I had a client come to be and ask about photographing some paintings. He wanted to have them shot with enough resolution to make reproductions of them for sale. Wonderful! I was glad he called because it’s not as easy to photograph a painting as one might imagine.
As you can see below, the shot is terribly washed out on the left hand side. What happened?
Glare from the flash caught the surface of the painting and bounced into the camera, creating a badly washed out looking left side. What about the right side? I had the polarizers from the lamps set to the proper orientation, so it looks fine.
You’re asking – wait a minute..did he polarize the flashes? Yes, in order to eliminate glare off the painting, I needed to polarize the light coming from my flashes. This way, I could align the light in such a manner as to nearly eliminate all the glare coming off the painting even before the light hit my camera lens. But, to get the correct effect, the lens also happens to have a second polarizer on it. And you need to use a polarizer alignment card to check the polarization to make sure it is correct.
There’s a lot to photographing products and artwork because if done improperly, these problems will show up:
- White balance
- Color calibration
- Lens distortion
- Orientation/perspective distortion
All of these problems will ruin your attempted reproduction. In order to photograph flat artwork properly, you’ll need the following tools beyond the usual photo tools:
- Polarizer panel for each light source
- Diffuser for polarized light source panels
- Polarization angle detector
- Polarizer for camera lens
- Color calibration reference card for printing
- Distortion profile for your lens
- Light stands
- Powerful strobes
- Light meter with remote trigger or flash sense
It takes quite a bit of equipment and even more know-how to photograph flat art properly. Even if you’re able to get away from the glare, the color calibration is a major deal. If your colors are incorrect, the client is going to be very unhappy. You can’t just put your camera on flash white balance and assume it’ll all work. Polarizers subtly shift color (especially in sunlight), plus the color dye balance of your camera never matches the flashes. And the color balance of your flashes is never correct.
No matter how much effort you put into trying to color balance your lights, you’ll never get 100% of the way there. The only way is to have and use a color reference card, then know how to calibrate the final image so it looks correct.
Also, using hot lamps (light bulbs) is problematic for 2 reasons. They’re easier to align for polarization, true. But you have to have a LOT of light power to expose the image properly. That means your very expensive/nice painting is boiling under quartz halogen lamps.
Or you have to have a very long exposure. That means the rest of the lights in the room have to be extinguished. But wait, you’re in your gallery, so you can’t shoot this in the dark. So you need even more and more powerful lamps.
Then notice that the blues in your image are too dark because you’re using a tungsten/halogen light source. So you adjust the white balance but notice that there’s blue noise in your image.
It’s important that the light is uniform across the image as well. Otherwise there will be gradients of light that aren’t in the original piece. This makes a BIG difference. In order to measure the light uniformity, you’ll need to use a light meter (I use Sekonic-L608C) to check the uniformity across the painting. And you’ll need a way to remote trigger your strobes from the light meter while doing this as well. If the painting is brighter on one side or spot than the other, you’ll not be happy with the reproduction.
You care about getting the image correct, right? The above is the basics of what you have to consider, own and understand.
Or, you can just hire me and I’ll get you the images without the headaches and $1000’s in gear you’ll have to have to make this work correctly.
Note – Edge intentionally left on images