Photographing your artwork in the digital age.

[Sharon Knettell]

I had had all my work photographed for my portrait portfolio, by a professional using a 4x5 camera with the attendant polarizers on both the lenses and the camera. The results were of course, terrific. The gentleman, I used has since retired. I have been doing my own as of late, but since they are pastels, they are much easier to photograph than oils.

This past two weeks, I have been trying to photograph my latest oil, a painting, that is my usual billboard size 69 1/2" x55". The color seems rather dull. During the dinner at the portrait convention, last spring, Dean Paules, allowed that he photographed all his own work, with a standard SLR and Portra NC film. I have used variously, Fuji Reala, Portra NC and Portra UC.

Another photographer, I know, photographed my work with the new Nikon/Kodak 14000 megapixel camera. The color was lovely, but since he neglected a polarizer there was a lot of glare. He said the photo angle of the lights at 45% would solve the problem of glare, it didn't. I can shoot without glare using a polarizer and judiciously placed black velvet cloth. I shoot at midday, in my southeastern exposure studio, with large picture windows and trees, unfortunately only 35' away. I have shot figures in that same room and have gotten lovely color.

The last shots I took were the best, Portra NC, not world beaters however.

What digital cameras seem to work the best? Do you use polarizers? Should I have it re-shot with the Kodak/Nikon with polarizers or is 14000 megapixel over kill?

Help!

[Richard Barnett]

Me too, I have the same problems. I see you posted this some time ago. I just wanted to know how that worked out for you and if you have solved these problems? Could you explain what a polarizer is? I know these were your questions, but the post was some time ago so maybe you could share what you found out.

Thanks Rick .

[John Reidy]

I attended a workshop for photographing your artwork, even with glare from the varnish. The method is to place your painting against a black velvet (cotton) fabric and take it outside in FULL SUN either midmorning or midafternoon. Place your painting at an angle directly facing the sun (that's why the time frame of midmorning or afternoon, lower sun angle) and line up your camera directly facing your painting, same angle.

I have tried it and it has worked for me using Fuji-Chrome and 100 speed color print film. I have tried it with my Nikon D70 and was pleased although the sun was a bit shaded. I believe that if I had used full sun I would have been happier.

The main drawback is you have to wait for a sunny day.

The workshop also said if you must shoot on a cloudy day to place your lights at 45 degree angles (2 lights). I've had relative success this way as well.

Hope this helps. If anyone has any further suggestions I would love to see them, too.

[Julie Deane]

I have tried polarizers - didn't work well for me. I still got lots of glare.

I learned that if I bounce my lights off my ceiling and use lots of lights (continuous lights - tungsten, with tungsten slide film - Kodak Ektachrome 64T), I get good results. But it only works well for me in one room in my house that has a ceiling with a high slope - I tried it in a standard 8 foot ceiling room with poorer results. I also have light colored walls and floors, which helps bounce the light around some. For a large painting, my concern would be lighting the artwork evenly. If the art were a vertical piece, I would lay it on its side to get evener coverage.

Others have mentioned shooting their works under skylights.

I have also paid a professional to use his digital camera to take photos to put on a CD. He had an 11 pixel Canon, forget what make. He took them in his studio, but I don't know what he used as far as lighting. They came out fine.

[Elizabeth Schott]

Nikon/Kodak 14000 megapixel camera

Sharon I am not sure what kind of camera you are talking about, but was it a back for a large format film camera that connects to a computer?

Kodak has a new camera back that is 16 megapixels.

I do think it is a function of light while copying work. I would love to know how your retired pro shot your big paintings (if oils). It seems to be a law of equals, levels and balance. I certainly haven't figured out how to do it.

My guy showed me how to put them up on a perfectly square wall, leveled - camera dead center on the support - leveled, lights on both sides, equal distance, height from the painting and the camera, then there is the dastardly gray card. Too much for me, I am sending all of mine to Mike.

[John Reidy]

Elizabeth,
I rely on my grey card. It's the best tool in my bag when accompanied with my light meter.