Does anyone have any good tips on getting the lighting right to bring up the details of coloured glass backdrops (tiled on a wall), while not getting reflective glare?

Some possibiities ...

(1) use a polarizing filter ... properly oriented, this should cut down the glare. 
For an example, please view the message thread with subject,
Obglitory Slow Motion Water, and scroll down to the last 2 messages to
see the discussion and example images. 

(2) form a light tent around the subject -- use parchment paper to form the tent. 

(3) as a last resort, mist the subject (make SURE you have permission)
-- use a spray bottle and distilled water; the mist will break up the reflections. 

This last suggestion is also effective to enhance color saturation -- try that
out on an otherwise dull rock/boulder ... but not in direct sunlight. 

Comments, please. 

--Martin

followup ...

I looked at your image upload, Setting The Stage.

My suggestion 3, above, might have been effective in reducing the
glare on the hood, fender and headlight trim. 

Maybe you could provide a test of that idea (even if you don't have
a Mercedes handy). 

After all, cars don't mind a little water ... on the body. 

Comments, please. 

--Martin

Thanks for that, I will put them to good use!  I will hopefully get another nice car shoot soon, so will try the misting :)

I hope we'll see 2 examples: both before and after. 

--Martin

If at all possible, be at a 45 to 90 degree angle from the lighting. Any less than 45 degrees and you run a good and getting better risk of seeing the light's reflection. Have someone move the lights around the room while you look through the viewfinder and see where it will look best.

Depending on the size of the wall, the room you have to back up, and the power of your lights, this could be a LOT of trial and error. But luckily, it's something you can see in the viewfinder.

Hope this makes sense, and happy shooting-
-Lew

This is assuming you have no manner of "flagging" the lights. Blocking them from reflecting their light. If you're studio equipped, then just use panels and such to block the light head from the reflective surfaces (as well as your camera).

This is also assuming you are planning to do this all in a single shot/exposure. Typically, cars are a several exposure composite. Set up lighting for "just the tires" then take a shot. re-set lights up for a certain reflection of the hood, take a shot, another setup for a different reflection of the hood, then the windshield, doors, etc.

You get every aspect of the car exposed or reflected the way you want it, then composite ALL the shots together into a final, massaging here and there when and where necessary. This is all for a true "hero shot" of a car - otherwise you can do it with available light, or simple lighting - just don't expect it to be too dynamic.

The attached image has a main "overall" exposure, then all the shots listed in blue, and some massaging with masked Levels Adjustment Layers all over everything to accentuate what I want in the end. Some exposures for parts were too hot, or not hot enough (note 3 and 4 - so I used only portions, get it?), the background did NOT go to black, etc.

Again, hope this helps-
-Lew

Sounds quite complex, but I think I understand!  I am really asking more for photographing a coloured glass wall more than an object in particular.

I will try and use those tips when I come to do another car shoot though!

Thanks alot guys!

Oh - just the wall by itself - well, same rules apply. And again, you can look through the viewfinder and actually SEE the reflections, so just move the light around until they're gone.

Then it's just a matter of over and underexposure.

-Lew