Photographing Clear Liquid Bottles (Gin/Vodka)
Wondering how to make bottles look beautiful? All will become clear…
Discover a host of clear bottle photography techniques that you can easily and effectively try out for yourself!
Learn from a pro as Karl shows you step-by-step how to light and photograph bottles of clear liquid such as gin or vodka.
You’ll discover how to achieve perfect condensation to create that cold, desirable look. Learn which backgrounds and base surfaces work best, and how to light the product beautifully using just two lights.
You’ll also learn how to incorporate additional lights to highlight the label and reduce unwanted shadows, further enhancing your shot.
Simple steps for photographing clear bottles:
- Prepare the bottle – This includes cleaning the bottle and creating controllable condensation
- Select the background and base surface – These will have a big impact on your overall image
- Light the product – This can be done using just a few lights with basic modifiers
- Photograph the bottle – Determine your composition and camera settings
If you enjoy this class, check out our Whisky Photography and Wine Bottle Photography classes. You can also find tips for creating your own perfect condensation in The Perfect Pint and Condensation Cold Look.
Questions? Please use the comments section below.
Comments
Hi Karl,
You tutorials are excellent and I continue to strive for a great photos. I am not sure if this was discussed in your tutorial but how do you normally resolve clear bottles with etched text behind the bottle. The text in my photos are distorted and taking away from a clean photograph. Any information would be appreciated.
Thank you,
Hi, if it’s etched into the glass then that is a physical problem that can not be resolved ‘in camera’ alternatives would be to find a similar shape clear bottle and have it as a ‘stand in’ for one shot and to use that area as a comp in photoshop.
Hi Karl,
Other than being really sticky, is there any issues to using the glucose spray to a person to simulate sweat beads? Or is there a better option?
Also, with the glucose spray, is it possible to create “running” condensation (like a water drop that has slid down the bottle)?
Hi Squiggle, I don’t think the person would thank you for it! 🙂 Yes you could but for people I usually use water in a spray bottle then have a towel nearby to wipe off and spray again.
Bonus content we learnt from this live show: Karl is not only an overwhelming light manipulator, also a lovely father and a sweet mentor.
All these features surely contribute to greatness of his images.
Ash, you have such a teacher, all of us dreaming to be there with you!
All the best 🙂
Thank you that is very kind of you to say so and I’m happy you’re enjoying the shows. All the best Karl.
Hi Karl
I have the Broncolor Siros lights, can you get a projection attachment that fit these that would work?
Many thanks
Paul
Hi Paul, I think this is one but I’ve not used it – https://broncolor.swiss/products/spot-attachment?variant=3150
Many thanks.
Hi Karl
I became addicted to your website, I spend more than 5h sometimes per day, I am really happy that I joined you in time, so thank you very much for the value of the information you give.
My question is, what background did you use because the results are awesome.
Many Thaks
Oussama Mazouz
Hi Oussama, this was acrylic plastic sheet. You can use the opal glossy type but this one was the frosted type so it has a matt finish but is still semi transparent, you can get it from plastic suppliers or sign service companies.
ERROR ON A FEW LESSONS ON THIS TOPIC 🙁
Hi M.Digital, what do you mean can you explain please?
Hello Karl,
Thank you for this great website.
How do you get this blue tint in your image ? Is it you white balance ?
Thank you
Hi, yes it’s a combination of the white balance but also this particular frosted diffusion has a slight blue tint.
Hi Karl,
Thank you so much for all your courses. I’m addicted!
On a business point of view, what is the price for such a Bottle picture and how much time do you need to produce it?
Best Regards,
Guillaume
Hi Guillaume, thank you I’m glad you are enjoying our classes. I could turn this shot around in about an hour if I really had to but different bottle might need some slight lighting changes and this would be a basic version of the shot. The pricing for it could vary dramatically if you were doing them for pack shots or e-commerce or if you were doing it for an advert where everything had to be perfect. Please see our business section for guides or photography rates/pricing. Cheers Karl.
Thank you Karl.
Hello Karl, many thanks and appreciation for making these informative sessions available online. I also appreciate the fact that you have taken much-needed pride in providing your students with sensible information.
I have an engineering background with a keen interest in enhancing my photography skills as well. Looking forward to staying on course as I seek to expand my knowledge in this evolving field.
Thanks Ryan.
Hi Karl,
I have a question about the plexiglas being used; is this clear frosted or opal frosted? My supplier has both and i’m not sure which one to purchase.
Bart
Hi the background in this one was frosted, I don’t know if it was clear frosted or opal frosted, I’d say it was probably clear frosted as it doesn’t look like the opal, it’s a bit bluer. I use opal not frosted for lots of things too and it could have even been used as the background for this shot as long as no light was going to reflect off the surface as a highlight back into the camera.
Can we use a strip light without a scrim/diffuser in front of it , for the background light ? If not , what could be the complications ?
Hi Jaspreet, if you are talking about the light coming through the background behind the bottle then you will end up with the vertical strip shape of glow and not a round one behind the bottle, so it would really depend on whether that’s what you wanted or not.
Have you used any continuous light here? or both light sources were flashes?
Hi, yes the lights are also the flash – please watch this to understand – https://visualeducation.com/class/types-of-studio-lighting/ then watch chapter 1 in this section too please.
Hi Karl,
Really enjoy these live classes, very insightful, thank you. I have got two questions, first if this was a commissioned job, is it standard practice to hand over all the raw files to the client, or only the selected hero shots. Second, nice tip on your condensation, I’ve been taught at school to spray oil for beer shots. Is that something that you ‘d consider?
Maggie
Hi Maggie, I’ve not heard of the oil before? In answer to your questions no generally I’d be handling the retouch in house or sending a partially prepared file to the retoucher. I don’t often give a raw file to the client unless I know the retoucher they will be using and that they have a good understanding of the process.
Would you be able to recommend a similar projection attachment for a Bowens-mount monolight?
Hi Enrico, I’m afraid I don’t know of any but there are some independent brands out there that fit other brands.
Hi Karl.
Hope you are keeping well. I joined the site about three weeks ago and have pretty much lived on it ever since. I am 55 and have spent most of my working career as a photographer living in a world where most top professionals kept their skills and methodology a closely guarded secret. It’s so nice to find a master craftsman who is prepared to share such incredible knowledge, so a big thank you.
I would just like to ask a quick question about the liquid glucose / clear artist varnish process for achieving the condensation effect. I went on the internet to try and acquire the artist clear varnish and am given options of matt, satin and gloss finish. Normally as a photographer I would steer away from a gloss finish product and go for the matt, but just wanted to check that this applied here, or doesn’t it matter which I go for? Many thanks – John
Hi Jonny, thank you for your comments and I’m glad you are enjoying the platform. With regards the varnish I just checked the two cans I have in the cupboard one is satin and the other is gloss and they’ve both been used before so I don’t think it matters too much. If you were only going to get one then probably go for satin as it is between the other two. Cheers Karl.
Hi Karl, where do you get those scrim rolls from? I’m assuming it’s essentially tracing paper and can’t seem to find any of a decent length.
Also, for the 5mm frosted Perspex, will any frosted perspex to it? Or are some suppliers/brands better – I’m thinking in terms of neutrality and potential shifts in colour temp…
Excellent tutorials BTW!
Hi thanks for your comments. The rolls are photography diffusion material it comes on rolls from Lee Filters, it’s used a lot in the film industry. The perspex comes from Sign Service companies or plastic suppliers. The standard white opal is usually neutral some of the frosted ones look a bit blue to me.
Hi Karl why do you use lee rolls filter 216 instead of 129 heavy frosty?
Should heavyweight translum get more nice gradient even if the stop of loss is major than other type of scrim?
Thanks in advance
Actually my favourite is 400Lux but it’s only marginally better than 216 (partially because it’s more durable) but it’s more expensive and I go through a lot of stuff. 129 Heavy frost doesn’t create as nice a gradient and I don’t know about translum as I’ve never used it.