Toy Photography Tips: How to Photograph Nendoroid & Figures

Toy photography is all about making something small feel much bigger than it really is. Whether you're photographing Nendoroid, action figures or other collectables, a few simple changes to your angle, lighting and surroundings can completely change how believable a photograph feels.

As a former Nintendo UK Ambassador, I've photographed Nendoroid and figures for years, particularly of characters from my favourite gaming franchises like Zelda, Mario and Pokémon. Over that time I've learned that you don't necessarily need elaborate sets or expensive lighting to create convincing images - sometimes it's simply a case of getting down to the figure's level and paying attention to what's around it.

So, here are some of the toy photography tips I've picked up along the way, covering everything from posing and locations to perspective, depth of field and natural light. I also have another write-up on how to make figures feel life-sized, if you're looking specifically at scale and realism.

Plan Your Toy Photography Before You Shoot

You know that feeling when the doorbell goes and there's an exciting new figure waiting outside? Or, in my case, a note telling me to collect it, regardless of whether I was actually home. Your first instinct is probably to tear open the box, grab your camera and immediately head out to photograph it.

But sometimes, getting that image you've had in your mind for weeks takes a little more patience.

Before taking a new figure out to photograph, I'll usually spend some time playing around with it at home first. I'll try out the different faceplates, poses and accessories, and roughly set up a few scenes so I have an idea of what I want to achieve when I actually start shooting.

I know what you're probably thinking: what's the point when I can see all the different poses on the box?

And yes, technically you can. But setting up a few scenes on your living room table gives you a chance to see which angles work best, how you can hide any stands you're using, and even what sort of location might suit the figure. It doesn't need to be a full photoshoot - it's really just a bit of experimenting before you head out with your camera.

Choosing a Location for Toy Photography

Once you've found your location, whether that's a wooded area, somewhere rocky or even a water setup, the next thing to think about is scale. You want the surroundings to feel believable next to your figure, rather than accidentally reminding everyone that they're looking at a tiny piece of plastic.

That might mean sweeping away leaves or plants that look ridiculously oversized next to your figure, or, if you're shooting around water, finding a shallow spot that works with the scale of the scene. Water setups can be a little tricky and there's quite a lot to consider, so I've covered those separately in my guide to toy photography with water and reflections.

I tend to position my figures and camera first, keeping the live view on so I can see exactly what the camera sees. From there, I'll work around the setup and gradually build the scene until I'm happy with how everything looks in frame.

Don't be afraid to put things between the camera and your figure, either. Foreground objects are a really simple way to add depth and make the scene feel more natural. In the image below, for example, I've placed a few rocks closer to the camera. They add another layer to the scene while also helping to draw your eye towards the figure.

This sense of depth also applies to the backdrop too. For beautiful natural bokeh I tend to set up in an area with lots of trees where the light is coming through (see below for more tips on lighting) and then add extra shrubbery or items behind the figures which fade into a soft blur.

TL;DR: Pay attention to scale and depth when building your scene. Remove anything that looks obviously oversized next to your figure, and use foreground objects like rocks or plants to add layers and lead the eye towards your subject. Think about the background too - trees, foliage and other details can create natural depth and beautiful bokeh when thrown out of focus.

Toy Photography Angles, Composition & Perspective

With toy and Nendoroid photography, your camera angle can completely change how a scene feels. It can make a tiny figure feel almost life-sized, show off more of the environment, or simply help tell the story you're trying to create. I tend to come back to four different angles in my own photography, depending on the image I'm trying to achieve.

Shoot at the Figure's Eye Level

The first is ground level, where I bring the camera right down to roughly the same height as the figure. Shooting across the ground rather than looking down on it can make you feel as though you're standing there alongside the character, rather than looking at a small toy from above. I particularly like using this with a shallow depth of field, as the blurred foreground and background can help separate the figure while making the scene feel much bigger than it really is. As you can also probably tell, I LOVE doing this with still water to capture beautiful reflections.

Shoot Slightly From Above

The second is a slightly higher angle, but not completely top-down. This lets you show much more of the scene around your figure, which is particularly useful when props or other details are an important part of the image. You can then use depth of field to control how much of that environment you want to show while still keeping attention on your main subject.

I tend to use this angle when there's something in the scene that would otherwise get lost from a lower perspective. In the Monopoly image below, for example, shooting at ground level would hide most of the board. Moving the camera slightly higher lets you see enough of it to understand what's happening without making the photograph feel completely top-down.

Try Top-Down Toy Photography

Thirdly, top-down photography is a great way to capture scenes filled with miniatures, props and little details without everything becoming too cluttered. I tend to use this angle when I've put a lot into the setup and actually want those details to be visible, but it's also a nice way to add some variation to your toy photography.

If you want to create a top-down image that still has plenty of depth, try raising your main subject slightly so it's closer to the camera, then build the rest of the scene around and below it. With the right aperture, you can keep your main subject sharp while allowing the surrounding props to gradually fall out of focus, helping draw your eye to the most important part of the image.

Use a Low Angle to Make Figures Look Bigger

And finally, shoot from below. This is one of the easiest ways to make a small figure feel much bigger in the frame. By placing your camera below the figure and shooting upwards, you're viewing the character from a perspective we're more used to seeing with something much larger than ourselves.

It's also a great angle when you want a character to feel particularly dramatic or heroic. In the image below, shooting upwards helps the figure dominate the frame, rather than immediately looking like a small toy sitting in a scene.

Another thing worth thinking about is where you actually place your figure in the frame. It doesn't always need to sit perfectly in the centre. Moving it slightly to one side, shooting from an angle rather than straight on, or using objects in the foreground can make the image feel much more interesting.

Think about how your eye moves through the photo and what you want it to land on. Can you shoot through or past a prop to add some foreground depth while still leading the eye towards your figure? If your character is walking or looking in a particular direction, could you leave some negative space in front of them to give them somewhere to move or look into?

Aperture, Focus & Depth of Field for Toy Photography

Focus and depth of field can completely change the feel of a toy photograph. If I want the figure to be the clear focus of the image, I'll often use a wide aperture and shallow depth of field. A lot of my Nendoroid photography was shot around f/1.4, which gives me plenty of foreground and background blur while keeping attention on the figure and the details I actually want you to notice.

That doesn't mean everything needs to be shot wide open, though. Using a narrower aperture, such as f/7 or above, can work really well when the surroundings are an important part of the image. If you've created a detailed setup, have multiple figures in the scene, or you're shooting somewhere where the location itself adds to the story, keeping more of the image in focus can actually make the photograph stronger.

It's really a case of asking yourself how much of the scene you want the viewer to see. Sometimes the background is something you want to hide away in a blur; other times, it's just as important as the figure itself.

Hirono photographed at f/1.4 (left) and f/11 (right) showing how aperture changes the depth of field.

I personally tend to shoot with a wider aperture and shallow depth of field. Partly because I like keeping the attention on the figure, but also because over time it's become a fairly recognisable part of my photography. I'm a sucker for a bit of bokeh and a beautifully blurred background, especially when it helps the subject really stand out.

It can also be incredibly useful when you're shooting on location. Sometimes there's an object in the background that gives away the scale of your figure, or simply something distracting that you can't physically move. Throwing the background out of focus can help hide those distractions and keep the attention where you actually want it.

There's no right amount of depth of field for toy photography, though. It really depends on the image you're trying to create. Sometimes I want almost everything except the figure to disappear into a blur; other times, the environment is part of the story and deserves to be seen. Experiment with different apertures and see what works for the scene - and, more importantly, what you actually like the look of.

TL;DR: A wide aperture (a small f-number, like f/1.4) creates a shallow depth of field, helping your figure stand out against a blurred background. A narrow aperture (a larger f-number, like f/8) keeps more of the scene in focus, which works well when the environment is part of the story. There’s no right answer - it depends on how much of the scene you want the viewer to see.

How to Light Toy Photography

Lighting can completely change the atmosphere of a toy photograph, but you don't necessarily need a load of studio equipment to get good results. In fact, despite owning various lights myself, I rarely use them for toy photography. I've always preferred working with natural light.

For indoor setups, I'll usually position everything close to a window and use that as my main light source. Having the light coming predominantly from one direction can create some really nice shadows across the figure and scene, which helps add depth rather than lighting everything completely evenly.

Natural light also changes throughout the day, so it's worth paying attention to its direction and how soft or harsh it is. A bright overcast day can give you beautifully soft, even light, while direct sunlight creates much stronger highlights and shadows. Neither is necessarily better — it just depends on the mood you're trying to create.

I'm not going to get too deep into studio lighting here, mostly because when it comes to toy photography, natural light is still my favourite way to shoot.

Before packing your camera bag and heading out in search of a location, it's worth thinking about the time of day and the weather. Both can completely change the light you're working with. You might want the warm, softer light of golden hour, or perhaps an overcast day where the light filtering through the trees is much more subtle.

Keep an eye out for natural pockets of light, too. Sometimes you'll find a small patch of sunlight breaking through the trees and lighting exactly the spot you need while everything around it falls into shadow. Used well, this can create some really dramatic images.

Bright summer days, on the other hand, can be surprisingly difficult. Strong sunlight can create harsh highlights and shadows across such a small subject, so I'll often look for a shaded area or pay close attention to where the sun is hitting the figure. Even a tiny patch of bright light across a face can become distracting once you see it through the camera.

There have been plenty of times when I've wanted to photograph something straight away but ended up waiting a few hours for the sun to drop and the light to soften. Sometimes it's simply a case of being patient — wait for the sun to disappear behind a cloud, move around until the light falls where you want it, or come back a little later. When you get the timing right, it's usually worth the wait.

TL;DR: You don't need expensive lighting for toy photography - natural light can be more than enough. Indoors, try shooting near a window for soft, directional light. Outdoors, pay attention to the weather and time of day: overcast skies give softer light, golden hour adds warmth, while direct sunlight creates harsher highlights and shadows. Sometimes the best lighting trick is simply waiting for the right moment.

Be Creative

Finally, just enjoy it. Toy photography can take a surprising amount of patience, especially when you've spent ages getting everything exactly where you want it, only for a figure to fall over and take the entire setup with it. Add wind, rain or rapidly changing light into the mix and sometimes it feels like the world really doesn't want you to get the shot.

But that's also part of the fun. Experiment with different setups, move things around, try another angle and don't worry if the first attempt doesn't quite work. Some of my favourite images have taken far longer to put together than I'd like to admit.

There's something incredibly satisfying about finally looking through the camera and seeing the image you had in your head come together.

Keep doing what you love and stay curious.