but the most important is just some sort of surface to set my work
on that doesn't reveal it's structure when photographed.
Suspend the jewelry (on very fine monofiliment line) or support it,
(on a wire support made so it’s hidden behind the jewelry and not
visible in the photo. This allows the jewelry to be a bit out in
front of, or up above, the background you choose, and thus out of
focus. That eliminates the problem.
The setup I used back in grad school works as well today as it did
then. In a light tent, the work was generally suspended in the middle
of the tent. Behind, a sheet of matte transluscent mylar plastic
sheeting hung a couple inches behind. If it’s clean, it has very
little texture to begin with, and being transluscent, there’s not
much to focus on. Then behind that would go a sheet of color
graduated paper placed so the diffused image of light and shadow
this gave would give apparent shadow depth to the photo, even if the
whole shadow is out of focus. the work then appears to be floating,
but in a 3D space. It’s a bit of a pain to set up each time, but the
results are great.
For a less complex setup, again, try the transluscent matte mylar
drafting film, shiny side down. You’ll probably want a new clean
sheet for each photo session, as any dirt, dust, scratches on the
mylar still show up. But a clean sheet fresh from the pad is
pristene, and the matte surface fine enough so it’s almost
impossible to actually see the texture at normal jewelry
magnification. Support this on a piece of glass, and a background
color or material or color graduated material as described above, can
be placed under the glass. Again, the idea is that the actual
background is out of focus by being far enough under or behind the
object to be out of the depth of field. Add appropriate light tent or
light diffusing methods to control reflections and hot spots visible
in the photo, and you’re in business.