How To Photograph Artwork
From Artists Resources Wiki
On this page are described 2 approaches to photographing artwork successfully. One is a simple and cheap approach that requires only a camera, the other is a more detailed approach, advising the purchase of certain photographic equipment.
Contents |
Simple Method
Prerequisites
I am assuming that you will be using a 35mm SLR (Single Lens Reflex) camera - and not point and shoot cameras. Digital Cameras are also a good choice although you may not be able to determine aperture settings etc., but you have the advantage of seeing your results instantly.
Method
One of the most difficult aspects of photographing artwork is to get the camera square with the piece you are photographing. A tripod will help in placement of the camera as well as giving the ability of using a long shutter speed. The camera should be placed so that it is completely horizontal and vertical to the artwork. (In other words the centre of the lens should be completely perpendicular to the centre of the artwork.)
The most economical route using the least equipment is to use available daylight. The best conditions are on an overcast day at midday. Depending on the film that you are using, you may need to use a warming filter (#81A). This will take the bluish cast away. Never photograph artwork on a sunny day in the direct sunlight. A film of 100 ISA would probably be adequate, e.g. Kodak E 100 GX.
The best lens to use is the standard 50mm lens or a short telephoto (85 - 105mm). Don't use a wide angle lens as it will distort (curve) the edges of the artwork. The aperture should be F8 and the shutter speed will be determined by the amount of light that is present at the time you are taking the pictures. Just keep in mind that the exposure meters in cameras want to make everything averaged into a mid-grey tone. So if the artwork is light then you will have to overexpose to obtain the correct exposure. Conversely, if the artwork is darker than mid-grey then you will have to underexpose from what the meter recommends to obtain the proper exposure. If this sounds too confusing, then I would suggest using a "Grey Card" to determine your exposure. You hold this in the same light as your artwork, ensuring that it fills the camera viewfinder completely and take this meter reading and use that shutter speed to take your pictures.
Advanced Method
Lighting
Adequate and even lighting is essential for photographing flat artwork. The method above is effective, but having lighting equipment gives you more flexibility.
Lights should not be photoflood lights. They are expensive and their color quality degrades rapidly. A good choice would be photographic quality tungsten lights with stands, such as Smith Victor K61-U, which contains 2 600-Watt Q60SG Thrifty Quartz Light Umbrella Kit with Corrugated Carrying Case. Using barn doors is optional. They give you the ability to direct and shape the light. Another good option in this kit are the reflectors. These enable you to soften the light when you photograph art with raised edges, which could catch the light.
Alternatively, use less expensive construction grade tungsten lights. Look for 1000 Watt bulbs and individual stands (if possible). You can also use a clamp on variety, though these are more awkward to position if you don't have the right surface. One other thing. These lights don't have barn doors, but in actual practice, they're not necessary. Simply setting these lights up according to the instructions here will give you great results.
To set up the lights properly, make sure they are angled at approximately 45 degrees to the surface and position them so that they are slightly higher than the centre of the artwork. Square artwork to the camera as much as possible and set the lights to be parallel to the camera.
When positioning the lights, use an incident meter, such as the Gossen Luna-Pro S to determine the evenness of lighting from edge to edge and in the centre of your shooting area. The reading should be evenly accurate on all corners and in the centre. Once you have determined the correct location, you can place masking tape on the floor marking the position of the camera and light stands. This will reduce the setup process next time.
Eliminate Vibration, Camera Support
Without a steady and correctly positioned camera your images may well be blurred or distorted.
Copy Stands
Ideally, if your artwork is not too large, use a tabletop copy stand such as those from Bogen:
Depending on the copy stand you purchase, it will come with two, four, or no lights at all. The latter may be preferable if you already have your own lights.
Tripods
If your artwork is too large for a copy stand, then you'll need to use a tripod and free standing lights to photograph your art. The tripod should be sturdy and legs braced with sand bags if necessary. Manfrotto make particularly good equipment. Also, make sure the tripod isn't top-heavy when you photograph art on the wall. It should be securely braced.
When you photograph art on the wall, it's important to position the camera exactly parallel to your work. Use a level and measure the position of the camera so it faces the exact centre of your artwork, both vertically and horizontally.
When you photograph art use a cable release to trip the shutter. If vibration is still a factor, use the mirror lockup (if your camera has one). Another option is to use the camera self timer feature. By the time the shutter releases, the vibration should be gone.
Camera Considerations
A 50 mm Lens with a 35mm camera is a good choice for film, partly because it will give you an accurate "real life" representation. If you use a wider angle lens you are likely to encounter some distortion at the edges while a longer focal length lens will tend to compress the image.
Photograph art vertically, not horizontally. Adjust the camera for a vertical format if necessary.
When using a digital camera, you'll want to choose a focal length somewhere between the wide angle and telephoto settings which will be different for each camera. To see if there is any evidence of distortion use graph paper while conducting your tests, which you can then view on your computer. Any distortion will be evident and you can adjust the focal length accordingly.
Don't use the camera meter. Use an 18% Gray Card to determine the correct exposure. Make sure the card completely fills the viewfinder when metering and use this setting to obtain the correct exposure. The 18% gray card will be accurate to within two-tenths of a stop (you'll probably need to take the camera off the stand and move forward with it until the Gray Card fills the field of view).
When exposing the film, a setting of 1/8 of second at f/8 is a good starting point. Bracketing the shots in intervals of 1/3 to ½ of a stop is also recommended.
Film
Use a professional quality Tungsten film and keep it refrigerated prior to use. I recommend Fujichrome 64T Type 2
Avoiding Glare
Glare is a problem that can ruin your images by creating hotspots on the surface. This can result from the artwork if it has a shiny surface or if the surface is uneven. One temptation is to tilt the lights to eliminate the glare, but that will disturb the uniform lighting on your surface. Here are some solutions to resolve glare issues:
- Use a sheet of window glass to flatten the original. The window glass will introduce a tiny tint of green depending on the glass, but usually it's not enough to affect the image. However, if you photograph art on the wall and the light is catching on shiny bits of paint, you'll have to use one or a combination of the following solutions:
- Create a shield that will fit over the camera lens, body and any surface that can cause reflections. A piece of black matte ABS plastic or black illustration board will do the trick. (In an extreme case, you would have to cover the white text on the camera lens to prevent the letters from reflecting back off the artwork).
- If this is still not enough, you'll need to get a set of polarizing filters that you can place in front of the lights. You'll also need a separate stand or a clamp to hold the filter in place in front of the light . Be careful not to place the filter too close to the light, as the heat may melt it. The next step is to get a circular polarizing filter for your camera lens (B&W makes a good one). To make sure that the filter is working properly, place a coin on the working surface directly in front of the lens, then slowly turn the ring on the filter. When the coin turns black, the light has been polarized. Mark the position of the polarizer on your camera lens using a silver or gold marker so you'll remember how to set it properly. (Be aware that when shooting with a polarizer, you'll lose around 2 stops).
- Some photographers don't like the effect created by polarizing filters, feeling that it creates an unacceptable light shift. If that's the case, the next option is to use scrims, which are pieces of translucent material in a frame that creates a soft, diffuse glow. (You can build an inexpensive frame from pieces of PVC pipe). You can use material such as frosted mylar (available from some art supply stores) or a translucent white nylon will do the job, though you may have to layer the material to get the right effect.
Conclusion
With some care, you can achieve professional results when photographing your own artwork, although traditionally 35mm film is used, nowadays digital cameras are also a viable option, in particular because you can check your results as you go.
Further Reading
External Links
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