lighting artwork

[clif37]

I am an artist and am looking to photograph my artwork for reproduction. My work will range up to 5 feet by 8 feet. The main concern is probably even lighting. Since my work has a very glossy finish I will need to use cross polarization. I don't necessary need strobes since everything is stationary and I can do a long exposure. Because of the polarization I will lose a lot of the light. I was thinking 2 long strip led lights to the sides might work but makes using polarizing filters harder. I am not against using strobes if they will work better. Waveform lighting has some 4 foot lights with a CRI of 95. I also was looking at Godox DP 1000 III strobes. What do you think will work best and how much light do I need ? Thanks everyone.

 

[Ellis Vener]

Start here if you are interested I rigorous approach which yields maximum fidelity in the photographic process ( No you cannot totally control what other people will see on their computer. But if you start with an accurate rendering on your system it makes life much easier):

 

[Ed Shapiro]

I frequently shoot artworks for reproduction in books, prints, lithographic reproduction, museums, archives and evaluation and authentication of painting, and many other mediums.

I prefer electronic flash for its advantages in achieving good colour rendition and balance, enough power to stop the lens down sufficiently to its aperture of best

performance, ensure enough depth of field, completely negate any kind of blur due to camera move or vibration, and not having to worry about excess heat which may accidentally damage valuable pieces.

My system for in-studio or location work consists of 2- light sources equipped with standard 10 or 12-inch parabolic reflectors, a polarizing filter on each light, and a CPL filter on the camera's lens-cross polarization.

I use a 2400 watt-secon Speedotron power pack with 2 lamp heads. 2- monolights at about 500 watt-second each will do the job as well. That's; quite a lot of power but I lie to shoot low ISO settings and the polarizing filters and the CPL on camera all factor in to absorb light.

The lights are each paced at 45 degrees to the camera-subject axis. The beams should overlap as shown in the diagram. I use a handheld incident light exposure meter and take readings at each corner of the artwork and feather and move the light so that all the reading match.

This method will provide even illumination. The cross-polarization will eliminate any unwanted reflection from surface varnishes, burnishing, or glossy or reflective surfaces, maximize colour saturation. You can adjysthte the level of polarization by rotating the filter. This meth is for standard reproduction- you will see brush strokes, canvas textures etc. An alternate method is called interpretive reproduction where only one light is used to skim across the surface to reveal more texture or relief in pallet-knife work, bas-relief styles.

I usually include a gray card or lithographic colour control chart strip in an unused corner of the format to aid in colour calibration. All post-processing gear and screens must be properly calibrated.

I have used this system to copy everything from miniature paintings to pieces up to and including 80x100 inches.

Of course, you need to center the camera to the artwork and make certain it is a parallel as possible. I mentioned the depth of field, just in case there is a slight problem of parallel alignment that can occur when I work at problematic locations.











The attached image is an oil painting about 60 x 80 inches. It had to be shot on location in the original frame for authentication.

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

 

[Dave_Good]

Excellent post and illustrations Ed. The idea of polarizing both lights is a good one, I have only ever used one on the lens for copy work and it really is difficult to avoid reflections resulting in more work during post. Cheers.

 

[Ed Shapiro]

Excellent post and illustrations Ed. The idea of polarizing both lights is a good one, I have only ever used one on the lens for copy work and it really is difficult to avoid reflections resulting in more work during post. Cheers.

Thanks for your kind comments, Dave!

Using that methd I have copied paintings coated with Damar varnish, and paintings made on glass, and various other high gloss materials with no issues of unwanted reflections. The only work I do in post-processg is colour correction and adjustment of contrast, saturation, and density. It even works well in items framed behind glass where the glass can not be removed without harming the piece.

The large polarized acetate filters for the lights are a bit expensive but I have been using mine fo over 20 years.They are mounted in cardboard frames with marks to help to orient them so they are polarizing in the same direction.


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

 

[Steve BB]

My system for in-studio or location work consists of 2- light sources equipped with standard 10 or 12-inch parabolic reflectors, a polarizing filter on each light, and a CPL filter on the camera's lens-cross polarization.

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

Hi Ed, great post there. very informative. Can you use softboxes with polarized filters, or does the mesh on a soft box ruin the effect of the polarized filter?

I shoot artworks a lot, and only have experience using giant umbrellas (no one has complained so far) but I do notice glare on some paintings, and I want to fix this.

I've never used parabolic dishes, or those sort of metal bowl reflectors, but I'm just worried the light would be too pointed and not give enough spread. I'm often shooting large oil paintings 2mx2m for example, and get a strip of the floor in at the bottom of the frame for size comparison, so I'm often trying to light a 3 or 4m stretch of wall evenly.

 

[Ellis Vener]

“Hi Ed, great post there. very informative. Can you use softboxes with polarized filters, or does the mesh on a soft box ruin the effect of the polarized filter?”

With softboxes you put sheets of polarizing gel across the front of the softbox. It can be bought in wide rolls.

 

[Steve BB]

“Hi Ed, great post there. very informative. Can you use softboxes with polarized filters, or does the mesh on a soft box ruin the effect of the polarized filter?”

With softboxes you put sheets of polarizing gel across the front of the softbox. It can be bought in wide rolls.

Hi yes, I have seen Lee and Rosco make them (or one of them does).

Do you put the softbox white flap up as well, or just the gel?

Is using a softbox more direct/pecific or less direct/specific than a parabolic dish (both pointed at the subject?)

I know umbrellas cast a wide amount of light, so i'm wondering which of the other two methods would give the most wide cast of light.

 

[Ed Shapiro]

My system for in-studio or location work consists of 2- light sources equipped with standard 10 or 12-inch parabolic reflectors, a polarizing filter on each light, and a CPL filter on the camera's lens-cross polarization.

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

Hi Ed, great post there. very informative. Can you use softboxes with polarized filters, or does the mesh on a soft box ruin the effect of the polarized filter?

I shoot artworks a lot, and only have experience using giant umbrellas (no one has complained so far) but I do notice glare on some paintings, and I want to fix this.

I've never used parabolic dishes, or those sort of metal bowl reflectors, but I'm just worried the light would be too pointed and not give enough spread. I'm often shooting large oil paintings 2mx2m for example, and get a strip of the floor in at the bottom of the frame for size comparison, so I'm often trying to light a 3 or 4m stretch of wall evenly.

The system I am using for art reproduction may seem "old school" to those who prefer larger modified light sources, but when used carefully and properly, the simple parabolic reflectors will yield maximum control over unwanted reflections.

You will not get "hot-spots" or uneven concentrated lighting if you carefully adjust the lights At 45 degrees from the camera/subject axis, the and of incidents is such that the camera will not see reflections if it is placed a 0 degrees. The cross-polarization technique will eliminate any glare or reflection that is caused by irregularities in the canvas or surface or form light refelting from the surface of palette-knife or bas-relief paintings. I came each lig t, slightly feathered so it is aimed at the more distant ends of the piece and the beams intersect at the middle. I make an incident light read at the each corner and carefully manipulate the lights until all the readings are equal. A read at the center of the piece may be slightly higher but that will not matter.

Because the light sources are smaller and more controllable the sill does not exceed the angle of an incident whereby the will cause reflections. The cross-polarization will eliminate any remaining surface glare and thereby preserve colour saturation.

It may take a few more minutes to adjust the lights and make the readings but it will save hours of tedious and oftentimes fruitless work of reflection removal in post-processing.

The lights should be equidistant from the piece and far enough away for even coverage. I have used this method for miniatures, small paints and large works up to 80 x 100 inches.

Attaced is a shot of one of the lights, with a polarizing filter in front of it. In a 2- light system, both filters need to be oriented in the same direction. The camera filter is a high-quality CPL filter. I recommend B+w, Zeiss, Sing-Rayor Breakthrough brands for colour neutrality.








Polarized Speedotron head



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

 

[amateurphotographer]

Excellent post and illustrations Ed. The idea of polarizing both lights is a good one, I have only ever used one on the lens for copy work and it really is difficult to avoid reflections resulting in more work during post. Cheers.

Thanks for your kind comments, Dave!

The only work I do in post-processg is colour correction and adjustment of contrast, saturation, and density. It even works well in items framed behind glass where the glass can not be removed without harming the piece.

The large polarized acetate filters for the lights are a bit expensive but I have been using mine fo over 20 years.They are mounted in cardboard frames with marks to help to orient them so they are polarizing in the same direction.

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

Hi Ed, Thanks for spending time giving us details of your setup.

I'm just curious how you would colour correct the artwork, as your filters may effect some of the colours. The only way I see to truly colour correct the art work would be to have the artwork in front of you and use continuous light. and adjust on the computer.

I am guessing you white balance and use the colour checker passport with the filters on?

Thanks in advance.

 

[Ed Shapiro]

Excellent post and illustrations Ed. The idea of polarizing both lights is a good one, I have only ever used one on the lens for copy work and it really is difficult to avoid reflections resulting in more work during post. Cheers.

Thanks for your kind comments, Dave!

The only work I do in post-processg is colour correction and adjustment of contrast, saturation, and density. It even works well in items framed behind glass where the glass can not be removed without harming the piece.

The large polarized acetate filters for the lights are a bit expensive but I have been using mine fo over 20 years.They are mounted in cardboard frames with marks to help to orient them so they are polarizing in the same direction.

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

Hi Ed, Thanks for spending time giving us details of your setup.

I'm just curious how you would colour correct the artwork, as your filters may effect some of the colours. The only way I see to truly colour correct the art work would be to have the artwork in front of you and use continuous light. and adjust on the computer.

I am guessing you white balance and use the colour checker passport with the filters on?

Thanks in advance.

As for colour correction and matching. If the piece is in the studio or still accessible, I can try to come as close as possible to the exact colour reproduction by using the actual artwork for reference. I usually, however, include a small colour checker chart and a gray card at the edge of the frame to use as reference if the piece is not accessible at the time of post-processing. If lithographic prints are eventually made, the printer can use the colour checker chart as a reference as well. These colour checker strips are in common use in printmaking and lithography.

I also info clients that I will come as close to the original colour as possible, however, the exact make of the pigments, paints, or other mediums are not of the same exact chemical or physical make of the dyes in the film, inks, and pigments used in photography.

I have not experienced serious colour shifts or cross-overs with any on the camera or the lights. I am currently using B+W CPL filters on the cameras and the old plastic filter on the light does not seem to have any impurities. With film, I use to have some issues with certain paints fluoresceiing under electric flas illuminate due to excessive UV so I installed Plexiglas UV filters on the lights. I have no such issues in digital.


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

 

[D Saul]

I frequently shoot artworks for reproduction in books, prints, lithographic reproduction, museums, archives and evaluation and authentication of painting, and many other mediums.

I prefer electronic flash for its advantages in achieving good colour rendition and balance, enough power to stop the lens down sufficiently to its aperture of best

performance, ensure enough depth of field, completely negate any kind of blur due to camera move or vibration, and not having to worry about excess heat which may accidentally damage valuable pieces.

My system for in-studio or location work consists of 2- light sources equipped with standard 10 or 12-inch parabolic reflectors, a polarizing filter on each light, and a CPL filter on the camera's lens-cross polarization.

I use a 2400 watt-secon Speedotron power pack with 2 lamp heads. 2- monolights at about 500 watt-second each will do the job as well. That's; quite a lot of power but I lie to shoot low ISO settings and the polarizing filters and the CPL on camera all factor in to absorb light.

The lights are each paced at 45 degrees to the camera-subject axis. The beams should overlap as shown in the diagram. I use a handheld incident light exposure meter and take readings at each corner of the artwork and feather and move the light so that all the reading match.

This method will provide even illumination. The cross-polarization will eliminate any unwanted reflection from surface varnishes, burnishing, or glossy or reflective surfaces, maximize colour saturation. You can adjysthte the level of polarization by rotating the filter. This meth is for standard reproduction- you will see brush strokes, canvas textures etc. An alternate method is called interpretive reproduction where only one light is used to skim across the surface to reveal more texture or relief in pallet-knife work, bas-relief styles.

I usually include a gray card or lithographic colour control chart strip in an unused corner of the format to aid in colour calibration. All post-processing gear and screens must be properly calibrated.

I have used this system to copy everything from miniature paintings to pieces up to and including 80x100 inches.

Of course, you need to center the camera to the artwork and make certain it is a parallel as possible. I mentioned the depth of field, just in case there is a slight problem of parallel alignment that can occur when I work at problematic locations.





The attached image is an oil painting about 60 x 80 inches. It had to be shot on location in the original frame for authentication.

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

Great explanation, Ed. Out of curiosity, how can you ensure you get your camera square to a painting in a problematic setting on location? I don't imagine you bring your copy setup, right?

 

[Ed Shapiro]

"Great explanation, Ed. Out of curiosity, how can you ensure you get your camera square to a painting in a problematic setting on location? I don't imagine you bring your copy setup, right?

I use a variety of ordinary levels and angle gauges to make sure that the artwork and camera are parallel and centred.

I measure the height and width of the artwork and locate the center. I then measure the distance from that point from the right-angled walls and the floor and ceiling and place the camera accordingly.

I use the angle gauge to ensure that artwork is perpendicular to the floor and use a small bubble level atop the camera. If there is a significant tilt to the artwork, I can prop it up or adjust the camera to accommodate that angle.

Attached is a shot of my levelling kit.










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

 

[D Saul]

"Great explanation, Ed. Out of curiosity, how can you ensure you get your camera square to a painting in a problematic setting on location? I don't imagine you bring your copy setup, right?

I use a variety of ordinary levels and angle gauges to make sure that the artwork and camera are parallel and centred.

I measure the height and width of the artwork and locate the center. I then measure the distance from that point from the right-angled walls and the floor and ceiling and place the camera accordingly.

I use the angle gauge to ensure that artwork is perpendicular to the floor and use a small bubble level atop the camera. If there is a significant tilt to the artwork, I can prop it up or adjust the camera to accommodate that angle.

Attached is a shot of my levelling kit.



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

I knew I should have paid more attention in Geometry class!