Photographing paintings

<p>Hello, </p>

<p>Hope this is the right area for this question.</p>

<p>I have a job lined up next month which involves photographing a dozen large paintings. they are at least 6ft in height and 3 to 4ft wide. <br>

An example - <img src="http://content7.clipmarks.com/clog_clip_cache/amplify.com/1656BF55-9B1D-4A7E-9645-B3FC5B05FCF3/62EA4BA7-5377-4293-B55D-E4F4E1D9995B" alt="" width="384" height="288" /></p>

<p>These paintings need reproduced to exhibition grade quality.<br>

I will be shooting with a Mamiya RB67 with a Phase One Digital back, I have access to a North Light studio ie. Daylight studio. I have extensive experience in the studio but haven't undergone a photoshoot which includes paintings of this scale before.<br>

Natural light seems like the most obvious choice for lighting, am I correct in thinking this?<br>

I was hoping if anyone has reproduced on this scale before they would be able to provide some useful advice or tips. </p>

<p>Many Thanks as always<br>

Andy</p>

<p>Natural light will be fine, if it is uniform, to a tenth of a stop. A specialist who works for an art museum uses hot lights (easier to get even) and measures all over larger paintings with an incident meter. Include a color calibration card (such as the GretagMacbeth Color Checker) and a gray card in the frame or in another lit the same way.</p>

<p>I doubt natural light will be even or consistent enough. Depending on the type of strobes/ reflectors you have, you might consider two or three heads on each side and measure all around for evenness. Throw some diffusion over the reflectors if you have trouble getting them even. Hot lights would work but the heat generated is not good for the art or the photographer. Depending on what lens you use (use the longest one you can) you may see some fall off from the optics. Get yourself a 4x8' sheet of white foamcore and use Robin Myers' Equalight program to eliminate that problem.<br /> <a href="http://www.rmimaging.com/equalight.html">http://www.rmimaging.com/equalight.html</a><br /><br /></p>

<p>I did just this sort of job for my kid's artwork this weekend. Traditional copy light is two lights, one on either side of the camera. White umbrellas work like a charm</p>

<p>Each is about 45-degrees from the camera-subject axis and the camera must be exactly on axis to avoid distortion or keystoning. For images as large as you're duping I'd say two umbrellas on each side one directly above the other so each pair acts like one large light source.</p>

<p>http://www.plantpath.cornell.edu/photolab/knowledgebase/StudioLighting/CopyLighting.htm</p>

<p>Henry Posner<br /><strong>B&H Photo-Video</strong></p>

<p>Thanks everyone for the input.</p>

<p>I have access to 3 possibly 4 large 3m x 3m softboxes two of which are on boom style arms. I think after reading your responses that these will be my best approach<br>

thanks as always<br>

Andy</p>

<p>I have a similar question to this one. Our art teacher has asked me to photograph a painting (slightly larger than an 8x10) so that he can have it reproduced. I have a 5D and my current lenses are a 17-40 F4, 50mm 1.8 and 70-200 f4.</p>

<p>I was thinking the 50mm would have the least distortion, and that a flash would produce the best light. I dont have access to more than 1 speedlight.</p>

<p>Don't forget your tripod and a level - to ensure the painting is square to the camera.</p>