Product Photography Lighting: A No-Nonsense Guide

# Product Photography Lighting: A No-Nonsense Guide

Quick Answer: Use a 3-light system: key light at 45° to the side (defines shape), fill light opposite (reduces shadows), rim light behind (separates product from background). Start with a large softbox for the key light -- it's the single most impactful piece of gear. Reflective products need light tents or gradient setups; transparent products need backlighting through frosted acrylic.

Walk into any commercial photography studio in Austin -- or anywhere else -- and you'll see the same setup: lights on stands, softboxes, reflectors, and a product sitting in the middle of controlled chaos. To an outsider, it looks complicated. To a seasoned photographer, it's just physics.

The truth is, product photography lighting isn't magic. It's a system of principles that, once understood, apply to nearly every product you'll ever shoot. Whether you're photographing jewelry, furniture, or food, the same core concepts govern how light interacts with surfaces and shapes perception.

But there's a gap between theory and execution. You can read about "key lights" and "fill ratios" all day, but until you've spent hours repositioning a softbox to eliminate a glare on a glass bottle, the lessons don't stick. This guide is designed to bridge that gap -- giving you the practical knowledge to set up effective lighting for any product, without the jargon or unnecessary complexity.

Lighting is the single largest variable in product photography quality. A Baymard Institute usability study found that "insufficient image quality" is the #1 complaint consumers report about product pages -- and in product image testing, poorly lit photos were cited as the primary quality issue in 58% of cases. For Amazon specifically, search data analysis by Jungle Scout found that main product images with professional-quality lighting see 15–20% higher click-through rates from search results compared to flat or poorly lit alternatives.

Natural Light vs. Artificial Light: What Actually Matters

The debate between natural and artificial light in product photography is overblown. Both have their place, and neither is inherently better. What matters is control.

Natural Light

Natural light is free, beautiful, and constantly changing. If you're shooting products near a large window with soft, diffused daylight, you can achieve gorgeous results -- especially for lifestyle or editorial work where a softer, more organic look is desired.

The problem with natural light is consistency. Cloud cover changes. The sun moves. What looked perfect at 10 a.m. looks completely different at 2 p.m. If you're shooting a catalog of 50 products that need to look cohesive, natural light becomes a liability.

That said, we use natural light at our Austin studio when the creative direction calls for it. Morning light through north-facing windows is unmatched for certain types of still life work. But we always have artificial lights on standby to fill shadows or supplement when the sun dips behind clouds.

Artificial Light

Artificial light -- strobes, continuous LEDs, or tungsten lamps -- gives you complete control. You can set the intensity, color temperature, direction, and quality of light, then replicate that setup across hundreds of shots.

For commercial product photography, artificial light is the standard. It's consistent, repeatable, and flexible. The tradeoff is cost and complexity. You need to buy lights, modifiers, and stands, then learn how to use them effectively.

The Three-Light Setup: Key, Fill, and Rim

Most product photography lighting setups are variations of a three-light system: key light, fill light, and rim (or back) light. Understanding the role of each light is the foundation of everything else.

Key Light

The key light is your main light source. It provides the primary illumination and defines the shape, texture, and mood of your product. In most setups, the key light is positioned 45 degrees to the side and slightly above the product.

Key light placement determines the ratio of highlight to shadow on your product. A key light positioned directly to the side creates dramatic shadows (high contrast). A key light positioned more toward the front flattens the image and reduces shadows (low contrast).

For most product photography, you want moderate contrast -- enough shadow to show dimension, but not so much that detail is lost.

Fill Light

The fill light does exactly what the name suggests: it fills in shadows created by the key light. Fill lights are typically softer and less intense than key lights, providing gentle illumination without creating additional shadows.

The ratio between key and fill light is called the "lighting ratio." A 2:1 ratio (key light twice as bright as fill) is common for product photography. A 4:1 ratio creates more drama. A 1:1 ratio eliminates shadows almost entirely, which is useful for white-background e-commerce shots.

Fill light doesn't have to be an actual light. Many photographers use white reflector boards to bounce key light back onto the shadowed side of the product, achieving the same effect without additional equipment.

Rim Light (Back Light)

The rim light separates the product from the background by creating a subtle highlight around the edges. It's positioned behind the product, slightly to the side, and aimed toward the camera (but not into the lens).

Rim lights are optional, but they add polish. Without a rim light, products can look flat or bleed into the background. With a rim light, you get separation and a three-dimensional quality that makes images pop.

For reflective or transparent products, rim lighting is especially important. It reveals the contours and edges that would otherwise disappear.

Softboxes, LED Panels, and Modifiers: What to Use When

The quality of light -- how hard or soft it appears -- is determined by the size of the light source relative to the subject. A large light source (like a 4x6-foot softbox) creates soft, diffused light with gradual shadows. A small light source (like a bare bulb) creates hard light with sharp shadows.

Softboxes

Softboxes are the workhorses of product photography. They create soft, even light that flatters most products. Softboxes come in rectangular, square, and octagonal shapes (called "octoboxes"), each with slightly different qualities.

We use large rectangular softboxes for most of our work at 51st & Eighth. They provide broad, even coverage and are easy to position. Octoboxes create more natural-looking catchlights (reflections in shiny surfaces), which is useful for jewelry or glassware.

LED Panels

LED panels are flat, continuous lights that produce soft, even illumination. Unlike strobes, which flash, LED panels are always on, which makes them easier for beginners to visualize. What you see is what you get.

LED panels are great for products that need high-key, shadowless lighting -- think e-commerce images on white backgrounds. They're also useful for video work, since you can't use strobes for moving images.

The downside of LED panels is power. Even high-end LED panels produce less light than strobes, which means you'll need more of them or longer exposure times.

Reflectors and Diffusers

Reflectors bounce light back onto the product, acting as fill lights without additional equipment. White reflectors provide neutral fill. Silver reflectors add brightness and contrast. Gold reflectors warm the light (useful for food or luxury products).

Diffusers soften hard light by scattering it. If you're working with a bare strobe or harsh sunlight, placing a diffusion panel between the light and the product will soften shadows and reduce glare.

Reflectors and diffusers are cheap, portable, and effective. We use them on nearly every shoot.

Lighting Setups for Different Product Types

Not all products respond to light the same way. Reflective products (like glass or metal) create specular highlights. Matte products (like fabric or wood) absorb light. Transparent products (like bottles or acrylic) transmit light. Each requires a different approach.

Reflective Products (Metal, Glass, Glossy Surfaces)

Reflective products are the hardest to light because they mirror their environment. If you point a bare light at a chrome product, you'll see a harsh hotspot. If you shoot in a cluttered studio, you'll see reflections of light stands, walls, and yourself.

The solution is to control what the product reflects. Large, diffused light sources (like softboxes or diffusion scrims) create smooth, even reflections. Positioning the product inside a "light tent" or shooting table surrounded by white surfaces creates a clean, controlled environment.

For highly reflective products, we often use a technique called "gradient lighting," where we position lights to create a gradual falloff from bright to dark. This reveals the contours of the product without blowing out highlights.

Matte Products (Fabric, Wood, Ceramics)

Matte products are more forgiving. They absorb light rather than reflecting it, so you don't have to worry about hotspots or unwanted reflections. The challenge with matte products is showing texture.

To bring out texture, use side lighting. Position your key light at a 45- to 90-degree angle to the product, creating shadows that emphasize surface details. A low lighting ratio (more fill light) will flatten texture, while a high lighting ratio (less fill light) will exaggerate it.

Fabric, in particular, benefits from slightly harder light to reveal weave and detail. A softbox with the inner diffusion panel removed can provide the right balance.

Transparent Products (Bottles, Glass, Acrylic)

Transparent products need backlighting to show their translucent qualities. Without light passing through the product, glass and acrylic look flat and dull.

The classic setup for transparent products is a backlit table or lightbox. Place the product on a frosted acrylic or plexiglass surface with a light source underneath. This creates a clean white background and illuminates the product from within.

For bottles with liquid, we often add rim lights to highlight the edges and a key light to define the front surface. The combination of transmitted and reflected light creates depth and dimension.

Common Lighting Setups for Product Photography

Here are five lighting setups we use regularly at our Austin studio. These are starting points -- adjust based on your product and creative direction.

1. High-Key White Background (E-Commerce)

• Key light: Large softbox at 45 degrees, 6 feet from product
• Fill light: White reflector opposite key light
• Background light: Two lights aimed at white seamless backdrop
• Goal: Pure white background (RGB 255, 255, 255), even lighting, no shadows

2. Dramatic Side Lighting (Editorial)

• Key light: Softbox at 90 degrees (directly to the side)
• Fill light: Small reflector for subtle shadow detail
• Rim light: Strobe with grid behind product
• Goal: High contrast, defined shadows, editorial look

3. Soft Beauty Lighting (Jewelry, Cosmetics)

• Key light: Large octabox above and in front of product
• Fill light: White reflectors on both sides
• Rim light: Small strobe with snoot for edge highlights
• Goal: Soft, flattering light with gentle shadows

4. Backlit Glass/Bottle Setup

• Backlight: LED panel or strobe under frosted acrylic surface
• Key light: Softbox at 45 degrees for front surface detail
• Rim lights: Two small strobes behind product at 45-degree angles
• Goal: Glowing, translucent effect with defined edges

5. Natural + Artificial Hybrid

• Natural light: Large window with sheer curtain (diffusion)
• Fill light: White reflector to balance window light
• Rim light: LED panel for separation
• Goal: Soft, natural look with consistent exposure

Budget Options: You Don't Need $10,000 in Gear

Professional studio lighting is expensive, but you don't need top-tier gear to get good results. Here's what we recommend for different budgets.

Under $500 (Beginner)

• Lights: Two Godox SL60W LED panels ($200 each)
• Modifiers: 32" softboxes for each light ($40 each)
• Support: Two light stands ($30 each)
• Total: ~$540

This setup will handle most small product photography. LED panels are easier to learn than strobes, and Godox makes reliable budget gear.

$500-$1,500 (Intermediate)

• Lights: Two Godox AD200 Pro strobes ($300 each)
• Modifiers: 43" octabox ($100), reflector dish ($30), grids ($40)
• Support: Two c-stands ($150 each)
• Trigger: Wireless trigger system ($80)
• Total: ~$1,250

Strobes give you more power and faster recycle times than LEDs. The AD200 Pro is compact and versatile -- we still use them for location shoots.

$1,500+ (Professional)

• Lights: Two Profoto B10X strobes ($2,000 each)
• Modifiers: RFi 3' Octa ($400), RFi Softbox ($300), grids and gels ($200)
• Support: Three Avenger c-stands ($200 each)
• Accessories: Reflectors, diffusion panels, light meter ($300)
• Total: ~$6,000+

This is the level where you're investing in reliability, consistency, and client confidence. Profoto gear is expensive, but it works flawlessly, and clients recognize the brand.

Common Product Photography Lighting Mistakes

1. Using Too Many Lights

Beginners tend to overlight. They add lights to "fix" problems that would be better solved by repositioning or removing a light. Start with one key light and add fill or rim lights only when necessary.

2. Ignoring the Background

The background is part of the lighting setup. If your white background looks gray in-camera, you need to light it separately. If your product blends into a dark background, add a rim light for separation.

3. Not Using Light Meters

Your camera's LCD is not accurate. It's too bright, the color isn't calibrated, and you're making exposure decisions based on a screen that lies. A light meter tells you the exact intensity of each light, allowing you to set precise lighting ratios.

4. Mixing Color Temperatures

If you're using daylight-balanced LEDs (5600K) and tungsten bulbs (3200K) in the same shot, your colors will look wrong. Pick a color temperature and stick with it, or use gels to correct mismatched lights.

5. Placing Lights Too Close

If your light is too close to the product, you'll get rapid falloff -- one side will be overexposed while the other is too dark. Move lights farther away for more even coverage. You can always increase power if needed.

Final Thoughts: Lighting is a System, Not a Formula

The setups in this guide are starting points, not rigid rules. Every product is different, and every creative brief requires adjustments. The goal isn't to memorize lighting diagrams -- it's to understand how light behaves, so you can adapt to any situation.

At 51st & Eighth, we've spent years refining our lighting techniques for products of all shapes, materials, and sizes. Whether we're shooting reflective jewelry, matte ceramics, or transparent bottles, the principles are the same: control the light, understand the surface, and adjust until it looks right.

If you're ready to see what professional product photography looks like, we'd love to show you. Request a free sample shoot, and we'll create a set of test images for your product -- no commitment required.

[Request Your Free Sample Shoot →](/contact)

Frequently Asked Questions

What's the most beginner-friendly lighting setup for product photography? Start with two Godox SL60W LED panels (~$200 each) with 32" softboxes, positioned at 45° to either side of the product at the same distance. This creates even, wrapping light that works for most products. Add a white foam board behind the product to fill shadows. As you improve, introduce the third rim light and start experimenting with lighting ratios.

Why does my white background look gray in photos? Your background isn't lit separately from the product. White needs to be overexposed relative to the product to render as true white (RGB 255, 255, 255). Add a dedicated background light -- a strobe or LED panel aimed directly at your white seamless -- set slightly brighter than your key light. Metering your background separately from your product will show you exactly how many stops brighter it needs to be.

How do I photograph glass or chrome products without ugly reflections? Control what the glass reflects. Place the product inside a "light tent" (a cube of white diffusion material) with lights outside it, so the glass only reflects clean white surfaces. Alternatively, use very large softboxes positioned so their reflection falls within intentional highlight areas. Black cards placed at the edges of the frame can create controlled dark reflections that define edges without looking accidental.

Do I need a light meter, or can I judge exposure by my camera's LCD? A light meter ($100–300) is worth owning. Camera LCDs are calibrated too bright and show a JPEG preview of a RAW file -- neither is accurate. A light meter tells you exact exposure values and lighting ratios, so you can set a key light to f/8 and a fill to f/5.6 intentionally, not by guessing. For high-volume product work, this consistency pays for the meter on the first shoot.