How to Photograph Artwork Professionally
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- Опубликовано: 19 окт 2024
- I photography artwork professionally for print. In this video I show how I do it and the tools I use. I will link all of the tools I use below. Please like and subscribe!
Sony a7riv camera-amzn.to/3qKcVJL
Sony 90mm F2.8-amzn.to/3Lin9sA
Godox Ad200 Strobe-amzn.to/3LnKady
X-rite Color Checker-amzn.to/3NqjpqN
Sekonic L-478D-U-amzn.to/3qGzM8M
Neewer soft box-amzn.to/3LDPMkj
Please check out my print shop at www.photo-to-canvas.com and @phototocanvaspdx
Check out my photography at www.jarreddecker.com and @jarreddecker
Thanks!
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To make sure your sensor is perfectly parallel to the painting, the easiest way is to use a mirror. Place it in the middle of the artwork, and if you align your camera so that you see your lens in the middle of the mirror, you can be sure you’re parallel to it. No more time spent on post aligning your shot.
Makes sense to do it as close as possible in camera. But keystoning does not take a long time.
If you use capture one (which you really should. It’s basically fixed within seconds.
Agreed, but the less you have to change later the better also from a resolution standpoint. Stretching 3800 pixels to 4000 may not seem like a big deal (usually it isn’t) but the computer is calculating a bunch of ways to redistribute those pixels for pretty much the entire image. Even though I can’t tell the difference with my eyes, it doesn’t mean it’s not there. I’m coming from a perspective of cataloging and digitizing things of great artistic and historic value, and I don’t know if some distortion today will affect some kind of future work, be it of reproduction, analysis, archeological, or what have you. Maybe I’m too OCD about it, though, but I do this for a museum, so..,
You are a legend, thank you so much! One small suggestion for checking light density over the artwork that can be quick is to photo a blank canvas. Then in a photo editing software enhance the contrast and you will see where you have too much or too little light. Cheers
Brilliant!!
Great info! what setting to do shoot with on your camera? I just placed an order for lights
Awesome! I shoot in manual, 1/250 sec, f8-f11, ISO 100
Great explanation and detail. Came here for ideas as starting a project with now deceased mother-in-laws art. Very similar to the setup I use for real estate photography using umbrellas. While I prefer to "get it correct in camera", rather than try to approximate the angle of the print to the camera, raise the low end of the print with something malleable, like a sock ball hidden behind the painting. Bring the top and bottom of the painting parallel with the wall. An easel mount may be harder to visualize as you raise the top forward to the same plane as the bottom. Then it is simply a matter of centering the level ball on the camera mount and they should match up. I personally use an arca-swiss plate with level ball on camera and adjust the tripod head to center the ball as the alternate style - flash mount level ball unit - is not possible with the Godox Xpro-S mounted there and firing the remote strobes.
wow, another great video. Thank you!
Great video!
(I won't forget to work my equipment back n forth until it's straight, 😂😂😂😂)
Awesome video- super helpful! Thanks so much
thanks for a FANTASTIC video. excellent!!!
this is the best and most complete video I've seen on the subject. I have a lot of paintings to photograph, thanks!
Thanks! I have a follow up with some additions to my workflow coming in the next few days!
How. He didn't show us what settings to use?
Thanks for posting. Being unfamiliar with strobe lighting but having a little experience in photography, something intuitively tells me a light meter is an almost a necessary tool to have for getting everything perfect for that flash of light.
I definitely think it is helpful. The other thing you can do is if you are photographing it in front of a white or black background, shoot it then take measurements in your software of the wall at each corner and make sure its even.
Succinct and so, so helpful. Thank you.
thank you. I used your amazon link and ordered some things.
Thank you so much! It is really helpful!
Thank you for the video. some very useful tips, indeed! Using the xrite/calibrite color checker in lightroom Classic, there's actually a quicker way of getting the profile from the chart itself. I usually right click on the image with the chart and choose export>color checker camera calibration under the x-rite presets section. It will process for a little bit and then you'll be prompted with a message that it was either successful in creating the profile or if there was an error creating it. cheers and thanks again for the video!
Yes that's the method I uses since switching back to lR from CO. Thanks for sharing!
Thanks for the info - very helpful. Time to get off my butt and shoot a few year's worth of paintings. Next up is dealing with some drawings. I'll have to check your past videos to see if you have any suggestions for shooting/scanning flat artwork.
Thanks! For flat work I just lay it in the ground and shoot down. It’d it’s wavy I’ll lay glass over it.
Thanks for this very informational video! Now that I did it myself, it is actually more difficult than it seem.
How do you shoot water color painting? The paper isn't flat due to the character of the medium. Do you place a glass on top?
I am shooting a series of small watercolor paintings (8cm x 14cm) and I only have one speedlight so I just fire it onto the ceiling. Am I doing it right?
Thanks in advance
Thanks for the video Jarred!
There is one thing in particular I still struggle with. I have a hard time nailing the white balance off of my Color Checker Passport. The Medium-Grey patches give different results in tint. To be more precise, using the left neutral patches for setting the white balance (and by the left I mean the side with the portrait & landscape white balance patches) always tends to give a tint in the range of -1.5 & -2.1, whilst using the patches on the right side, gives me the tint of approximately -0.7. I have two identical profoto strobes, and have tried to swap their positions (left/right) but the results remain the same. Now that gap in tint makes quite a difference color wise, leaving me perplexed, as to which reading is really accurate to life.
One option would be to compare the images and artworks side by side, however I always have to shoot the artworks on-location (be it in a gallery or at the artist's studio), without a laptop, and hence can't compare the images to the actual artworks side-by side.
Have you had a similar experience?
There's another point I need to pick your brain on. How do you set the black and white points exactly? I did a thorough research online but haven't found a lot of info on the topic. I did read on some forum, that the black patch should correspond to an RGB value of around 40 (out of 255) and white to 231. However I keep having the similar problem as mentioned above. Patches on the opposing panels of the passport keep showing me results that are different by around 10 rgb values.
Do you set the white balance before or after creating the profile?
I set wb before I export the tiff file. And then once more, if need be, together with the new icc profile
@@georgekolbaia2033 I gather you are using Capture One? I use DNG files to create the profile. It sounds like you are doing it right though. I use the gray card with the xrite not the small one in the color grid but I think its the same color. Im not exactly sure though Ill run some tests.
@@phototocanvaspdx I usually photograph both sides. Last couple of shoots I've been more satisfied with the results from the WB side of the passport. Will stick to it for some time. Let me know what you find out.
P.s. do you have any info regarding the black & white patches on the passport? Do you know what values they correspond to on RGB scale?
Great video, thank you! I don't understand the issue with constant lighting vs. strobe? If you had soft boxes of the same color temp as the strobes why would it matter if they were on constantly or not? Thanks
Thanks! Because to use constant lighting your shutter speed would have to be slow enough where ambient light would affect the colors of the piece you are shooting. To use constant lighting you really dong want to do it in a room with windows, which is not an option for me. With strobes you can use a fast enough shutter speed that ambient lighting isnt a concern. I no longer use soft boxes thought. I have some other videos but need to do a new full description.
or do you mean other ambient room light that isn't for photos?
@@altstuder I mean light from windows or the lighting in the room. Daylight, strobes, and room lighting can all be different color temperatures which can cause color casts on the artwork. You need to have a controlled lighting temperature to get accurate captures.
I just photographed some paintings for an amazing artist. She sells her paintings to an art consultancy company that does enlargements for hospitals and hotels etc. Obviously I'll have a dpi of at least 300 but what pixels/inches would you suggest I make them? Some of her paintings are small and some are 60"x60". She also requested they be exported as TIFFS. Since I don't know what size her future clients will enlarge them as what do you think the safest export setting would be?
I have a large collection of watercolors that I need to photograph (1000+), I was thinking of laying them flat on a table and have the camera on an arm overhead tethered (with lighting as you explained) in order to achieve a similar result as these are all unframed. Do you have any other suggestions of a better route to go for doing this? (EOS R6mkII, 105mm prime, godox 600s and will get matching soft boxes like you used) Thank you for this instructional video, it will really help me get started on the right foot.
My pleasure! Depending on whether they have borders you can also use binder clips on a piece of Foamcore to make them vertical to shoot. How large are the watercolors?
Thank you - great info!
Thank you for this video - it is so helpful! While I am proficient with my camera in natural light situations, I struggling with photographing my 5 ft artworks because of uneven lighting. I am building a studio setup for this purpose. In regards to softbox lighting, what size softbox would you recommend for lighting 5 ft by 5 ft pieces? Also, is there any benefit to placing the softbox more to the side of the painting to try to highlight texture in the painting?
Soft boxes make all the difference!!!! And photoshop lol.
Hi Jarred, Thank you for this informative video. Quick question, would multi-shot hi res used with hot lights be useful in terms of getting additional information (resolution), especially for reproductions be better? Have you tried this set up? Thanks.
I have a video on this. I did not get good results but have had many people reach out saying they did. I have yet to try and re test due to time limitations but will asap.
Hi, your demo has been very useful as I am trying to photograph artwork (my own) myself. I do works on paper and now the colors come up right, thanks to the color calibration you show how to do. There is one last thing I need to resolve however: the paper itself (white) does not come up as bright/white as it looks in reality. If the art is properly exposed, the paper around is grey. To have the paper showing white I need to way over expose. I use two Godox SL100D lights with Softboxes. Any lead is appreciated.
How are you setting the exposure for the finished shot?
@@phototocanvaspdx I test a few stutter speeds but ISO and F stop stay the same for all the photos (with Targets and without targets)
Good explanation, two questions: 1) why do you use a green background? 2) How do you avoid glare on paintings that have a glossy surface?
Thanks
Rob
Thanks! The background doesn’t matter at all. This is just a wall I use as a photo background when I’m not shooting artwork. As far as flood I ask artists to wait to varnish until after I shoot. If they can’t I put the lighting as wide as possible but if it’s a very textured piece this can cause issues. Sometimes I will rotate and reshoot the piece and blend exposures. Glare is a huge issue and there’s no easy way around it.
@@phototocanvaspdx Use cross-polarisation!
thanks for the vid! Do I have to use Lightroom? My work flow has always been, Bridge- Camera Raw - Photoshop. I have ordered that color passport thing you have, thanks!
Of course not! I actually use Capture One now. But I imagine there is a way to utilize color profiles with photoshop. I would search for videos or email x-rite and ask them . You may check out my video where I use capture one I am getting better results.
@@phototocanvaspdx I discovered there is a way to use it, in Camera Raw :) Thanks!
Thank you for this informative video! I am an illustrator and fine artist who would like to digitize my large color pencil drawings and relief prints. My question is: Would your same process work for photographing works on paper? The paper is Stonehenge White printmaking paper, (100% Cotton, acid free, uncoated paper with a slight tooth). smallest size is 18"x24". Thank you.
Yeah I do paper prints all the time. If they have a boarder I prefer to shoot them on an easel clipped to a piece of foam board. If not I lay them on the ground and apply the same methods with an adapter on my tripod holding my camera the right orientation.
Thank you! Your reply is so helpful. I have been using large "blueprint" scanners at Office Max etc. but they are not meeting my needs. Your system will work great for me. Thank you again for sharing your expertise!
do you think 2x 24" octaboxes will work fine too? will a 33MP camera be enough for printed catalogues? thanks!!
They should be fine, but maybe remove the diffuser. I have been doing that recently and am very happy with the results. People shot artwork with lower res cameras for years and were happy with the results. There are a lot of really great enlargement software programs out there if your 33mp arent as big as you want to print.
@@phototocanvaspdx thanks - I thought, abybe, the light shape out of a stribox could lend itself better to shooting a painting than an octa, but not sure if that's true at all
ive just never tried an octa so I don't really know. The person that taught me uses regular round reflectors.
@@MusicFed
7:00 You could use a block of first foam such as used in packaging to hold the bottom of the painting away from the wall.
I currently use an easel, but either way I just adjust my camera tripod to match the angle of the piece I am shooting. Pretty easy.
Hi there, thanks for this video. I was just wondering, in the final minute or so when you're manually eye-balling the painting verses what you have on screen, what lighting do you have in the room? Are they full colour daylight balanced bulbs? I don't mean on the flash units, they will of course be daylight, I mean the overhead lights we can see dangling from the ceiling behind you. Cheers!
Yes, they are led bulbs with adjustable color temp. I don’t imagine they are 1000% accurate but they served me well. In my studio now everything is no adjustable 5500k
Good day,
use a polarizing filter to suppress unwanted reflections on images? Svoboda
I would not recommend using a polarizing filter on your lens. I’ve done a different video on this. I do now use polarizing gels on my lights.
How much would you charge per photo to digitize?
When you’re measuring the flash with the light meter, do you measure each flash separately or do you measure while firing them at the same time?
Firing at the same time. Each on will affect the light on the piece so you need to make sure the light is evenly spread.
@@phototocanvaspdx Thanks. I brought a big color target that I need to shoot it with even lighting, even though it has gray patches along the edges to help guide the process, but like you said in the video, I would have to take so many shots and then go back and forward between my computer to tweak the lighting, and it's going to be annoying. Using a light meter to measure them on the spot makes more sense.
It should be relatively easy if you have the same kind of lights and put them in the same position. SHouldnt need a light meter. They help but you can easily get by without one.
@@fireice2585
@@phototocanvaspdx yeah, I have just looked into flash meter and they are expensive like around $200, not worth the convenience. Considering that I just spent $200+ on two Godox TT600 flashes and a transmitter, I'm not ready to double that cost for something that is not essential to the shoot.
Hi Jared, do you find the pixelshift function on your sony7riv useful for artwork photography? love to know your thoughts on it.
Funny you ask that, I was going to do a test on that this week and will post a video!
@@phototocanvaspdx perfect!
@@seanleanable So I did this video today and it will come out soon. But I screwed up. I tested it shooting a very small print with the intention of printing it larger. What I needed to do was shoot something larger than my sensor, and see how it works for blowing it back up to life size. I have an artist bringing a piece in tomorrow and I will do it again. And will post that video as well!
@@phototocanvaspdx looking forward to it!
Thanks for this video, very helpful for me! One thing I'm trying to figure out is why you need to do the color calibration and the white balance? It feels redundant to me? Does the white balance affect exposure more? Also what is the reason for the gray and white (or light gray) card for white balance? Is there a reason to use one over the other? If I white balance in lightroom off of each, I do get a bit different of a white balance, so I'm trying to understand how to make it consistent and which I should use?
Good question. You really don't. The color swatch sets the white balance. I do it just to do it I guess. It's easier to use the big squares if you are doing a custom camera setting. Xrites instructions say when creating a profile dont even set the white balance so I should remove that step. I'll do some more research and make a separate video about this.
@@phototocanvaspdx thanks! Good to know, I feel validated in my instinct, although I feel like maybe there's a reason they give you both? If you find anything out about why to use both (or not use) a new video would be great
@@phototocanvaspdx I did try it out now and just adding the color profile versus also doing the white balance came out very different. It definitely seemed to need the white balance. I was shooting outside and the light was very cool so it was a very pronounced difference. It kind of makes me wonder how much I can trust the color calibrator though? Or if I'm doing it right
@@nathanaelgray8471 Check out my latest video
I'm looking for how to make mock-ups (framed artwork, the frames are photographed, the artwork put in in post); from the photography end of things....how to photograph them well, so they end up making great mock-ups that look like you took a picture of artwork in the frame.... anyways, just throwing this out there in case you can help. I am only seeing videos of artwork photography, and making mock-ups in post..not this in between realm I am looking for help with---which vaguely falls under the category of product photography. this video still does help tho! I think with the lighting set-up part. thanks
This is something I am looking to do so I'll keep you posted. But to me you should be looking at artificial lighting tutorials. If you are hoping to do canvases with no frames, then the focus should be the shadows the canvas casts on the wall. But of course room lighting will also affect the artwork which is why all the apps that do this look like garbage. They don't do anything to the light falling on the piece. Maybe just try to shoot your blanks (the room without the artwork) as evenly as possible. Then placing your evenly lit photos will look better.
Sorry I don't have more!
Thank you!!! This video is already very helpful and I will be following the set up tips for the shoot. tY!@@phototocanvaspdx
Do you use any polarizing film on your lights?
I recently started to yes.
I shoot in RAW with a Sony a7R. I download the RAW images (.arw format) directly into a folder on my computer. Do I need to convert the .arw files into .dng to use Lightroom Classic? It seems that I can use the .arw...
Nope. You can but you don't have to. I used to but stopped converting a few years ago. Id rather stick with the native format when I can.
polarizing filter takes care of glare / shiny paintings yeah?
Circular polarizers make the lighting uneven. I do use polarizing film nowadays. It helps but does not completely fix all reflections.
❤
Not that it matters any, but it might, the painting is tilted somewhat to the right. The wire holding the painting is off from center.
It doesn’t. I adjust the camera to the painting.
Museums will not let you use flash for this. If you’re doing this at a professional archivist level, continuous lighting, a dark enough room, and long exposures is the way to go.
Interesting, that’s not something I’ve come across. Thanks for the info!
Instead of messing about trying to align the camera with a slightly sloping piece of artwork, why not just use wedgeds to get the front face vertical? MUCH simpler!
Hey to each their own! That sounds much more complicated than just adjusting the camera a bit to me but glad it works for you!
Odd there was no mention of the importance of using a flat field lens.
I’m happy to look into this! Do you have any documentation or links that recommend it?
Woulda been nice to know the camera settings. Kinda pointless of a video
10k views and you are the first person to complain about that. 1/250 sec f8-f10 and iso 100