Do It Yourself Light Box for Food Photography

Earlier this week I posted a related article titled “Do It Yourself Lighting for Food Photography” that discussed inexpensive and easy to construct light diffusion panels and lighting along with some tips for using this equipment to best effect for food photography.  In this post we will look at a table top light box (or light tent).

The previous photograph shows my tabletop light box setup that cost about $10 to construct (reusing the sheet and spring clamps from my diffusion panels, and using the same lights).  I made this a bit larger than the commercially available light boxes and constructed it from two square frames (25” per side using 3/4” PVC) with a single tube on the back connecting the two side panels.  Commercially available light boxes are generally smaller and range from roughly $30 to $100.  Commercial light boxes are essentially a cube of translucent material stretched on a wire frame with one side of the cube open (think of a box with an open top which is set on its side).

I prefer my setup over a commercial light box for several reasons:

1. Low cost
2. Larger (better dimension for food photography)
3. Greater flexibility (I can choose to close the top by draping another sheet or leave it open, I can choose to drape the material across the bottom of the box (or not), or could choose to expose any side of the box (or cover it).

So the real question is “why use a light box?”  Also, why would you want to use a light box rather than the diffuser panel set up I discussed in “Do It Yourself Lighting for Food Photography?”  One reason is convenience.  The light box setup is quick and easy…a slight advantage over the diffuser panels.  Second, the flexibility I noted above.  Third, the light box gives me the opportunity to light from the rear (either blowing out the background or controlling the light to add further dimensionality to the subject).  These advantages apply equally well to product photography.

For me, the most important advantage of the light box is the ability to control reflections.  Because nearly all my food photography includes wine, controlling reflections from wine bottles and wine glasses can be a serious challenge.  The light box is an elegant solution.

Glass reflects – you can’t cheat physics.  However, you can control what is revealed in the reflection.  A light box goes a long way to giving you the tools to exercise some measure of control.

If you want to see the full coverage of the wine and taco photos featured here, go to Craig’s Grape Adventure tomorrow for the article on wine pairing with DC food trucks, and next week for a report on Casino Royale night including the 1998 Jacquart Blanc de Blanc Brut.

Have fun, and go make some great photography.

Craig

Do It Yourself Lighting for Food Photography

As many of you who follow my other blog, Craig’s Grape Adventure, where I write (and photograph) about food and wine pairing, I have put a good amount of energy into building my food photography skills since the first of this year.  In pursuing this type of photography, I quickly learned that I would not be able to rely on the natural lighting I prefer for the rest of my photography.  Not wanting to blow a mound of cash to set up a good food photography lighting rig (yet), I decided to go the DIY route as an interim measure.

I followed a three step process:

1. Constructing two PVC diffusers.
2. Finding the “right” amount of light.
3. Experimenting with the direction of the light.

First, I constructed two diffuser frames from PVC.  I constructed a large free standing unit that consists of a 42” square frame with support legs that bring the diffuser frame to table height.  This is a simple matter of cutting PVC to length, and connecting the joints with elbows and tees.  I constructed a second 30” diffuser frame for table top use – short legs so the unit could sit on the table.  Next it was a matter of draping bed sheets over the frame and securing the sheets to the frame with spring clamps.

Continuing with the budget theme, I used halogen work lights I’ve had for a number of years.  Note; using lights that are not white balanced will require you to adjust your in-camera white balance or adjust in post (possibly both – I manage color correction in post).  Not a big problem, just something to be aware of.

Getting the “right” amount of light was a matter of experimentation that involved moving the diffusers varying distances from the subject and moving the lights varying distances from the diffusers.  I don’t have a magic formula for this.  There are a number of variables, including the amount of ambient light, so I encourage you to experiment until you get the lighting effect you are looking for.

The last step is the most important – the direction of the light.  The key to good food photography is giving the subject a three dimensional feel (the zucchini and red pepper above are good examples).  In other words, straight on lighting (from the direction of the camera) will result in a flat image.  As you move the light source to the side and back of the food, you begin to manage the light and shadow resulting in the addition of depth and dimension to the subject.  I spent the better part of an afternoon experimenting with this.

Because all food is not created equal, the location of your lighting can vary from subject to subject.  Said another way, food is not all the same shape, and adding depth and dimension to a banana is different than a piece of toast, a bed of rice, or an apple.  Through my experimentation, I found that to bring depth and dimension to the composition, the lights were never in front of the 3 o’clock and nine o’clock positions.  Using a two light set up, I frequently have one light at the 3 or 9 o’clock position and another further behind the food at say 10 or 2 o’clock.

If I don’t have time to play with the lighting for a particular dish (i.e., people are waiting to eat), my default is 3 o’clock and 10 o’clock.  This may not be “perfect",” but it yields solid results without much thought or effort.

You don’t need to spend a bunch of your hard earned cash to get satisfactory lighting for food photography.  After pulling the work lights from the garage, I invested about $20 in this lighting set up.  The real challenge in this rig is taking the time to experiment with light intensity (distance and more/less layers of sheets) and lighting location.  You can do it.

Too see more of my food photography and some mouth watering food and wine pairings, please visit Craig’s Grape Adventure.

Have fun, and go make some great photography.

Craig