<p>Diffused lighting of flat art is the safe route where any hint of the viewing environment is suppressed. As noted already, it also flattens the desirable qualities of color, contrast, and surface texture. Ironically, some galleries and museums have a quite hard and directional lighting scheme for their paintings.</p>
<p>Recently, I've been shooting tiles by a local ceramics artist. The surface has contours and incredibly detailed textures, all with a high glaze. The challenge is mapping these properties into a 2-D photo. One light is enough, but it must be sized and positioned carefully: far enough away to give depth-of-light, large enough to generate speculars, high enough to avoid heavy shadows. No polarization is needed. Each art piece responds differently to lighting, and the photographer must take an artistic role. I'm using the Profoto ProBox (a 1' rigid box) @ 3' and a 45-deg down angle. Fill, which is essential, is 3'x4' foamcore at close range on the other side of the light. Flash is quick and easy, solves camera vibration, and is full spectrum.</p>
<p> Four tiles on velvet:<br>
<img src="http://patternassociates.com/rico/nikon/misc/tiles.jpg" alt="" width="1200" height="1178" /></p>
<p>Oblique view:<br>
<img src="http://patternassociates.com/rico/contax/misc/tile2.jpg" alt="" width="1200" height="1018" /></p>