Lighting Suggestions for Artwork/Product Photography

[The_Thin_Man]

Hi Everyone,

I've been shooting for many years but only recently have been taking my work to higher levels. Both with film and digital.

I have always had a knack, and interest, in product photography and now, a artist/friend has asked if I would have the ability to shoot all of his paintings for him so he can get it up online in a professional setting. Other than a couple of books coming in from the library, I am stumped at my next move.

I shoot a Fuji X-H1 with mainly a XF16-55mm F2.8. That may change for the type of shooting I'm doing.

I don't own any kind of lighting setup so I feel that I'm at a good place as I'm not locked into anything.

My question is, if you were starting this journey, not knowing if it would take you to bigger things, what basic lighting setup would you purchase for photographing art and other potential products?

From my bit of research on this, I've thought maybe continuous diffused light would be good. Maybe 3 or 4 LED panels with a diffusion insert?

Since this is still a hobby for me, my budget is limited. Maybe $500?
Also, I have no problem with used equipment. This doesn't have to be new. And probably shouldn't be since I'm testing the waters.

Any suggestions are deeply appreciated.

 

[MAINPRODUCTIONS]

product photography must be divided in 2 kinds : ecommerce and advertising. 2 completely different set of skills required

Here I will only address the first kind in terms of equipment needed. And for this kind it's all about the photographer, the (repeatable) setup, the quality of diffusion and and the looks requested.

You need:

a table

background paper, possibly graduated (makes things a LOT easier) the white to light grey kind. Possibly vinyl and washable (so you can re-use it), the size of the table. Move the table against the wall and attach the background to it.

1 strobe/monolight (any kind) and I mean ANY kind. the power doesn't matter.

a sync cable or the yongnuo wireless (because they are good and cheap). Or pocket wizards (a lot more money for basically no reason).

Now the best part, that makes all the difference.

a white ceiling. if not available then use a big(ish) white umbrella using the same stand of the strobe. Point the umbrella to the ceiling.

bounce the strobe to the ceiling or the umbrella. Position the strobe away from the products and closer to the celling (or the umbrella)

Products for ecommerce are ALL about diffusion. That must be uniform and create gentle shadows.

get a scrim or make your own. A C stand is highly recommended to attach the frame horizontally (covering the product). Use PVC paper (or plexiglass). One of the 2. Forget about silk (artificial or china). They give less quality diffusion than plexiglass or PVC paper. The rule is : scrim close to the product and away from the light source. Closer is better, always. That is why a scrim works a LOT better than a softbox

follow these notes and take the first shot. Look at it.

You are welcome.

P.S.: advertising is a different animal all togheter where the studio doesn't make any creative decisions. Unlike ecommerce it's all about the effects and the visions coming for the directors (of marketing, the people commissioning the jobs). Then it's a toss between the studio that must follow the directions and the retoucher who must also follow the directions.

for that the studio must specialize or get ready to unthinkable setups, with multiple light sources, snoots and reflectors on the scene, It would be impossible to give any inventory of the things needed. Too many,

 

[Klaus dk]

When you shoot flat artwork, there are some things to consider.

Colours. The best colour rendering you'll get from daylight, but to get repeatable results indoors, flash is better than LED or flourescent.

Reflections. Oil and acrylic paintings, and glass covered paper artwork create specular reflections that you may not want. They can be controlled by using smaller light sources - not diffused panels - or by cross polarisation.

Uniformity of light. Make sure that the whole area you're photographing gets the same amount of light. Ideally, take a test shot with the artwork covered by a piece of neutral grey paper. In your PP software, the eyedropper should read the same (or very close) RGB values across the frame.

Straight corners. Make sure the axis of the camera is placed perpendicular to the picture your'e shooting and if at all possible, dead center.

Uniform sharpness. Use a lens with as little field curvature and geometric distortion as possible, and stop it down to where the corner sharpness is as close to center sharpness as possible. I use a macro prime.

Sculpture and other three dimensional stuff is a different kettle of fish.

Good luck and good light.

 

[ampimagedotcom]

product photography must be divided in 2 kinds : ecommerce and advertising. 2 completely different set of skills required

Interesting!

I was simply taught that there are more than 100 different ways to shoot any subject...













.. so one could probably light the Artwork or Products in lots of different ways as well.

--
Cheers,
Ashley.
www.ampimage.com

 

[Ed Shapiro]

Hi Everyone,

I've been shooting for many years but only recently have been taking my work to higher levels. Both with film and digital.

I have always had a knack, and interest, in product photography and now, a artist/friend has asked if I would have the ability to shoot all of his paintings for him so he can get it up online in a professional setting. Other than a couple of books coming in from the library, I am stumped at my next move.

I shoot a Fuji X-H1 with mainly a XF16-55mm F2.8. That may change for the type of shooting I'm doing.

I don't own any kind of lighting setup so I feel that I'm at a good place as I'm not locked into anything.

My question is, if you were starting this journey, not knowing if it would take you to bigger things, what basic lighting setup would you purchase for photographing art and other potential products?

From my bit of research on this, I've thought maybe continuous diffused light would be good. Maybe 3 or 4 LED panels with a diffusion insert?

Since this is still a hobby for me, my budget is limited. Maybe $500?
Also, I have no problem with used equipment. This doesn't have to be new. And probably shouldn't be since I'm testing the waters.

Any suggestions are deeply appreciated.

Flat artwork such as paintings and product photoghy- each requre differet ligh methods. Paintings require even lighting coverage with the negation of any unwanted glare or reflection that would cause distraction or degrade color saturation. I have been doing this work for many decades for galleries, museums, collectors, and folks who verify and asses the authenticity and value of the artwork. Someof this work is for lithographic reproduction in books and the production of prints. This lighing plan is recommended by many in-house photograher at museums, archives, and galleries. It simple.

Even on larger paintings, usually, 2 direct lights will suffice. Each light is placed at 45 degrees on each side of the subject. Each light is equipped with a sheet of polarising material in the same orientation, the camera lens is equipped with a CPL (circular polarizing filter). This cross-polarization effect will enable all glare and reflection elimination and will maintain color saturation. Rotating the filter will prove various degrees of the effect.

To ensure even lighting, make exposure meter readings at each corner of the painting and feather or move the lights incrementally so that all the readings match. Try to set the power of your light sources so that your aperture is about 2 to 3 f/stop from the maximum to ensure sharpness. Keep the ISO as low as possible to negate noise. I prefer electronic flash for color purity and lack of heat. LED lights will likely requre longer shutter speeds. Make certain, of course, that your cameras are centered and completely paralleled to the surface f the artwork and mounted on a sturdy tripod. I usually include a small lithographic color char and grayscale in the corner of the frame to help with color accuracy in post-processing and printing.

This method works equally well with oil paintings, acrylics, various varnishes and coatings, Damar varnish, watercolors, pen and in work, etchings, graphics, crayon work, pens, charcoal, and pastel works.
For certain kinds of paintings such as bas-relief, and pallet knife work, should you wish to emphasize the surface texture, use only one light a try to get it as even as possible.

Attached is a bask diagram and a reproduction of a painting that is 60x80 inches in size.

"Product Photograhy" is an entirely differet ballgame. In most cases, you are shooting 3-dimensional objects and you want to ligh for dimensionality and modeling. There is no ONE stand setup because there will be a wide variety of shapes, sizes, and surfaces. There can be everything from black matte surface finishes to extremely reflective highly polished metals, woods, and plastics- even glass which requires transillumination. Ther are textiles of every texture and color. Food and beverage work is yet another category. Depending on the style, type, and specific product, lighting gear can range fomr spotlights to very large softboxes and everything in between. If you have a specific pr specialized proud in min, I can suggest a basic light arrangement.

As for fals gear, there are many good products at various price points. Cheouthe monoliths made by Godox, Paul C. Buff, Photogenic, Speedotron, and Profoto. There are many units on the used market as well. I would suggest units that output at least 500 watt-seconds each. For the artwork the polarizing filter absorbs ligh and for products, larger modofires also requre more power to attain practical exposure levels.




Reproduction of antique oil painting with the varnished surface.




Basic copy setup.




Copy setup for smaller artworks. Any digital camer can be used.




Basic softbox setup for small and medium-sized products- Overhead large softbox+ reflectors.




Typical shot with the above-illustrated lightng.



Ed Shapiro- Commercial and Portrait Photographer. Ottawa, Ontario Canada

 

[The_Thin_Man]

I want to take a moment to thank all of you who have replied. Although there is an information overload for me, it's also the beauty and power of the internet that I am able to gain such a breadth of information over such a short amount of time.

I appreciate the traditional responses along with the not-so-traditional image producing that ampimagedotcom does. I feel like mine may fall somewhere in the middle, for whatever that means.

As for art vs product shots, clearly, they are different beasts and for now, I'll aim my sights toward art images as that is what I have actual work lined up for. Once I get to the "next level", as was stated above, maybe products are in my future.

Please keep providing other schools of thought. I value all of what comes in.

 

[ampimagedotcom]

Closing down this account before the 10th of April 2023.

Cheers,
Ashley.
www.ampimage.com

 

[MAINPRODUCTIONS]

that's artwork, products are different, and there are only 2 kind: ecommerce and advertising. Both boring like H$ll: the studio doesn't decide anything and the photographers feels like a robot following preset configurations or orders from the "art" directors

just so we set the records straight lol

 

[ampimagedotcom]

that's artwork, products are different, and there are only 2 kind: ecommerce and advertising...

just so we set the records straight lol

Artwork: a painting, sculpture, photograph, etc., that is created to be beautiful or to express an important idea or feeling: an artistic work.



In marketing, a product is an object, or system, or service made available for consumer use as of the consumer demand; it is anything that can be offered to a market to satisfy the desire or need of a customer. In retailing, products are often referred to as merchandise, and in manufacturing, products are bought as raw materials and then sold as finished goods. A service is also regarded as a type of product.



Advertising is the practice and techniques employed to bring attention to a product or service. Advertising aims to put a product or service in the spotlight in hopes of drawing it attention from consumers.

E-commerce (electronic commerce) is the activity of electronically buying or selling of products on online services or over the Internet.

--
Cheers,
Ashley.
www.ampimage.com

 

[MAINPRODUCTIONS]

yeah

bottom line Advertising ? the setup the props the actors the poses the environment the entire scene is NOT up to the photographer/studio. Sketches order the shoot or the art directors will be present and direct it. We are like robots. Don't decide anything, only execute the orders. The same goes for the retoucher

ecommerce: I use it to describe a standard 4-5 looks product shoot , on pure white with shadows.

in 30 years never happened that I had to "create" anything, not for paid jobs. Never happened. What's given for granted is simple: they pay a studio because they don't want to see reflections on the product and often nice and gentle shadows to attract and the pure white must be white and not grey, And that's what we do. Basically that's the ONLY reason why they hire us. No reflections and gentle shadows.

the "idea" that the studio creates effects is a BS. a lie, some romantic idiotic wish that doesn't happen (never) in reality.

if you are a beginner or enthusiast and want to enter the business and get paid then better study the light modifiers instead of the camera features or props for home productions

 

[ampimagedotcom]

Sorry to hear that that is how it has been for you over the years, but I can assure you that that is not how it has been for us - as we would usually work directly with the client and would shoot lots of stuff on spec as well, especially for the various magazines that we would submit our work to for Editorial use...



.. which would include shooting both products and artwork.



Cheers,
Ashley.
www.ampimage.com

 

[Ed Shapiro]

Sorry to hear that that is how it has been for you over the years, but I can assure you that that is not how it has been for us - as we would usually work directly with the client and would shoot lots of stuff on spec as well, especially for the various magazines that we would submit our work to for Editorial use...



.. which would include shooting both products and artwork.



Cheers,
Ashley.
www.ampimage.com

I too am sorry to hear such a rather depressing reminiscence of a photographic career. I have been in the "job" for getting then 60 years and enjoyed and still enjoy every minute of the experience. Perhaps I would have n made more money if I took my elder's advice and became a doctor, a plumber, or had chosen a more traditional profession.

I have never felt like a robot or an automaton. Not every assignment was/is the same- some were/are more interesting and challenging than others and some are rather routine. Someone once said that "variety is the spice of life"!

Some assignments require following a layout and working with an art director, and otere stylists and professionals- teamwork! That's easy- they have the concept and all I need to do is be a good technician. Conforming to a layout and working with others are necessary skillsets A good art director can "draw" somethg the way it will actually look in a photograph- if they can draw it- I can shoot it. Some art directors are nice fols but they have no concept of optics perspective, proportion, aspect ratio, and lighting so I end up trying to drive a round peg inot a square hole- but that's the fun- workg around problems, figuring things out, and somehow gettg the job done. Sometimes I get to do everything- the concept, just about everything up to the copy and the client will work backward for my image- that is really fun. Sometimes I stay for the layout and then go with my shot. I tell my trainees that commercial photography oftentimes is 75% problem-solving! You've gotta have a sense of humor. I remember one client who came into my studio with a copy of Vogue magazine. He showed me an ad with a top model in a Russian sable coat (more expensive than mink). He told me he is a furrier and had opened a small shop in the neighborhood and needed the pictures for adverts in a local newspaper and some display prints for his shop unassisted he wanthe image"just like the one in the magazine- nothing less! I asked him if he had, I don't know exactly,- like $80,000 he didn't need to cover the flight to Moscow, the model fees, the makeup, and the hairstylist and that would not cover the price of the full page spread in Vogue! After I revived him, we settled on a shot with a local Russian-Orthodox church in the background, a nice model from the local agency, and a 2-hour shoot! More in keepg with his budget!

Professional/commercial photography is a BUSINESS- of course, we need to get paid, earn a profit, and pay our overhead expenses. That does not mean we needn't be creative and do some other kinds of photography for our own pleasure ot try to inject a bit of artistry into routine work.

I just "celebrated" my 79th birthday and I am still working. Folks ask me when I am going to retire. I tell them when I die I'm gonna need a very spacious casket- the equipment takes up a lot of space.



Ed Shapiro- Commercial and Portrait Photographer. Ottawa, Ontario Canada

 

[Off The Mark]

Sorry to hear that that is how it has been for you over the years, but I can assure you that that is not how it has been for us - as we would usually work directly with the client and would shoot lots of stuff on spec as well, especially for the various magazines that we would submit our work to for Editorial use...



.. which would include shooting both products and artwork.



Cheers,
Ashley.
www.ampimage.com

I too am sorry to hear such a rather depressing reminiscence of a photographic career. I have been in the "job" for getting then 60 years and enjoyed and still enjoy every minute of the experience. Perhaps I would have n made more money if I took my elder's advice and became a doctor, a plumber, or had chosen a more traditional profession.

I have never felt like a robot or an automaton. Not every assignment was/is the same- some were/are more interesting and challenging than others and some are rather routine. Someone once said that "variety is the spice of life"!

Some assignments require following a layout and working with an art director, and otere stylists and professionals- teamwork! That's easy- they have the concept and all I need to do is be a good technician. Conforming to a layout and working with others are necessary skillsets A good art director can "draw" somethg the way it will actually look in a photograph- if they can draw it- I can shoot it. Some art directors are nice fols but they have no concept of optics perspective, proportion, aspect ratio, and lighting so I end up trying to drive a round peg inot a square hole- but that's the fun- workg around problems, figuring things out, and somehow gettg the job done. Sometimes I get to do everything- the concept, just about everything up to the copy and the client will work backward for my image- that is really fun. Sometimes I stay for the layout and then go with my shot. I tell my trainees that commercial photography oftentimes is 75% problem-solving! You've gotta have a sense of humor. I remember one client who came into my studio with a copy of Vogue magazine. He showed me an ad with a top model in a Russian sable coat (more expensive than mink). He told me he is a furrier and had opened a small shop in the neighborhood and needed the pictures for adverts in a local newspaper and some display prints for his shop unassisted he wanthe image"just like the one in the magazine- nothing less! I asked him if he had, I don't know exactly,- like $80,000 he didn't need to cover the flight to Moscow, the model fees, the makeup, and the hairstylist and that would not cover the price of the full page spread in Vogue! After I revived him, we settled on a shot with a local Russian-Orthodox church in the background, a nice model from the local agency, and a 2-hour shoot! More in keepg with his budget!

Professional/commercial photography is a BUSINESS- of course, we need to get paid, earn a profit, and pay our overhead expenses. That does not mean we needn't be creative and do some other kinds of photography for our own pleasure ot try to inject a bit of artistry into routine work.

I just "celebrated" my 79th birthday and I am still working. Folks ask me when I am going to retire. I tell them when I die I'm gonna need a very spacious casket- the equipment takes up a lot of space.

Ed Shapiro- Commercial and Portrait Photographer. Ottawa, Ontario Canada

As much as I personally enjoy the discussion (and I always enjoy Ashley's photos), I think it might be better if we steer the discussion back toward the original posters immediate needs, as I think we might really be overwhelming him.

--
What Middle School Is Really Like:

 

[amateurphotographer]

Basic copy setup.

Ed Shapiro- Commercial and Portrait Photographer. Ottawa, Ontario Canada

Hi Ed, great response.

Just a few questions tapping into your experience:

When the artwork frame protrudes out from the artwork, how do you stop the shadow (usually only a few centimetres) on the artwork itself caused by the frame and direct lighting.

What CPL do you use and how do you deal with colour cast on artworks that are very difficult to colour correct in C1 as there are many layers of paint.

I think the only way to check colours are to use continuous lights and adjust in C1 on a high quality monitor while the artwork is in front of you.

Any advice appreciated.

 

[Off The Mark]

Hi Everyone,

I've been shooting for many years but only recently have been taking my work to higher levels. Both with film and digital.

I have always had a knack, and interest, in product photography and now, a artist/friend has asked if I would have the ability to shoot all of his paintings for him so he can get it up online in a professional setting. Other than a couple of books coming in from the library, I am stumped at my next move.

There are lots of online tutorials on youtube on product photograpy. I will try to look up some and post links to them here.

I often find courses on Udemy are good, too, and very structured in their approach. I don't know if they have one on product or artwork photography in particular, but you should look in to it.

I shoot a Fuji X-H1 with mainly a XF16-55mm F2.8. That may change for the type of shooting I'm doing.

I am pretty sure that your camera is more than fine for (home) studio based artwork or product photography.

I don't own any kind of lighting setup so I feel that I'm at a good place as I'm not locked into anything.

My question is, if you were starting this journey, not knowing if it would take you to bigger things, what basic lighting setup would you purchase for photographing art and other potential products?

From my bit of research on this, I've thought maybe continuous diffused light would be good. Maybe 3 or 4 LED panels with a diffusion insert?

As someone who owns several flash guns, a few LED panels, and several LED chip-on-board (COB) lights, I would say no, I wouldn't start with LED panels.

I would start with flash guns instead, reflectors, a decent sturdy tripod, some foam board (both black and white) and a wireless remote

Since this is still a hobby for me, my budget is limited. Maybe $500?
Also, I have no problem with used equipment. This doesn't have to be new. And probably shouldn't be since I'm testing the waters.

Any suggestions are deeply appreciated.

This is the part where I am supposed to snarkingly say that $500 might get you a "usable" tripod... and nothing else

Anyway, here are the things you will need as a basic setup.

1) A decent tripod. It should be sturdy. I prefer ball heads. Others like three-way pan / tilt heads. You can find used heavy aluminum tripods for under $100. Because they weigh a lot and the cost of shipping is high, you might be able to find something on craigslist. I would NOT buy this exact one on ebay (because shipping is high and it seems to be missing the quick release plates), but this MODEL or a similar model would work (I own one myself):

Pardon Our Interruption...

2) At least one and I would suggest two medium-duty light stands. I am sure others may have good suggestions. I have a couple of Photoflex LS-2214 light stands that I have used since about 1993. They will work with pretty much anything you can currently AFFORD to put on them.

There is an ebay listing where apparently they have two of them available at $60 each, and it says free shipping!?!?!?!?

Pardon Our Interruption...

Again, Craigslist might be worth your while.

3) Sandbags. You don't actually put sand in them. People DIY these (like using ankle weights).

4) Optional, but I am a BIG FAN of a wireless remote for triggering the camera. Why? Because I often take several shots and then blend them in photoshop. For products, I often do focus stacking. Or if you only have one flash, you can take a shot with the flash in one position, then take a shot with the flash in another position to "simulate" a second flash, and then blend them in photoshop. While I would strongly encourage you to buy AT LEAST two strobes, with a $500 budget, you might be stretching things a bit...

Anyway, this is a wireless remote that I use all the time:

https://www.amazon.com/gp/product/B01CJ5TV8K/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&th=1

The one I linked to implies that it can be used with Fuji cameras, but I would double check that.

5) Miscellaneous stuff: As mentioned above, using a polarized gel over your lights and using a polarize on your lens might be an optimal way to photograph artwork. (I wonder if this might be good for photographing reflective products too???) You will probably want / need various reflectors. A lot of people use white foam board (artists board???)

https://www.dollartree.com/readi-board-white-foam-boards/809955

OK, now to the fun / painful decisions; Lights and modifiers.

You will need to make a decision as to whether you will be shooting on a location with electrical outlets, or whether you will need (or want) battery powered lights, either because there is no electricity available or because it is more convenient to use battery powered lights.

Also, you will want something that is durable (to a point), and can be a part of an expanding kit of gear (if you want to add more lights / swap out lights in the future).

Two of the more "bargain" brands of lights that I know of are Godox and Paul C. Buff (at least here in the USA)

I am going to let others chime in about which AC powered strobes to get since I am only really familiar with battery powered strobes. Possibly you can find a deal on a light plus stand combo that will save you a few dollars.

And then you will need modifiers: There are tons of different modifiers out there. You can start with some decent shoot-through white umbrellas. It can be important that the umbrellas don't change the color of the light too much. In general, the bigger the modifier, the softer (and more even) the light.

OK, here is a basic two light kit with white reflective umbrellas. I have no idea if it is a good kit, or whether it is a bad kit. And I also have no idea how you would gel the lights, so this probably WON'T work for your needs?!?!?! Hopefully someone else can weigh in on this:

Flashpoint BLAZ-300

Flashpoint BLAZ 300 R2 Studio 2-Monolight Kit, Bundle with 2x Glow 40" White Umbrellas, 2x Pro Air Cushioned Light Stands, Snoot Kit and Godox 28.3" Carrying Bag

www.adorama.com

Anyway, if you went with a kit like that, you will also need a transmitter to go in the hotshoe of your camera..

Something like this:

Flashpoint R2 Remote

Flashpoint R2 Pro MarkII 2.4GHz Transmitter for Fujifilm

www.adorama.com

or like this:

Flashpoint X2

Flashpoint R2 Mark II TTL Transmitter for Fuji Cameras

www.adorama.com

Anyway, the above is all food-for-thought (as opposed to hard recommendations). Hopefully others will chime in with better suggestions than mine.

 

[Off The Mark]

I think the only way to check colours are to use continuous lights...

For what it's worth, LED's with a high CRI tend to be quite expensive.

If memory serves, tungsten lights have a high CRI??? So maybe shoot with tungsten lights and change white balance?

I am sure Ed will reply with far better suggestions than mine. Don't think gelling tungsten hot lights is on the top of Ed's to-do list, now that I think about it.

 

[MAINPRODUCTIONS]

perfect guidelines for artwork. May I suggest scrims instead of softboxes and barn doors for the 45 degree setup? scrim close to the artwork and light source away from the scrim.

in any case this guide is simple and by the book. Well said. Bravo

 

[MAINPRODUCTIONS]

there is no such a thing as working directly for the client in my line of business.

about creativity? what creativity? from the studio? when? for ecommerce there is no creativity required at all and for advertising work there is a LOT of creativity required but it doesn't come from the studio but from the art directors and later from the retoucher and designer.

the good news is that the level of nepotism in our industry is low , but is very high in the "creativity departments" with a shocking outcome: I worked (like every other studio as a matter of fact) with the competent ones and it was easy, and the incompetent ones make it even easier because the assistants take control and working for them is a pleasure. In any case where is the creativity from the studio? where? at what point of the process?

now the conclusion: ever seen the credits of the studio in advertising placements?

 

[ampimagedotcom]

Closing down this account before the 10th of April 2023.

Cheers,
Ashley.
www.ampimage.com

 

[BAK]

Here's the original question:

My question is, if you were starting this journey, not knowing if it would take you to bigger things, what basic lighting setup would you purchase for photographing art and other potential products?

I'd start making a big choice.

Would I want to photograph the art work by itself, crop with a frame or no frame.

Or would I photograph the artwork in it's environment.

Among the equipment I already own, I could shoot either style of picture with my Rotolight Neo 2 kit with three light units, lightstands, etc.

BAK