So, let's start addressing the issues/goals in making the final image. First, let's freeze motion.
The most basic and straightforward way to freeze a moving subject is by using a fast shutter speed. Remember, the apparent motion of the subject is controlled by the duration of reflected light hitting the camera's sensor. In the following image, light was only able to reach the camera's sensor for 1/5000 sec, doing a great job of freezing the very fast moving water droplets.
That's all well and good if your shooting sports in the middle of a cloudless day in July, but our situation with the wine is a bit different.
Shooting in dim indoor lighting, we need to freeze action some other way. The high ISO of modern DSLR's can only take us so far, particularly on a professional shoot, where a certain standard of image quality must be maintained. So, if we can't freeze action with shutter speed, we need to do it some other way...
When a professional studio strobe releases its burst of light, it does so for a very short amount of time. For the sake of illustration, let's say that flash duration is 1/2000 sec. So, if the only light hitting the subject is coming from the strobe, and the strobe only fires for 1/2000 sec, it's as if you're using a shutter speed of 1/2000 sec, even if the shutter is actually open for 5 min, because it comes down to the absolute amount of time that light is reflecting off of the subject and hitting the camera's sensor.
This is the motion freezing technique used in studio photography. Since everything in the image is lit by short-duration strobes, it doesn't really matter what the shutter speed is set to, as long as it's a speed that can sync with those strobes (strobe syncing is outside the scope of this discussion, perhaps it can be a future post). Freezing motion using strobe duration is a technique that can be used to great effect with a wide variety of equipment, ranging from the very best studio lights, to the built in flash on your point and shoot camera. There are certainly tradeoffs and limitations inherent in any type of lighting equipment, but the same principles apply.
For instance, the wine image in question was made with large, expensive, professional grade portable lights, but here's an image I made with small, light, relatively inexpensive, and highly portable AA powered flashes. It was a single exposure, with the flashes firing 4 times while the shutter remained open. Because the only light hitting the punching bag was coming from the strobes, each time the flashes popped, the action was frozen, and we see nothing in between flashes because there was no other light source hitting the bag.
In the next post or two, we'll look at how we can integrate these studio lighting techniques into our location photo of the wine and food.