Backlighting Glass Objects
First, we set up a black fabric backdrop using the ProDuty Backdrop Support kit. We positioned the stands and backdrop pole far behind the tabletop surface, which created a very long sweep behind the subject. Then, we positioned a StarFlash 650 with Medium LiteDome behind and to the right of the statue (figure 1).

This created a nice rim light around the right edge of the statue (figure 2). We liked the idea of backlighting this piece because we wanted to show all of the dramatic colors in the glass dragon.

Next, we used the same setup (another StarFlash 650 with medium LiteDome), and positioned it behind and to the left of the subject (figure 3).

After adding the second rim light, we got the exact effect we were after. The glass now had a beautiful glow. As nice as this effect was, however, we realized that the rest of the statue was still a black, detail-less silhouette (figure 4).

Adding a Fill Light
To light the front of the statue, we positioned a StarFlash 300 with 43-inch silver umbrella slightly to the left of the camera, perfectly square with the front face of the subject (figure 5).

This third light did well to light the entire front side of the subject, and helped to reveal the texture in the wooden base and in the glass surface (figure 6).

Had limited shooting time been an issue, we could have stopped at this point and been satisfied with the result. But since it wasn't, we decided to develop the shot further. Upon further examination, we felt that the this lighting setup was producing too much contrast and causing some uncontrollable highlights. We knew that with a little finesse of the lighting, we could take this shot much further.

Before we move on, let's review the three lighting changes we made so far (figure 7).

1. We started with a single Medium LiteDome acting as a rim light on the right side of the subject.
2. Then, we added another rim light to the left side.
3. To light the front of the statue, we used a 43-inch silver umbrella.

The following steps demonstrate how we altered this setup in order to harness the contrast in the glass and to make the texture in the wood appear more natural.

Repositioning the Fill Light
First, we moved the umbrella to the right of the camera in order to create a more oblique angle to the subject. We then feathered the light across the face by aiming the center of light just past the front of the statue (figure 8).

By changing the angle of the umbrella, we dramatically changed the quality of light on the front face of the statue. Whereas before, the angle was such that the light from the umbrella reflected off of the face and into the lens, the repositioned umbrella now reflected light off to the left, away from the camera lens, which resulted in a darker exposure. This is a good example of how the angle of incidence equals the angle of reflection (figure 9).

Using a Reflector to Bounce Light
To brighten this area, we decided to bounce the umbrella light with a simple reflector. We set up a 22-inch Black/Silver LiteDisc on a LiteDisc Holder and used the silver surface of the disc to bounce the light from the umbrella back into the front of the statue (figures 10 & 11).

As you can see, the LiteDisc produced a much more subtle fill light that helped to accentuate the wooden surface of the statue.

Using a Flag to Block Light
The next step was to deal with the blown out highlight on the outer right edge of the glass. To do this, we used the common studio technique of setting up a small black card (often referred to as a "flag" or "gobo") to block the light source from reaching a specific area of the object.

Luckily, we had an old flexible arm with small clamps, which we set up on a LiteStand and used it to hold a 4x5-inch black card in place. (Note that this can also be achieved with a wire coat hanger and little imagination!)

We then positioned the card so that it blocked only the light that was reaching the right edge of glass (figures 13 & 14).

As you can see from the reflection, the black card did the trick. Now the highlight had some texture to it and was no longer overexposed (figure 15).

At this point, we were almost done. The only thing left to do was to use the same black card technique to eliminate the other bright highlight located in the center of the glass dragon.

But before we review this final step, let's look at what we've accomplished so far (figure 16).

1. First, we moved the Umbrella to the right side of the statue.
2. Then, we added a 22-inch silver LiteDisc to reflect light into the front of the statue.
3. Finally, we used a small black card to block some of the light from reaching the right edge of the glass.

The last step was to eliminate the bright highlight in the center of the glass piece. To do this, we rigged up another small black card. This time, we used the wire coat hanger mentioned earlier, some tape, and an old accessory clamp to support it on the table. The following images show how we positioned the black card to block light from the highlight in the glass (figures 17 & 18).

Our final result is shown below (figure 19).

As you can see, when it comes to product photography, lighting is everything. Using the right tools, paying attention to detail, and being open to experimentation will allow you have fun while creating stunning product shots for both you and your clients.