Artwork Photography for Print
Following an enquiry from local artist Alison McIlkenny, I recently completed an artwork photography project. Quite different from my usual work and from most of the work that you will find in my portfolio. I was asked to photograph a number of paintings for reproduction in print, for commercial sale.
Artwork reproduction photography was quite a new proposition for me, but I was able to draw upon previous experience of product photography and from photography training exercises. The client had specified that high resolution images would be required and I was satisfied that my camera equipment was up to the task. If not I could hire a few more megapixels!
I also knew that there would be other important factors to doing the job well. Perspective, colour and lighting.
This was a matter of ensuring that the camera sensor was in the same plane as the painting and was easy to achieve with a few measurements to help position the camera relative to the painting. As I was shooting tethered to my computer a fine gridded screen was also of great assistance, particularly when it came to setting the camera at the correct angle vertically. The painting was on an easel, therefore angled and the camera had to be at the same angle.
Correct Colour for Artwork Photography
When it comes to correct colour I don’t leave things to judgment or chance! There are tools available to photographers to ensure correct colour. The one I use is called Colorchecker Passport by a company called X-Rite. It consists of a little grid of very specific colours and a neutral grey card, all built into a pocket sized hard plastic wallet. Along with the software supplied, the Colourchecker Passport ensures that the correct colour will be produced in a digital file specific to the camera, lens and lighting situation. A photograph is taken of the coloured grid, and the grey card and these are used in the editing program to produce a colour profile which is then copied across all of the actual images of the paintings.
Lighting the Paintings
The main consideration in lighting the paintings was that the light was diffused and of the same intensity across the painting. I used two shoot through umbrellas, one each side and at the same height as the painting. The distance and angle had to be the same each side, so out came the measuring tape again. Shoot through umbrellas can produce a central hot spot of light as the light source is directed straight through the umbrella. To avoid this causing problems each light was aimed off to the side of the painting so it was only the diffused light from the side of each umbrella that was effectively being used. Consistent light meter readings left, right, top, bottom and centre confirmed that the light was indeed consistent across the paintings.
With the setup now completed it was time for a couple of test shots. The colour profile was applied to these and a few very minor toning adjustments made. Toning adjustments are always required with the file format used in professional photography, but in this case I didn’t want to stray from the light, shade, saturation or vibrance of the original. I sent these test files off to Alison who in turn sent them to the publishing company. A couple of hours later and a response from the publisher, “These look great. Good size and crisp images! Please proceed with the others. Thanks”.
So that was great. I got all the paintings photographed. Each different size of painting required a different camera position so the perspective had to be adjusted each time, but apart from that, there wasn’t much further variation. I was able to supply the files to Alison both in the native camera image size and scaled to match the actual size of the painting. I am looking forward to seeing them in major home interior chains across the country soon.
If you are an artist or gallery owner and need some paintings photographed for print, please get in touch to discuss your requirements.