Guide to photographing musical instruments

Every category has areas that deserve particular attention.

Examples include:

• frets and back of a neck;
• body edges;
• footswitches;
• knobs;
• faders;
• keyboard keys;
• cabinet corners;
• jacks and connectors;
• cymbal strike areas.

Photographing these points helps the buyer assess real wear without having to infer it from overall views alone.

For each relevant defect, check:

• [ ] it is visible in at least one photograph;
• [ ] a contextual view exists where needed;
• [ ] the detail is in focus;
• [ ] lighting does not hide it;
• [ ] lighting does not artificially exaggerate it;
• [ ] colour and contrast have not been altered to change its appearance;
• [ ] the photograph matches the listing description.

The images should allow the buyer to make an independent assessment.

A very close perspective can distort the subject.

For documentary photographs, keep the camera far enough away and try to keep it parallel to the main surface when showing shape or control panels.

Angled views can be added to show depth, but they should not replace more neutral images.

This is particularly important for keyboards, rack units, mixers, pedals and front panels.

Glossy guitars, metal panels, displays and black plastics can directly reflect the light source.

Move the light, item or camera slightly until reflections no longer cover important information.

Pay particular attention to:

• glossy finishes;
• chrome hardware;
• black panels;
• displays;
• acrylic surfaces;
• cymbals;
• painted surfaces.

A reflection can help describe shape, but it should not erase serial numbers, scratches, controls or details.

Before shooting, create a simple list of required images.

You will generally need:

1. main view;
2. front;
3. rear;
4. sides where relevant;
5. identifying details;
6. serial number or plate;
7. high-wear areas;
8. defects;
9. included accessories;
10. category-specific shots.

Planning the sequence before starting makes the photographs more consistent and reduces the chance of having to rebuild the set later.

After the session, you may have many nearly identical images.

Remove:

• duplicates;
• blurred photographs;
• less sharp versions;
• shots with worse reflections;
• images that add no information.

Keep every photograph needed to show condition, defects, identifying details and included items.

The final set should be complete without being redundant: each photograph should have a clear purpose.

The soft light that works well for an overall view can make some surface defects difficult to see.

To document scratches, dents or wear, try slightly more directional side lighting so that the surface gains some contrast.

Also take a contextual image showing where the defect is located.

Avoid both hiding it and using extreme lighting that makes it appear much worse than it normally does.

The goal is to make the defect identifiable and assessable.

Automatic exposure does not always interpret very black, white or reflective gear correctly.

If the subject is too bright and loses detail, reduce exposure slightly. If it is too dark and surfaces are unreadable, increase it carefully.

Pay particular attention to:

• highlights not being completely blown out;
• dark areas retaining detail;
• colour remaining natural;
• the photographed defect remaining visible.

Small exposure corrections are preferable to heavy editing later.

If the item contains visible non-original parts or modifications, add specific photographs.

Useful examples include:

• pickups;
• bridge;
• tuners;
• speakers;
• tubes;
• power supply;
• added switches;
• modified panels;
• replaced components.

If you still have the original parts and they are included in the sale, photograph them separately.

Images should support the written description, not replace it.

Not every photograph has to be identical, but the set should clearly belong to the same session.

Where possible, maintain:

• the same background;
• the same lighting;
• similar exposure;
• consistent orientation;
• comparable distance for equivalent views.

This makes it easier to compare front and rear views and to recognise real differences rather than differences created by photography.