Lighting for art photographs

<p>Hi,<br>

I would like to take some photo's of my art for reproduction so I can hopefully sell some prints, I'm by no means a professional photographer but would like to be able to capture the best image possible that I can use.<br>

I have a nikon D3300 and am going to purchase a 50mm macro lens as I've read that will be the most suitable.<br>

The artwork is various sizes largest being 45 by 60 inches or there abouts, mainly paintings some pencil drawings.<br>

I've bought a tripod but am now in a real dilemma about the lightening I think I must have read hundreds of posts on here, initially I was going to go ahead and buy two softboxes put them at 45 degrees to the art but after reading through have read about how they might not be the best idea and hard lighting will be better......I'm on a budget and will be shooting in my home which has quite small rooms so was looking for any advice on options for me.<br>

Thanks Michelle</p>

<p>Hard lighting will be better, and I would avoid inexpensive "lighting kits" with CFL bulbs. They don't actually put out that much light, and the really cheap ones have color issues as well. If you're going to shoot paintings as wide as 60", you'll need a fairly good size space so that you can get your lights far enough away to be even over the whole surface. How big a print do you expect to make? Your camera is competent, and a macro lens is a good choice for this work, but a good 45 x 60" print isn't likely to result from this. One other thought--a 50 mm lens is a longer than normal lens for your camera, and will require that you be some distance away. This is good in the sense that centering and alignment is easier, but it may be impossible to get far enough away to take in the whole image. If you have a zoom lens, set it to 50 mm and see if your space works. One last thing--an incident light meter is extremely useful for determining exposure and evenness of illumination. You might rent one to set up your space for the first time. Good luck!</p>

<p>If you use the 60mm Nikon micro lens on that body, and the longest side of the <strong>art</strong> is 60" long ...<br>

then the camera's "sensor plane (back of the camera body just about) " will have to about 12.5 feet from the artwork to take it all in.</p>

<p>So, you'll need at least a 14 foot room (or work on the room's diagonal) to do the job.</p>

<p>Some useful sites ...</p>

<p><a href="https://www.artfulhome.com/pdf/sourcebook/howto_photograph_artwork.pdf">https://www.artfulhome.com/pdf/sourcebook/howto_photograph_artwork.pdf</a></p>

<p>http://www.dallasartsrevue.com/resources/How-to-Photo-Art.shtml</p>

<p>However you do it, stay aware of reflections and try to be as square (perpendicular & centered) as possible with the artwork.</p>

<p>Jim</p>

 

<p>Oh, Michelle ... welcome to photo.net. If you hang around, there's lots of stuff that helps one become a better photographer. Loads of good articles too, above in the blue "Learning" tab at the top of this page.</p>

<p>Jim M.</p>

<p>If you are money poor and time rich then I suggest that before you buy any lighting gear (and also before buying that macro lens) try making some test shots outdoors when there is light cloud cover.</p>

<p>You already have a good camera; a tripod and (assumed) an 18 to 55 kit lens: what you do not have is lighting gear and a purpose fit lens. The other element in your workflow chain to consider is a good post-production editing program - and good skills to use it.</p>

<p>My points being:<br>

> As you have stressed that you are on a tight budget, it would be logical to first determine if the quality of result with the gear that you have is suitable to your requirements.<br>

> The Kit Lens will perform adequately at around F/8~F/11.<br>

> I expect that there is very little barrel distortion at about FL = 40mm (you can research that)<br>

> Mild cloud cover will provide even illumination and at a reasonably constant CT (Colour Temperature).<br>

> A tripod will allow a steady camera and thus allow a slow shutter speed at low ISO.<br>

> Outdoors will provide the necessary (large) Shooting Distance required for photographing large artworks. </p>

<p>WW<br>

</p>

<blockquote>

<p>If you are money poor and time rich then I suggest that before you buy any lighting gear (and also before buying that macro lens) try making some test shots outdoors when there is light cloud cover.</p>

</blockquote>

<p> <br>

I was going to post the same thing a few hours back but got distracted. I was taught to do this by someone who did art photography professionally and would always, with movable pieces, look for an outdoor location. She had a spot by her studio she used whenever possible (like when it was not raining.) I found her photos were preferable to ones I shot with lighting gear and switched to natural light.<br>

<br>

They don't actually put out that much light, and the really cheap ones have color issues as well. </p>

<p> <br>

The first of these isn't really a concern, is it? Art doesn't move so you don't need a short exposure. The second is an issue but it is possible to buy kits that are inexpensive and reasonably well color-balanced. I've found it always takes some post work anyway. Far better now than when I had to do this on film.</p>

<p>If natural light isn't an option you might want to check out the Soraa 5000K full spectrum 95 CRI, 36 degree LED flood light I purchased on Amazon. Its light dispersion is very wide starting at 6ft providing enough broad even light to photograph well on a tripod at 16ft. I could get an entire 10x8ft wall evenly lit at 16ft with one bulb. Two of them placed 45 degrees adjusting distance for even illumination should provide enough light and the color reproduction is quite good. See the Pantone ink swatch shot at 6ft. and broad pattern of light on the back walls.</p>

<p>Unlike CFL's and fluorescent tubes they don't have the 60hz cycling that creates reddish WB bars shooting frame to frame. I get consistent WB shooting at any shutter speed.</p>

<p>They're $36 a piece so not sure if two will fit your budget. Just a suggestion. Oh, and you will need to create a camera profile or else you'll have to do quite a bit of HSL in ACR/LR. All I had to do is increase saturation in the red channel in ACR HSL panel.</p><div></div>

<p>Thanks for all the advice :) I have gone ahead and bought the 50mm macro lens also a sekonic flashmate, I'm going to get the grey/colour cards. Unfortunately I have no outside space :( <br>

I've just been confused by all the contradictions when I've looked online 90% say use 2 softlights its only when I've stumbled across this forum(which is great) that I've read different. My budget isn't that tight I want the right equipment but not what a professional would need as I don't have a studio, just enough that will get me great results that can be reproduced.<br>

What would be classed as hard lights, like the type workmen use (I'm in the u.k)<br>

http://www.amazon.co.uk/gp/product/B000FTAFCE?keywords=builders%20lights&qid=1429481613&ref_=sr_1_2&sr=8-2</p>

Well I shoot a fair amout of paintings. In some cases hard lighting is fine, usually 2 lights are set up at

about 35 to 45 degrees.

 

The major problem with shooting paintings is if the painter often uses canvas. With hard lighting you will

surely get reflections so you need to use umbrellas or softboxes. This is why 45 degrees may not be

ideal and you will have to increase the degree of your lighting setup. Because you are shooting large

paintings and drawings you will surely get light dropping off. For example if you meter the center of the

painting the light meter may read F8 and at the far corners on top and on the bottom of these large

paintings you may get an Fstop reading of F5.6 or so. So large 60 inch umbrellas and large softbaxes

could be a must.

 

You can often correct this problem, the light fall off in photoshop, but you very much risk color changes.

 

Another probelm is distortion. For example, the bottom of the painting may be wider or narrower than

the top of the painting. Because of this I use longer lenses. Actually I now use a tilt lens. If you start

doing a lot of this type of work buy a tilt/shift 90mm lens. I have Canon gear. Sadly, when shooting with

a 50mm I don't think a 60 inch image will be distortion free. So can you rent a tilt/shift lens?

 

I know you were looking for the perfect setup and the least expensive way to make this photo shoot

work and you can perhaps get away with a 50mm lens by cropping in photoshop. If you were shooting

something the size of perhaps a 2 or 3 foot painting you'd probably get away with it.

 

Keep your lights as far back as you can, for more even flash control. 10 feet away would be ideal. Try to

use a very low ISO, such as 50 to 100.

 

The below example was shot using lights with 60 inch umbrellas, at about 30 degrees to get rid of the

reflective surfaces. I used White Lightning strobes.

Dang, the file won't upload. A problem with the tiff conversion. By the way, shoot in RAW and save as a TIF

file. Do not use jpeg files. EVER!

 

A lot of the my painting images I save as a Tiff are 100 megabyte files. Jpeg files can be as little as 3 or so megabytes. If you wish to email me I will be happy to send off an example.

<blockquote>

<p>"What would be classed as hard lights, like the type workmen use (I'm in the u.k)"</p>

</blockquote>

<p>Yes.</p>

<p>Those are, in photographic terms, "hard lights": <em>"a (usually) smaller point source of light which is not otherwise diffused by baffle or other light modifying device used to provide direction light to the subject and thereby affecting hard and distinct shadows."</em> </p>

<p>Those are also termed "Continuous Lights" (because they illuminate continuously - as contrasted to “Flash” which is NOT continuous lighting). </p>

<p>Those are also termed "Hot Lights", because they ‘run hot’ (as contrasted to other continuous lights such as CFL and LED which ‘run cool’)</p>

<p>I am familiar with Hot Lights, and as happenstance, I have four of that particular 500w 230~240v item.</p>

<p>I am also experienced in hot lighting techniques & procedures both for stage and photography. The UK, similar to AUS, runs 230~240v 50Hz AC. Be aware that using two of those units (total 2000watts) will draw about 9 Amps. This is important because 9 Amps might be close to, or maybe will exceed the limit of one power outlet and/or the total of all power outlets on any one particular circuit. </p>

<p>Also be aware the units themselves will get very hot. This is important because you mention that you are working indoors and in a confined, small space. </p>

<p>There should be a detailed advice caution supplied with the product – but whilst I am writing it’s worthwhile to mention a few more safety procedures:</p>

<p>> RE: the bulbs used in those lights: you must NOT ever touch the glass of those bulbs with your hand/fingers, this is because the acid and/or oil on your skin may shorten the life of the bulb.</p>

<p>> RE: changing a fused bulb, you MUST ensure enough time for the bulb to cool to room temperature before even opening the SAFETY GLASS shield</p>

<p>> RE; the SAFETY GLASS shield MUST be kept closed during use and also during the cooling period after use </p>

<p>If you choose these lights, I encourage you to take all the above safety warnings most seriously.</p>

<p>There are various bulbs you can buy to fit those lights and there are several manufacturers of them. In my experience the CT (Colour Temperature) variance of the bulbs from any SAME manufacturer is usually quite small (that is a good thing). But I have noted a CT difference of up to 500°K for bulbs and bulb types from different manufacturers. I tend to use LUXMAN Halogen which provide about 2800°K or GE (USA Manufacture) ‘Quartline’ which provide (a very stable) about 3200°K.</p>

<p>The CT of all these bulbs do have some spikes, but, for mostly all purposes they are OK.</p>

<p>No doubt the lighting units advertised in the link are sold essentially as “tradesman’s work lights”, so CT is of no importance whatsoever to a carpenter sawing wood for example - hence it might be the case (probably will be the case) that cheaper bulbs will be supplied with the initial purchase. This is neither good nor bad, cheap might not mean there is a great variance of CT, but it is more likely that there will be, I think. </p>

<p>All these bulbs will change their CT as they are used more and more quickly so as they come to the end of their working life, so it is best to replace ALL of the bulbs at the one time; use all the lights for an even period of time, rotating use if not always using the four heads together and to not to mix the bulb types when replacing them. </p>

<p>WW</p>

<p>Regarding the 'soft light' vs. 'hard light' opinions.</p>

<p>For the particular applications of the OP, my view is that soft light, <strong><em>specifically</em></strong> light cloud cover outdoors is:</p>

<p>1. more FLEXIBLE in that it can accommodate a <strong><em>greater range</em></strong> of SUBJECT TEXTURES for one example shadow issues with (thick) oils on canvas. (Bob Bernardo mentions exactly that point)<br>

2. easier to manage fewer issues and potential problems for a novice - Artwork clamped on easel or similar. Camera on tripod. Mirror Up. Remote release. Basically the CT is always the same. The light is even. The exposure is made by TTL Metering of a Standard Grey Card with the Camera (Nikon) on Matrix Metering. For insurance shoot a bracket ±⅔ Stop. <br>

3. really inexpensive - no flash meter, no CT meter, no lighting units, no electricity.<br>

4. Large studio space - you’ll need a room at least 14ft clear to shoot a 60” artwork.<br>

<br>

And those are the main reasons why I suggested moving outside.</p>

<p>Obviously, if you cannot, under any circumstance shoot outside, you must shoot inside, so in this circumstance I advise that you calculate carefully how much space you actually do have, because the lighting gear, whatever it be that you choose, will take up space.</p>

<p>WW</p>

<p> </p>

<p>My reaction to going to your link is that you need two units rather than two lights on the stand, else two units means four lights and that will make your working situation rather hot I'd assume from using similar lights in the past.<br /> But my main point or bit of advice is what I do whenever I am using a tripod, two points now I come to think of it, a] depending on the quality of the tripod you bought it may be advantagious to arrange your artwork so you can use it with just its three legs and NOT with the column extended [ however more convenient that work height might be for you ] <br /> Secondly I always use the 10 second delay release and leave the camera and tripod untouched during the count down and exposure ... this was the first lesson I was taught when starting serious photography in a studio.<br /> Finally when using lights for your job brightness is not essential and the camera can give a longer exposure with no bad effect.... so if I needed to give an exposure of one second or more I would be perfectly happy with that so long as I used the 10 second release as above and a further point if the camera has it then consider using mirror lock.<br /> These suggestions mean the job takes longer but the better result mean it is worth the effort.<br /> Depending on the lighting in your room you might find you do not need any lights and the ambient daylight might do the job for you, my prefered approach,but sometimes the result is a little soft but I can back up my camerawork with experience in editing. This is a slight variation on what WW suggested originally for similar reasons if you have even daylighting.</p>

<p>Thanks everyone! lots of great advice, most the paintings are smaller than 60in that's probably the largest.<br>

The hard lights are quite reasonably priced, would these be any good? http://www.amazon.co.uk/RPGT%C2%AE-Photography-Continuous-Lighting-Softboxes/dp/B00NGCXJ2A/ref=sr_1_10?ie=UTF8&qid=1429522522&sr=8-10&keywords=photography+lighting<br>

I have lightroom as opposed to photoshop I'm hoping that will suffice though I'm hoping that I can get a good enough shot that Ican keep its use to a minimum as I've never used it bother, I'm hoping the camera is going to be relatively easy to set up its my first dslr I've only used point and shoots before so its going to be an interesting learning curve for me.</p>

 

<blockquote>

<p> . . . I have lightroom as opposed to photoshop I'm hoping that will suffice though I'm hoping that I can get a good enough shot that keep its use <em>[lightroom's use]</em> to a minimum <em><strong>as I've never used it . . </strong></em></p>

</blockquote>

<p><em><br /></em>I think that Post Production will be most necessary.</p>

<p>WW</p>

 

<p>I keep researching the lights there is this kit? if its good enough and I can find in u.k http://www.bhphotovideo.com/c/product/48828-REG/Smith_Victor_401429_K22U_A_Location_Tungsten_Two.html<br>

Yes I'm just getting used to the basics of lightroom with some images I already have, but am hoping to control as many variables as possible.</p>

<p>Quartz bulbs are a reasonable option for you, although they will generate a lot of heat. Color quality is usually good with them as long as your line voltage doesn't vary by much. Don't expect the stands in a kit at that price to be super sturdy, but if you take care of them they will probably be adequate. This kit also gives you the option of either soft light (umbrellas) or hard light (lights aimed directly at the paintings) which may be useful for you, depending on how much your work varies. It sounds counter intuitive, but oil and acrylic paintings are three dimensional objects, and picking up some of the texture via harder lighting can be helpful in conveying a bit more of the character of the original. I have been doing this professionally for the last 30 years, and finally settled on studio flash units for a variety of reasons, including color consistency and short exposure times that are helpful in obtaining the best results. Since it seems that you have purchased a flash meter, you could switch light sources without too much technical bother. If you sell a lot of prints, you may get to that point also. </p>

<p>Thanks everyone I think I know which lights I'm getting now :)....can anyone offer some advice on what will be the best aperture for what I want to do, will the light meter help me set this correctly.</p>

<p>For flat work like paintings, your lens is probably best at around f/8, but you can shoot tests to check this. I would set the f/stop and let the meter tell you what shutter speed you should set, since you have a tripod. It will be worth checking on how to lock the mirror up since at slow speeds the vibration from the mirror flying up can lower sharpness considerably even on a tripod, one reason why I use studio flash for this. Good luck, and show us an example when you have one.</p>

<blockquote>

<p>For flat work like paintings, your lens is probably best at around f/8</p>

</blockquote>

<p>I concur.</p>

<p>***</p>

<blockquote>

<p>It will be worth checking on how to lock the mirror up.</p>

</blockquote>

<p>I also concur.<br /> I suggest to use "Mirror Lock Up" (on your camera) and also buy a "Remote Release" to release the shutter.</p>

<p>***</p>

<blockquote>

<p>show us an example when you have one.</p>

</blockquote>

<p>Indeed.<br /> <br>

Good Luck.</p>

<p>WW</p>

<p> </p>

<p>with due respect to WW I think that the cable release manual or electronic is old technology and quite un-needed when you have the ten second release built into the camera ... but of course you have to resist the temptation to continue to hold the camera :-)<br>

Most vibration seems to stop in the first two seconds and the rest is extra to make sure. My cameras do not have a mirror to lift but 'mirror lock' solves that problem for those with mirrors I gather.<br>

One possible advantage of the electronic release is that those I have bought but rarely use [ a fifty foot version used when I want to be included in family shots to celebrate Christmas ] is that mine have a two stage button which first tells the camera to set itself up and then to make the exposure as the camera trigger does.<br>

Of course if I was really up-to-date I would have an electronic release but I am not sure that they incorporate mirror lock.</p>

<blockquote>

<p>I think that the cable release manual or electronic is old technology and quite un-needed when you have the <strong>ten second release</strong> built into the camera ...</p>

</blockquote>

<p>Hi John,</p>

<p>Point taken - why spend money if money needs not to be spent.</p>

<p>However, on the other hand,<strong> I am not sure of the functionality of the D3300 when ‘Mirror Lock Up’ is combined with ‘Time Delayed Shutter’.</strong></p>

<p>On some, (many?) DSLR cameras, when BOTH ‘Mirror Lock Up’ & ‘Time Delayed Shutter’ functions are engaged, the ’10 second’ time delay does NOT function, but rather the time delay closer to 1.5seconds. In this case there might be wobble on the tripod from the shutter being released on the camera. And as you mention, there is the possibility of the Photographer holding on the the camera for too long - 1.5 seconds is quite a short time.</p>

<p>Also, 3^rd party remote releases <strong>quite inexpensive</strong> – only a few quid - they are really only a very simple switch - It is a DIY project if one is so inclined, I have made some.</p>

<p>Considering that the OP has already chosen to spend hundreds on a specialty lens and also hundreds on a quality Hand Held Flash & Light Meter, I'd think that for the ease using a Remote Release, it would not a financial burden to her to fork out a few quid more for the simplicity.</p>

<p>WW</p>

<p>Sorry another lighting question while in the process of trying to buy lighting today I spoke to customer service rep after explaining what I wanted to do he recommended this http://www.wexphotographic.com/buy-interfit-int119-exd200-home-studio-kit/p1015681?go=kits_bundles&mkwid=sljxu9dxf_dc&pcrid=71550725409&kword=interfit%20exd200%20home%20studio%20kit&match=e&plid=&gclid=cjjqwcgoisucfwvmtaodskmavg<br>

I would have to purchase another umbrella, what does anyone think as someone who has never used any kind of studio lighting I'm a bit dubious about strobes are they complicated to use, they can't be kept on continuously? I would have to trigger them with camera flash? I felt more comfortable with the idea of continuous lighting as it seems more straightforward turn them on then that's it but the results would not be a good.</p>

<p>Don't be intimidated by strobes--they really aren't that hard to use. Umbrellas are relatively cheap, here in the US decent ones start at around $25-30, and go up from there depending on size and features. AC flash units can stay on indefinitely especially if they are fan cooled, and triggering from the camera via radio transmitters/receivers on the flash units is simple and reliable, and no longer horribly expensive. You won't have to trigger them with your camera flash (a bad idea if you're not careful). If you have a friend with some experience with this, you can probably get set up once along with some detailed notes and photographs and then just happily take pictures of your art.</p>

<blockquote>

<p>I would have to purchase another umbrella, what does anyone think as someone who has never used any kind of studio lighting I'm a bit dubious about strobes are they complicated to use . . .</p>

</blockquote>

<p>As Andrew mentioned, buying an extra umbrella is not a big expense and as I mentioned not a big expense considering that you’ve already chosen to spend money on a specialist lens and light meter. </p>

<p>As you have chosen to use only indoor lighting, my opinion is that Studio Strobes will be far safer and less expensive to run and maintain and easier to use and, when used correctly will produce better quality results than mostly all of the continuous lighting options in the same price range and even those which are more expensive. </p>

<p>Whatever indoor/studio lighting that you choose, you will still have to learn to use it to the best advantage, to get the best results. Once you have chosen to use studio lighting, of any type, you are in control of that lighting. </p>

<p>***</p>

 

<blockquote>

<p>they can't be kept on continuously?</p>

</blockquote>

<p>True, but that’s the one of the advantages. The studio (and yours is small), remains cool, and there is no eye strain that is associated with the very bright quart lights at close proximity to the eyes. For example (as an unfortunate example) a colleague of mine who worked as a model several years ago, under hot lights in the studio, on sound stages and on the catwalk, has very serious eye problems now.</p>

<p>The strobes that you linked to each has a “Modelling Light” in each of the strobe’s head. That is a low wattage light which gives an indication of the ‘modelling’ that the flash illumination will provide. </p>

<p>***</p>

 

<blockquote>

<p>I would have to trigger them with camera flash?</p>

</blockquote>

<p>No, not necessarily. The model shown can be triggered by any of three methods:<br>

> optical slave (yes you could use your camera’s flash for that)<br>

> IR trigger<br>

> Sync cable </p>

<p>WW</p>