Ceramics are among the most technically demanding objects to photograph well. The surface can be matte, glossy, textured, or somewhere in between, and the right lighting approach for one piece can completely flatten another. After seven years of shooting ceramics for Kyoto-based makers, we have developed a set of approaches that we return to consistently, while adjusting for each new collection.
The problem with overhead light ¶
A large diffused light source directly above a ceramic piece is the most common tabletop setup, and it works well for many objects. For ceramics, especially those with textured or dark glazes, it tends to flatten the surface. The light fills in the small variations in the glaze that give the piece its character. We almost always start with a side or low-angle source instead, then add fill only where shadows become too dense.
Matte versus glossy glazes ¶
Matte glazes absorb light and require more of it to render correctly. Glossy glazes reflect light and require careful management of reflections. A glossy piece shot with a large softbox will show the softbox in the glaze unless the angle is very precise. We use a strip softbox for glossy pieces, positioned at a steep angle, and sometimes flag off the reflection with a small black card. The goal is to show the sheen without revealing the light source.
Background choice for craft objects ¶
We use three standard backgrounds for ceramics: a warm white paper, a mid-grey linen, and a piece of unfinished oak board. The choice depends on the colour and weight of the piece. Dark glazes tend to read better against the warm white. Light, delicate pieces can disappear against white and benefit from the grey linen. The oak board works well for pieces with a rustic or earthy quality.
Consistency across a seasonal catalogue ¶
For clients like Noriko Fujiwara who shoot every season, consistency across the catalogue matters as much as any individual image. We keep a written record of the lighting setup, background, and camera position for each client so that the summer catalogue matches the spring catalogue in feel, even if the pieces are completely different. This is one reason we ask commercial clients to book the same slot each season where possible.
If you make ceramics, pottery, or other handmade objects and want to talk through how we would approach your work, get in touch with us. We are happy to look at reference images and discuss the approach before you commit to a booking.