The Honest Truth About Commercial Product Photography in Auckland (From Someone Who Actually Does It)
Let me start with something that might surprise you: most people have absolutely no idea what product photography actually involves. They think it’s pointing a camera at something and pressing a button. If only it were that simple.
As an Auckland product photographer, I get asked the same questions over and over again. So today, I thought I’d pull back the curtain and share what this job is really like – the good, the challenging, and the downright amusing parts that nobody talks about.
It’s Not Just Taking Pretty Pictures
Here’s what most people imagine I do: arrange a product nicely, snap a few photos, maybe adjust the brightness a bit, and like magic – professional product photography
The reality? I’m part commercial photographer, part problem-solver, part lighting engineer, and occasionally part miracle worker. That “simple” product shot you see online probably involved much adjusting tiny reflectors, moving lights and the products millimetre by millimetre, and figuring out how to make it perfect.
Every surface reflects light differently. Every material behaves differently under studio lights. That gorgeous leather handbag that looks stunning in person? It needs specific lighting to bring out the grain. That beautiful white ceramic mug? It could blind the camera with reflections. my work requires constant adaptation and problem-solving.
The Things Nobody Warns You About
When I started out, nobody mentioned that I’d become an expert in the strangest things. I now know more about set building, balancing, textures, finishes, and paper craft (yes) than I ever expected. I can work with so many different materials under various lighting setups.
I’ve also become unexpectedly good at handling fragile items, thanks to my time at an auction house in London. You’d be amazed how delicate some products are, and how carefully you need to position them for the perfect shot.
And don’t get me started on products with reflective surfaces. Trying to photograph anything chrome, glass, or polished metal means I’m constantly ducking out of shots, repositioning lights, and sometimes practically hiding behind equipment to avoid appearing in reflections.