Achieving Color Accuracy Photographing Product in the Studio

I received an email from a woman wondering why she couldn’t get good color accuracy photographing t-shirts for an e-commerce site with her i-phone. With the internet awash in mediocre photography, many people think that taking a good photo is easy. However, if you want a good product image and good color accuracy, you will need to invest in more than a point-and-shoot camera and mentality.

First, invest in a good monitor. I am a big fan of Ezio and I currently have the CG223W model. However, if an Ezio is out of your price range, look for something that has a wide color gamut. Some very expensive models cover 100% RGB but I have heard from other photographers that companies such as Dell make some good monitors for much less. For instance, at $549 the Dell Ultrasharp U2410 claims to get 96% Coverage in Adobe RGB.

Next you will need to invest in a monitor color calibrator.  I use and older Eye-One by X-Rite.  These colorimeters come with calibration software. Some expensive monitors also have software that work in conjunction with various colorimeters.  You may want to do some tests to see what works the best.

If you are photographing in a “studio” you will need to keep you lighting consistent. My workspace has north facing windows with no direct sunlight. When I use studio strobe lights, I don’t need to black out my windows. My strobes over power any indirect daylight so I can use the same gray point throughout the day. However, I test my gray point each time I change my lighting set-up.

To test my gray point, I photograph a QP card. These black, gray, and white cards are small, inexpensive, and come in a light protective case that keeps them from fading. I place a card in the spot where I am going to photograph my product. I shoot all my images in Adobe RGB RAW with my camera set at a custom white balance of K5200. I use K5200 because it best matches the color temperature of my studio lights. If your camera has “picture styles”, landscape may not be the best choice because the colors might actually be too saturated. If this is an option on your camera, you may want to do some test shots to see what setting works the best. The most important thing is to keep all your images consistent. Never use AWB (Auto White Balance) and process all the images the same for color consistency.

I process the QP card image in Photoshop with Adobe Camera Raw and use the White Balance Tool to establish my gray point. I click in the center of the white square rather than the gray square. If your photo isn’t overexposed, then the white square should be somewhat gray. I then save this setting so that all my images photographed with this set-up can be processed using this gray point setting.

Once you open the image in Photoshop, double check that you are working in a large color space such as Adobe RGB or Pro Photo RGB. If you process your images in sRGB, you are eliminating color from your image. Your goal is to retain as much detail and color as possible for the original image.

Congratulations! Now you can get to work on capturing those product images with good color accuracy!

A back saving tip for photographing studio clothing images “flat”: Angle your work area and your camera.

When I first started photographing product images back in 1997, I worked for an advertising agency and had the luxury of an expansive studio with a high ceiling, and a large 8 foot camera stand. One of my biggest jobs was photographing Simms Fishing products and clothing. My predecessor photographed the garments flat on the ground so I took over the tradition. The large format camera (film in those days) was perched high above the ground on a camera stand and the camera was angled parallel to the ground. A ladder was needed to view and photograph the garment below. Stylizing the garment at ground level took a toll on the back because it required bent knees and bending over a large area. Additionally, the constant ladder climbing became somewhat dangerous after hours and days of shooting.

Because of these drawbacks, I switched over to shooting all the garments on homemade mannequins. This was a great physical relief because stylizing was done vertically and the camera could be placed at eye level. No more bending over, no more ladder climbing. However, after about 10 years of photographing garments in this style, I found I am tired of the stiffer look that comes with a mannequin. I now prefer the looser look of a garment photographed “flat”.

Currently I work out of a small home studio. I don’t have the luxury of a high ceiling, and I like to minimize my time on ladders. Fortunately, digital has made things easier and I now angle my work area so that it is no longer sitting flat on the floor. This also allows me to angle my camera so that I can use a longer lens and still fit under an 8 foot ceiling.

I use a large piece of plywood angled at about 45 degrees (a smart level is handy) and cover it with foam and a non-slip pad used for rugs. The angle puts my work area at a more comfortable level and the pad gives some friction to the garment so it stays in place. The foam also allows me to use push pins to stylize and further attach the garment to the work area.

My camera is placed at the same angle as my work area. Although I still need a ladder, its use is minimized because I tether my camera to my laptop so that I can view my images at ground level. I keep shooting and stylizing until I am satisfied with the look of the garment. My final image is then shot from the ladder and camera with a CF card and then later uploaded to my desktop. This method also shortens my production time because I don’t have to wade through all the reject images that are on my laptop as backup.

If you want to see more examples of my product images, check out Mountain Khakis website at http://www.mountainkhakis.com/?gclid=CIGhobi4y60CFQSFhwodIHO4fw.

W-Granite-Creek-Convertible-Ash-Mushroom-and-W-Granite-Creek-Hooded-Popover-Pool-Blue

W-Granite-Creek-Convertible-Ash-Mushroom-and-W-Granite-Creek-Hooded-Popover-Pool-Blue

Top five reasons to convert a color image to a black and white photo: #5 to create a silhouette.

Color silhouettes can be beautiful but often it is easier to push the brightness and contrast to more extremes if the image is black and white. Like the image in reason #4, this photo of a forest canopy was already predominately black and white with just a hint of green so I eliminated the color completely. Additionally, because the sky was bright and the trees were very dark, I only needed to accentuate the contrast slightly.

 

Top five reasons to convert a color image to a black and white photo: #4 when the photo is already monotone or primarily one color.

This could be applied to the photo in #2 as described earlier.  However, unlike the photo in #2, the below image had amazing light and was taken on a gorgeous day while skiing in the California Sierra Mountains. The clouds and mountains had nice contrast and the photo looked great in color.  However, other than the white clouds and the black shadows, the only color in the image was blue. I tried converting it to black and white and thought it looked even better.  I used this image for a holiday card one year with the tag line “Got Snow?”

Top five reasons to convert a color image to a black and white photo: # 3 to emphasize lines, patterns, or texture in a photo.

I photographed these two sunflowers in the studio when I worked at Riddell Advertising and Design in Jackson Hole, WY.  I envisioned these images with lots of brown tones to match the fall colors of a dried up sunflower.  I had an extensive set-up complete with gel filters, several strobe lights, flags, and a 4×5 camera. The color images turned out well but at the last minute, I decided to shoot a couple of black and white sheets of film as well. In the end, I preferred the black and white images because they emphasized the patterns and the textures of the flowers.  These images were shot as a personal project but I later used a similar style for an assignment photographing detail images for the 2000 Sun Mountain Golf Bag catalog.

Top five reasons to convert a color image to a black and white photo: # 2 when a photo was taken on an overcast day already looks gray and colorless.

My husband and were skiing in Las Lenas, Argentina.  The top of the mountain was closed so we went on a backcountry ski tour.  On route, we ran into three seasonal ski instructors and who introduced us to some great ski lines.  This picture was taken from a distance as the instructor’s scoped out their descent.  I loved the composition of this photo but because it was an overcast day, the photo looked drab and gray.  I knew that I needed to increase the contrast to give the photo depth.  I tried increasing the saturation as well, but the photo looked better as a high contrast black and white.  Later the image was cropped as a vertical and used on the cover of Clouveil’s Fall/Winter 2010 Dealer Catalog.

Top five reasons to convert a color image to a black and white photo: # 1 when a photo has a variety of light sources emitting different color temperatures.

This photo of a lovely bride getting ready for her wedding was taken in a small bedroom with a variety of light sources.  Window light was filtering through the shades, a tungsten bulb hung from a ceiling fixture, and a bank of fluorescent lights hung above the vanity in the adjoining bathroom.  Because it was a digital image, I first tried to alter the color balance and hue/saturation but the different light sources splashed onto the fabric of the white wedding dress and the bride’s skin tones looked too saturated.  As I gradually lowered the saturation, I realized that this photo needed to be in black and white.  I cropped in closer, added a slight vignette, and was very happy with the results.