Great video. This method worked perfectly. I Sell framed autographed photos and posters on eBay and couldn't figure out how to get them to look professional. This method worked like a charm. 👌
I often use cross polarization with a polarizer on each light (at 45deg) + a polarizer on the lens. The hardest thing is to avoid the shadows of the frame. If you light it at 45 degree you always have this "un-natural" looking shadow from both side (like on your example). Sometimes feathering helps.
True, the further the lights come away from the camera, the more of a shadow the frame will cast on the image. Polarizing lights is definitely an option but I wanted to keep this video simple as most people don't have access to large-size polarizing filters to go on the lights. And the polarizing sheets are linear polarizers which can sometimes create interference with digital sensors. Regardless, another good option. Thanks for the comment.
@@UnderexposedwithAlastairBird I bet eveyone this days has large size polarising filters right in their houses. Think how often you replaced your LCD or your laptop with a bigger/newer one. Every time you did that, you throw away 2 sheets of big polarising filters.
@jefbriquet This is why professionals do reproductions after they unmount the picture from the frame. (Yes, they get a permit for that from the museum/owner.) Cross polarisation is a necessity with metalic surfaces. You can not get rid of reflections from metalic surfaces with only one filter. (Has to do with the fact, tha metal scatters light in all directions, not only at a typical Brewster angle like other shiny surfaces do.)
I feel you're over-thinking this. My method, that 100% works is: 2x flash heads at 45 degrees to the artwork about 6-8 feet away, with a bowl-type modifier very much like you have used, this gives an almost perfectly even fill, and no reflection of the camera. A linear polarising sheet over each flash head. circular polariser on the lens. Full blackout in the studio. This yields reflection free results for both framed and unframed works with glossy areas. Add in another head at your position of choice if you want to emphasise texture.
Or a cable release. In this case we're working with strobe lights so there isn't any movement with the camera as we were shooting at 1/60 or 1/125 but the flash duration was faster than that. Usually we trigger the camera from the laptop so there isn't any vibration at all. As well, we check the files for camera shake before we move on.
It probably doesn't help in this situation that you have the art on a white wall. The wall is reflecting light back onto the camera and the tripod and lighting it up, which then in itself reflects in the glass. My normal set up for shooting art is to bounce light every which way around the room to make it as even as possible but as soon as I did that with a framed and covered piece the camera reflection was there. So I changed the set up to be more direct light on the artwork and making sure the rest of the room was dark, this took away the reflection.
This is a perfectly timed instructional video! I'm preparing to photograph a client's artwork behind glass for the first time this Wednesday. I bought a backdrop stand yesterday that I plan to place just in front of my camera with two pieces of fabric binder-clipped together leaving an opening for just the lens. Any recommendations for fabric to buy? Should I seek out duvetyne specifically? Making a trip to the fabric store today!
A polarizer will increase contrast and, quite likely, introduce a colour cast in the image. However, if you put a polarizer on and then correct the colour with a colorchecker, any colour casts from the polarizer can be eliminated. As for contrast - yes, it will increase contrast, but in my experience the increase in contrast isn't necessarily detrimental to the image. Goodness knows I have seen many images washed out that would have benefitted from the use of a polarizer. I guess the lesson is if you do use it, make sure you know what it will do to the final image. Thanks for the comments - both this one and the note about making sure you aren't introducing any camera shake in the image.
@@UnderexposedwithAlastairBird Polarization will completely change the color of the frame. Unfortunately, this is unsalvageable in Photoshop. The paintings themselves are very easy to make, the hardest thing to make are reflective, shiny frames. The black frame is the easiest :)
I have never heard of a situation where a polarizer makes a non-negotiable change to the colour of an image. In fact, old-school photographers would use two polarizers to deal with reflections in artwork reproduction. That being said, I’m perfectly happy to be proven wrong. Can you direct me to any literature you know of discussing this?
@@UnderexposedwithAlastairBird I will be happy to show you how the polarizer completely changes the color of the frame. As I wrote earlier. The painting itself looks great, but I have a problem with the frames. For example, the gold frame changes to orange. Silver frame on blue. I have been struggling for 6 years to illuminate the frame evenly. Unfortunately, I don't succeed :)
I appreciate that our guy here didn’t use a teleprompter to make this video, the “I am using a teleprompter voice” kinda grates at me so thumbs up!
Great video. This method worked perfectly. I Sell framed autographed photos and posters on eBay and couldn't figure out how to get them to look professional. This method worked like a charm. 👌
I often use cross polarization with a polarizer on each light (at 45deg) + a polarizer on the lens. The hardest thing is to avoid the shadows of the frame. If you light it at 45 degree you always have this "un-natural" looking shadow from both side (like on your example). Sometimes feathering helps.
True, the further the lights come away from the camera, the more of a shadow the frame will cast on the image. Polarizing lights is definitely an option but I wanted to keep this video simple as most people don't have access to large-size polarizing filters to go on the lights. And the polarizing sheets are linear polarizers which can sometimes create interference with digital sensors. Regardless, another good option. Thanks for the comment.
@@UnderexposedwithAlastairBird I bet eveyone this days has large size polarising filters right in their houses. Think how often you replaced your LCD or your laptop with a bigger/newer one. Every time you did that, you throw away 2 sheets of big polarising filters.
@jefbriquet This is why professionals do reproductions after they unmount the picture from the frame. (Yes, they get a permit for that from the museum/owner.)
Cross polarisation is a necessity with metalic surfaces. You can not get rid of reflections from metalic surfaces with only one filter. (Has to do with the fact, tha metal scatters light in all directions, not only at a typical Brewster angle like other shiny surfaces do.)
I feel you're over-thinking this.
My method, that 100% works is: 2x flash heads at 45 degrees to the artwork about 6-8 feet away, with a bowl-type modifier very much like you have used, this gives an almost perfectly even fill, and no reflection of the camera. A linear polarising sheet over each flash head. circular polariser on the lens. Full blackout in the studio.
This yields reflection free results for both framed and unframed works with glossy areas.
Add in another head at your position of choice if you want to emphasise texture.
Always use a timer for the shutter release to minimize the vibration of pushing it with your finger.
Or a cable release. In this case we're working with strobe lights so there isn't any movement with the camera as we were shooting at 1/60 or 1/125 but the flash duration was faster than that. Usually we trigger the camera from the laptop so there isn't any vibration at all. As well, we check the files for camera shake before we move on.
It probably doesn't help in this situation that you have the art on a white wall. The wall is reflecting light back onto the camera and the tripod and lighting it up, which then in itself reflects in the glass. My normal set up for shooting art is to bounce light every which way around the room to make it as even as possible but as soon as I did that with a framed and covered piece the camera reflection was there. So I changed the set up to be more direct light on the artwork and making sure the rest of the room was dark, this took away the reflection.
very good info. thanks
Paint the walls of your studio mat black for a start.
This is a perfectly timed instructional video! I'm preparing to photograph a client's artwork behind glass for the first time this Wednesday. I bought a backdrop stand yesterday that I plan to place just in front of my camera with two pieces of fabric binder-clipped together leaving an opening for just the lens. Any recommendations for fabric to buy? Should I seek out duvetyne specifically? Making a trip to the fabric store today!
Ah, timing is everything! For fabric, I would go with a velvet or velour - something that won't reflect (no satin or silk, obviously). Good Luck!
@@UnderexposedwithAlastairBird Thanks! Very helpful.
Thank you! Will try this
Lovely and informative video!
Thanks! :)
My pleasure! Thanks for watching.
Great video! How much would you charge to photograph/digitize art?
If you're in Vancouver, send me a note at al@alastairbird.com and we can chat.
A polarizer will alter the artwork's color and contrast. Don't use a polarizer to photograph artwork.
A polarizer will increase contrast and, quite likely, introduce a colour cast in the image. However, if you put a polarizer on and then correct the colour with a colorchecker, any colour casts from the polarizer can be eliminated. As for contrast - yes, it will increase contrast, but in my experience the increase in contrast isn't necessarily detrimental to the image. Goodness knows I have seen many images washed out that would have benefitted from the use of a polarizer. I guess the lesson is if you do use it, make sure you know what it will do to the final image. Thanks for the comments - both this one and the note about making sure you aren't introducing any camera shake in the image.
@@UnderexposedwithAlastairBird Polarization will completely change the color of the frame. Unfortunately, this is unsalvageable in Photoshop. The paintings themselves are very easy to make, the hardest thing to make are reflective, shiny frames. The black frame is the easiest :)
I have never heard of a situation where a polarizer makes a non-negotiable change to the colour of an image. In fact, old-school photographers would use two polarizers to deal with reflections in artwork reproduction. That being said, I’m perfectly happy to be proven wrong. Can you direct me to any literature you know of discussing this?
@@UnderexposedwithAlastairBird I will be happy to show you how the polarizer completely changes the color of the frame. As I wrote earlier. The painting itself looks great, but I have a problem with the frames. For example, the gold frame changes to orange. Silver frame on blue. I have been struggling for 6 years to illuminate the frame evenly. Unfortunately, I don't succeed :)