There is no absolute substitute for holding a piece in your hand in real life. The best we can try to do when posting our work online is give it the best photos we possibly can that do the work justice.
It's not just about making the photos look professional (although that is important!), you need to sell the piece by highlighting it's best aspects, and giving them an idea of the character and mood of the piece, that might otherwise not translate over a digital photo.
Good photography sells pottery. When a customer cannot hold a piece, the photograph becomes the way they judge form, proportion, texture, colour, and quality. A clear and honest image builds trust. A thoughtful and attractive image builds desire.
The aim is not to produce complicated commercial photos. The aim is to show your work in a way that feels professional, consistent and accurate, while still being achievable at home with simple tools.
The structure:
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understanding why photos matter
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creating a simple setup
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choosing backgrounds and lighting
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photographing different surfaces
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styling choices
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editing
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output for website and social media
1. Why Good Photos Sell Your Work
A customer’s first impression is created by the photograph, not the pot. When the image is unclear or poorly lit, the buyer has to work harder to understand the surface and form. That reduces confidence, which reduces sales.
A good image does several things at once. It shows the form exactly as it is. It reveals the surface without glare. It makes the colours believable. It gives enough context to understand the size. It avoids anything distracting. When those elements come together, the customer feels guided rather than confused.
2. A Simple Photography Setup That Works for Any Potter
There is no need for expensive equipment. A good setup consists of three things: a background, soft light and a stable camera.
Background
Many potters use a white background because it removes distractions, although it is not the only option. A seamless background avoids the hard line where the table meets the wall. The simplest version is a sheet of paper or fabric taped to the wall and allowed to curve gently towards the table.
A neutral background is the safest choice for selling work. Pale grey, light stone and soft mid-tone colours all work well. The rule is simple. Dark pots look better on a lighter background. Light pots look better on a darker background. Highly colourful pots often look best on a quiet grey. Foam sheets or cotton fabric work well because they do not reflect light.
Lighting
Light determines ninety per cent of image quality. Good light reveals texture, removes glare and makes colours accurate.
There are two affordable lighting options.
Natural light is the easiest. Place your setup near a window and avoid direct sunlight. Direct sun washes out colours and creates very hard shadows. Shade, overcast conditions and window light all produce soft, flattering light. Rotate the pot until the shape and shadow look balanced.
Artificial lighting gives more control. Two inexpensive LED lamps placed on either side of the pot create even light. A sheet of tracing paper or thin fabric taped over each lamp turns it into a simple softbox. This removes harsh reflections, especially on glossy glazes. A light placed directly above can deepen colour but should be used sparingly.
A softbox or light tent can also help. Many potters make their own by cutting windows in a cardboard box and taping tissue paper over them.
Camera stability
A tripod will improve your photos more than a new camera. A stable camera gives sharper images, allows slower shutter speeds and eliminates the subtle blur that comes from hand movement.
Most modern smartphones take excellent photos. The key is stability and lighting, not expensive equipment.
3. Photographing Glossy, Matte and Textured Surfaces
Different surfaces behave differently under light. Glossy pieces can reflect the lamp or window. Matte and textured surfaces can look flat if the lighting is too even.
Glossy glazes need soft, diffused light. Reflections should fall along the curve of the pot rather than showing a bright white patch. If you see a hotspot, move your light higher or further to the side, or add another layer of tracing paper over the lamp.
Textured clay benefits from side lighting. A gentle shadow emphasises carving, throwing lines and surface movement. If the texture looks washed out, move your lamp slightly sideways or angle the piece until the form becomes clear.
Dark glazes often require more light to avoid blocking up. Pale glazes need less light to avoid losing definition.
4. Styling Choices for Product Shots and Lifestyle Shots
There are two photographic styles that potters commonly use: product photography and lifestyle photography.
Product shots
These are straightforward, minimal and accurate. They show the pot clearly without distraction. They are essential for online shops, wholesale catalogues and gallery submissions. Use a clean background, consistent lighting and a square or vertical frame.
Product shots should include at least three views. A front view. A view from a slight angle to show form. A close-up of the glaze or texture. If the pot has a foot or lid, show it.
Lifestyle shots
Lifestyle photos create atmosphere and context. A mug on a wooden table. A vase on a windowsill. A bowl filled with fruit. These images help buyers imagine the pot in their own home.
A lifestyle photo still needs clarity. Props should never overpower the pot. Choose real materials: wood, linen, plants, fruit, stone. Avoid shiny surfaces that reflect light back onto the pot.
Outdoor photographs can be beautiful. Soft shade under trees or on an overcast day gives ideal light. Natural backgrounds such as stone, moss or wood can enhance rustic pots and carved surfaces.
5. Building a Repeatable Workflow
A consistent workflow saves time and keeps your photographs looking recognisably yours.
Place the pot in roughly the same position each time. Match the camera height to the midline of the pot for accurate proportion. Keep the background angle and lighting arrangement consistent. This helps your online shop look cohesive and intentional.
Bracket your shots when possible. This means taking one slightly darker image, one correct image and one slightly brighter image. Choose the best afterwards.
6. Editing Your Photos Without Making Them Misleading
Editing is not about changing the pot. Editing is about correcting the limitations of the camera.
Most images benefit from three adjustments: brightness, contrast and white balance. These ensure the colours look true.
Free tools such as Fotor, Pixlr X or phone editing apps work well. Adjust brightness until the pot looks natural. Increase contrast very slightly to give definition. Adjust white balance if the image looks too blue or too yellow.
Cropping should be done after these adjustments. Leave a little space around the pot rather than cropping too tightly.
Image compression should be applied last. An online shop image of around 1080 pixels square is ideal. Keep the file size below one megabyte to ensure fast loading on websites.
7. Final Checks Before You Upload
Look at the image on different screens if possible. Check that the background looks clean. Check that the colours match the real piece. Check that there are no reflections that obscure detail.
The final question is simple. Would a customer understand exactly what they are buying from this image? If the answer is yes, the photograph is ready.
Conclusion
Good photography is not complicated. It is a repeatable process that relies on simple tools: soft light, a neutral background and a stable camera. The goal is not perfection. The goal is clarity, honesty and atmosphere. When those elements come together, your pottery will present itself at its best and your customers will feel confident in what they see.