessons that we can learn from this discipline. That will be the subject for Macro Talk at 8PM central time on Tuesday, October 7th. Here is your link to the dicussion…https://youtube.com/live/OReNvjtb3s0?feature=share

On Thursday I am going to bring the discussion down to earth by giving you a series of tips and techniques that you can use today. I’m doing this, of course, because of this months competition theme - “Product Photography”. It occurred to be, after I announced the theme that some of you may not know exactly what we are looking for. So, in MacroTalk Too (2PM Central Time, on October 9th, 2025), I will tell you everything you need to know t create a believable product photograph that you can enter for the competition. The livestream can be found by following this link … https://youtube.com/live/7v7kIJMrOW4?feature=share

By the way, my guest judge for the October contest is none other than last month’s winner, Graham Carey! I am so glad to have the chance to work with Graham, who is not only a lovely chap, but also a brilliant inventor, skilled “maker” and, of course, one of the most exciting macro photographers I know. Having Graham join me to make the “results video” and discuss all the entries is going to be a lot of fun, and probably very educational for me, but it also has a less obvious bonus for you. As a judge, Graham will not be competing in the October competition - do you see my point? You may never get a better opportunity to join our list of elite photographers! So come on Thursday, and get what you need to make it the winner’s circle at the end of the month!

No sooner is MTT over that it will be time to turn to the strangely addictive world of crystal photography and our third episode of Crystal Art - a group of photographers who share a common interest in finding, growing, and photographing birefringent crystals under cross polarization. This may sound like a weirdly narrow field, which I suppose it is, but it is also a great deal of fun. We have a fantastic group, led by my good friend Harold Hall (and his protege… me!). It is a new group but we are off to a great start and this Friday is shaping up to be a lot of fun. I have asked  Harold to give us a little introduction, telling us where his interest in crystal imaging came from and about his experience, going from professional travel photography to the mysterious world of Crystal Art. I have several pictures and some video footage to share, and if time permits I want to tell you about one chemical combination that I have encountered that demonstrates some seriously odd behavior. That is all in Crystal Art, which happens at 2PM Central Time over on YouTube, and which is completely free - if you want to come, here is your invitation…

Allan Walls is inviting you to a scheduled Zoom meeting.

Topic: Allan Walls’ Crystal Art with Harold Hall

Time: Oct 10, 2025 02:00 PM Central Time (US and Canada)

Join Zoom Meeting

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After that it is back to our regular schedule on Saturday with another Pzoom meeting. This is a Patreon Only event that I do every other Saturday, and it is one of the ways I say thankyou to my Patreon supporters. The weekend I will be bringing some content that I have been working on for quite some time now - how (and why) to buy a microscope in 2025. That will be after we have all our usual activities. So if you want to give an update, ask a question, show off some work, or get some feedback, let me know on Saturday and I will make sure you get as much time as you need. If you would like to know more about Patreon and about how you can support my channel, please visit www.patreon.com/allanwallsphotography. For my Patreon friends - your link for the Pzoom on Saturday will be posted on Patreon later today.

Anyone waiting for the Microscope Focus Block Conversion / Crystal Polarizer Photography price lists, please bear with me a little longer. I did complete the lists but wanted to get a couple of my friends to look them over before sending them out.

Summer is drawing to a close in Middle Earth and I have had precious little time to spend in Nature this year. But I plan to remedy that this weekend. We have rain forecast for the next few days with nicer weather by the weekend. I plan to be crawling along the forest floor with magnifying glass in hand, in search of slime mold fruiting bodies. I can’t wait! If any of you live near here (Peoria in Illinois) and would care to join me for a few hours of myxomycetal exploration, let me know.

That’s all I have time for today and I hope to see you at one or more of this week’s events!

Allan

PS   I have been meaning to mention that I spent a good part of last week working out the optimal design of a lens hood that is for use with Mitutoyo M-Plan microscope objectives. I have subsequently made sets of these optimized lens hoods for the 5X, 10X, 20X, 50X, and 100X objectives, and which come in a matching box, designed specifically for these hoods.

M-Plan APO objective hoods

The bottom half of the case for the M-Plan objectives

The pictures show the hoods and the bottom half of the custom case. I am getting a few people to test these prototypes and may be making the sets available for sale in the coming months. If you want to get on the list for a set, use the Walls-app.com messaging center to give me your full name, email and mailing addresses. If I decide to sell these sets, they will be sold on a first come, first served basis. I have not thought about a price yet, but I will put the information on my website and contact anyone who signs up on the list, as soon as  the beta testing is done. Each set take 12 hours to print (the sizing has to be perfect to stay in the tiny sweet spot between too much and too little light) and each hood is hand-painted with high end ultra black 3.0 paint.

See you soon,

Allan

The October Competition - Product Photography

A marketing photograph

Good afternoon everyone! I hope you had a lovely weekend, and maybe got a chance to get out and take a few more pictures before summer is gone for the year. It was actually too hot for a lot outdoor activity this weekend in Middle Earth. Not that it would have made any difference if it had been cooler. I did not get out of the studio until late on Sunday afternoon and didn’t get to take any pictures before it was dark.

One of the reasons I was unable to get away was that I was editing the “Lester’s Lightroom” video, featuring friend of the show, Lester Lefkowitz! The editing is complete and I have posted the video to YouTube for everyone to enjoy. Here is a link to the video - https://youtu.be/49dsRxNlIY4

It was a wonderful presentation by Lester and there is a great deal of wisdom and humor packed into the two hour Pzoom meeting. Thanks again to Lester for coming back to visit, and thanks also to my Patreon Supporters for kindly agreeing to the release of this recording, a Patreon  Only Special Event.

Our “Action” competition ends tomorrow evening after Macro Talk, and the results will be shared in Macro Talk Too on Thursday at 2PM. I can’t wait to see your entries and dig into the judging process - here is your link to attend the livestream and be one of the first to hear the results. https://youtube.com/live/3dc1Q4PEBO4?feature=share.

On Tuesday we will be wrapping up the third and final episode of my coin imaging series. In this episode I will be going over many of the advanced techniques used by coin photographers, looking at some of the most exciting new technology that they are deploying. We will also discuss some of the applications these new workflows may have for those of us living in the non-numismatic macro universe. Here is your link to the  livestream, which starts at 8PM on Tuesday. https://youtube.com/live/Obgsit90SN4?feature=share

On Saturday, at 10AM, we have the first of October’s AfterStack episodes. This week it is Bud’s turn to lead the discussion, and I am not completely sure what he is going to bring, but I know he will be most grateful if you could bring a couple of your own images for us to work with. Stay tuned and I will let you know as soon as I have a topic. Allan Walls is inviting you to a scheduled Zoom meeting.

Topic: Allan Walls' AfterStack

Time: Oct 4, 2025 10:00 AM Central Time (US and Canada)

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So, with the end of the September we also have the start of the next challenge, and this is going to be a really fun one. I have thought a lot over the years about this theme but have always stepped back from it, for one reason or another. I am going to give you a little bit of information here about this topic, and what the judges will be looking for. To do that I really need to tell you about this particular discipline. For starters, Product Photography is not macro photography, though it can overlap at times. And like macro photography, at least in the studio, it is extremely demanding. The reason it is so demanding is because the people paying for these commercial photographic services demand, and expect, a degree of technical and artistic excellence that is hard to achieve. Colors must be absolutely identical to those a customer will see on the actual product. Every critical feature should be included. Diffraction, noise, and lens aberrations must be nowhere in sight and focus must be perfect. But contracts (and competitions) are won and lost on lighting. Just like in every photographic discipline. Lighting is everything! Below is a series of pictures where light is selectively applied to individual photographs using tiny pieces of gold foil as reflectors.

And this is the resulting photograph, after all the light has been applied

The final image after manual application of light

For the sake of this discussion, I will mention some of the types of product photography, so that you will better understand the guidelines for our competition in October. These are my own categories, but they should make sense. The first kind of product shot is the Hero Image - these pictures are the ones that photographers like Carl Taylor will spend a day or two to get the  details of the scene perfect. These jobs leave nothing to chance - the photographer controls every aspect of the process, the light, the camera, the setting, background, and props. The images are expected be perfect because of this.

fender telecaster with all lighting managed in the set up

A typical packshot

The next type of product work involves the rapid acquisition of dozens, even hundreds, of images that will later appear in brochures and in online retail websites. These images are called pack shots, and while they too are expected to show an absolutely accurate depiction of the item, they cannot contain distracting background elements or props. The key to the packshot is establishing an absolutely reproducible setting in which to rapidly place and photograph a bunch of similar products. They are commonly set up on a well lit platform with a perfectly white (occasionally black) background and foreground. The images should be accurate and tastefully lit, with little or no variability for shot to shot. They are often shot with an infinity curved backdrops and reflective foam core panels to direct light where it is needed. Directional lighting, and shadows are avoided, symmetry is perfect, and labels, when present are fully legible. Shooting pack shots is demanding, it does not pay very well, and the set up can be tedious and frustrating.

lifestyle product shot (sort of)

The third category is the lifestyle image. These pictures show the product being used in a way that directly, and indirectly, depicts the product as something you want to own. Lovely setting, attractive models, and a sense of prestige are a few of the tactics the lifestyle photographer will attempt to capture. This kind of photography is a lot of fun to do, but very hard to do well.

A mont blanc fountain pen

The next style is somewhat arbitrary in how it is defined, but is still worth mentioning, and it is the photography of big stuff. I split this out because many of these item cannot be photographed in the average studio and usually require specialized equipment, like larger format cameras, tilt-shift optics, lighting gantries, and a host of other, often very expensive, custom built rigs. These items include airplanes, boats, cars, and anything else you might have trouble getting in the studio. What makes this kind of work so difficult is the expectation that the photographs will have all the same qualities and be at least as good as those shot in the tightly controlled studio setting.

brass vaporizer

Some products are really more like services than tangible objects, and the only way to depict such abstract, insubstantial products is using human proxies. It is a fun way to promote banking or investment  products or healthcare services, but it is well outside the scope of this challenge. In fact, all but one of these disciplines within product photography are outside the scope of this competition which will require that you submit one or two “HERO IMAGES” of your chosen “Product”. From here on, I am talking about the rules and guidelines for this competition, so I will format this using bullet points, for clarity.

Ear buds advertising image

1. The theme for the October Competition is “PRODUCT”

2. All size and magnification restrictions are paused for this contest

3. You are encouraged, but not required, to select a relatively small “Product”. The product you choose may have a direct impact on your scoring, with more difficult products (small, reflective, color branded, highly detailed, etc.) earning higher technical scores for the same performance than would be the case with a less challenging subject.

4. You will be judged on performance in the following areas:

            A) Composition,

            B) Technical,

            C) Accuracy and effectiveness (how skillfully is your product displayed and how attractive is your depiction of the object to prospective buyers). Emotional impact and storytelling would fall into this category,

            D) Creativity and uniqueness

5.     You may add text to your image, if you believe that doing so will add to the impact or effectiveness of your composition,

  6.      The naming of your image will be considered as a creative element of your submission and could be particularly helpful in the event you have chosen an unusual or ambiguous product,

7.     Failure to comply with the naming convention, explained on the Competition page of my website, will result in the disqualification of that image, and

  8.     You may use any props , backgrounds, or other elements you wish - but it is crucial that the judges  know what the product is.

sungasses

Nothing too difficult or confusing, I hope?

The best way to think about this contest would be to imagine you are competing for a photographer post at an advertising agency and you are taking a few pictures to show the agency that you are perfect for the job. So you would probably want to select  a product that would be relatively easy to shoot well, but one that is at the same time eye-catching and memorable in some way. You would assume that every potential applicant will submit a technically flawless picture, so that would be your highest priority, as a technically perfect picture is a necessary condition but, by itself, not a sufficient one. You need more to get the job and you will need more to win first place in this competition.

I have been asked to show some of my pictures when announcing the competition theme for the month. That is a reasonable  ask. The pictures included in this discussion  of the PRODUCT contest are all examples of my product photography