I love the little surprises that happen when a flat surface suddenly looks like liquid—when paint, paper or a tiny vignette becomes a glossy pool of reflected light. Lately I’ve been photographing small “resin water” scenes for postcard-sized dioramas and tutorials, and I’ve developed a simple recipe for capturing silky, even reflections without a light tent. If you don’t have a professional softbox, don’t worry: most of the diffusers you need are already in your house.

Why skip the light tent?

Light tents are great for 360° soft light, but they can feel bulky and restrictive if I want to work on the scene while shooting (tweaking tiny props, tilting a painted figure, adjusting a paper ripple). Using household diffusers keeps everything flexible: I can move lights and reflectors in real time, make subtle compositional changes, and create that silky reflection we all chase when photographing shiny surfaces like resin or glazed puddles.

What I mean by “resin water”

When I say “resin water” I’m referring to either a real epoxy pour or a convincing stand-in: a sheet of clear acrylic or glass, a glossy varnish over a painted base, or a thin layer of clear-drying glue. The same photographic principles apply—the goal is to create an even, mirror-like surface and control the highlights so they’re soft and flattering rather than specular and harsh.

Materials (all household-friendly)

  • Clear surface: glass, acrylic sheet, or a thin pour of epoxy resin
  • White bedsheet, shower curtain, tracing paper, or baking parchment (for diffusing)
  • Black card or dark cloth (for controlling contrast and stopping unwanted reflections)
  • Desk lamps / LED panels / phone flash (continuous light is easiest)
  • Reflector substitute: white foamboard, aluminium foil on card, or a piece of white card
  • Polarizing filter (optional but helpful)
  • Tripod (recommended) and small props to compose your scene

    • Simple setup — the airy, reflective pool

    Here’s my go-to arrangement for silky reflections without a tent. I set this up on a table near a window or indoors with controlled ambient light.

  • Place your clear surface horizontally (like a tabletop mirror). If you’re using epoxy, make sure it’s fully cured and level.
  • Arrange your scene on top or beneath the clear surface depending on the look—tiny paper boats sit nicely on top, while submerged-looking objects can be glued under the surface for a layered effect.
  • Position a large white diffuser above the scene. I often tape a bedsheet or clip tracing paper between two stands (or hang from a curtain rail) so the light hitting the scene is broad and soft.
  • Place one or two continuous lights behind the diffuser (desk lamps with LED bulbs work fine). The farther the bulbs are from the diffuser, the more even the light becomes.
  • Control reflections with black card. A vertical strip of black card behind the camera will prevent bounce from the background and deepen the tonal range of the reflection.
  • Use a white reflector off to one side to gently fill shadows if needed. This balances contrast and keeps the reflection silky rather than harsh.

    • Camera settings and technique

    I shoot most of these scenes on a tripod to keep the plane sharp and to allow for longer shutter speeds when needed. Below is a quick reference table for typical starting settings—adjust for your camera, lens and ambient light.

    ParameterStarting ValueWhy
    Aperturef/5.6 – f/11Enough depth for miniature scenes while keeping backgrounds soft
    Shutter speed1/4 – 1/60 s (or longer with tripod)Use slower speeds for lower ISO and smooth exposure
    ISO100 – 400Keep noise low—resin reflections reveal grain easily
    White balanceAuto or set to Daylight/CustomMatch the light source; tweak in RAW
    PolariserUse if glare is a problemReduces specular highlights and increases color saturation

    Household diffusers and what each does

    Different materials give subtly different results. I experiment with combinations depending on whether I want a soft glow, directional rim light, or a dark, moody reflection.

  • Bedsheet: Cheap, large and excellent for very soft, wrap-around diffusion. I hang it several inches above the scene and let the lamp sit behind it. This is my most-used diffuser.
  • Shower curtain: Thicker than tracing paper and slightly textured—creates a slightly clouded highlight that can look very natural for “outdoor” water scenes.
  • Tracing paper / baking paper: Great for small setups when you want precise control. Tape a sheet to a lightbox or a frame and move it closer to the bulbs for a stronger softening effect.
  • White lampshade or pillowcase: Handy for quick tabletop rigs—clip a lamp inside a pillowcase for a fast, even source.

    • Controlling unwanted specular highlights

    Specular highlights (small bright spots) are the enemy of silky reflections. Here’s how I tame them:

  • Increase the size of the light source with larger diffusers—bigger equals softer.
  • Move lights farther away from the subject; this also enlarges the apparent source through the diffuser.
  • Use a polarizing filter and rotate it until the glare reduces to a pleasing level. Note: a polariser will darken the viewfinder and may require longer exposure.
  • Introduce subtle texture: a faint ripple or matte element near the reflection breaks up hard spots while maintaining the glossy look.

    • Compositional tips that make reflections sing

    I treat reflections like a second subject. Sometimes I compose symmetrically so the reflection becomes a mirror extension of the object; other times I offset the subject so the reflection is a subtle counterpoint. A few tricks I use:

  • Leave negative space above or beside the reflection to emphasize calmness.
  • Use low camera angles—get the lens almost parallel to the surface to maximize the mirror effect.
  • Experiment with tilt: a tiny shift of the clear surface or camera changes the reflection dramatically.

    • Troubleshooting common problems

    If the reflection is noisy, increase light and lower ISO. If highlights are blown, softening the diffuser or increasing distance to the light source usually helps. If the surface picks up fingerprints and dust (it will), use a microfiber cloth and compressed air—resin and glass show every speck distinctly.

    I’ll often shoot a bracketed set (multiple exposures) so I can blend in post if highlights need taming or shadow detail needs rescuing. Shooting RAW is a must for these scenes—there’s frequently a subtle play between shadow and highlight that benefits from gentle recovery.

    If you want to try this with a real epoxy pour, remember to photograph only when the surface is fully cured—dust and pots of pigment can settle and leave marks while the resin is setting. For a quick practice run, a sheet of glass or acrylic paired with a painted backdrop under the glass will teach you everything you need to know.

    On Maxthemagician Co (https://www.maxthemagician.co.uk) I’ll be posting step-by-step tutorials soon showing how I paint miniature scenes that sit beneath resin “water”—so if you try this recipe, send a photo or a question. I love seeing what others make when they borrow a little light and a lot of imagination.