|
|
|
 |
|
|
|
Photographing Artwork for Reproduction
|
|
| |
by Brian Miller
Dartmouth University
Hanover, New Hampshire
|
|
| |
Introduction
The act of competently documenting an artwork is often unnecessarily shrouded in mystery. Often, artists shoot slides of their own work only to be disappointed when they see the results. Sometimes the images are too light, sometimes too dark. Sometimes the colors are so far off that the artist has no idea what went wrong. While the process does require a methodical approach, it is actually quite simple and excellent quality slides may be made with a minimal investment in equipment. For the sake of versatility, I will outline two ways to photograph two-dimensional artwork. The first method will use daylight and require very little investment in equipment. The second will be more advanced and will require tungsten studio lights. As a preliminary, however, I will try to demystify the equipment and materials to make it clear that one need not be a professional photographer in order to produce excellent slides.
Equipment
Cameras
Shooting slides is not complicated. In fact, most cameras are adequate. For best results, use a camera with a fixed focal length close-up lens. A zoom lens does not work very well because it is nowhere near as sharp as a close-up lens and cannot focus on smaller objects. In addition, a close-up lens has a flatter field of focus, meaning that the corners will not as readily fall out of focus. A Nikon FM is an inexpensive, high-quality camera that provides years of service. It can be purchased with a 55mm close-up lens for under $400, sometimes even under $300. A number of sites on the Internet are excellent for buying used cameras. A newer alternative is the Nikon FM2, but the differences between an FM and an FM2 are minor. In addition, a tripod will be needed; almost any tripod that fits a 35mm camera will do (but for years of dependable service go with a Bogen or a Gitzo).
Lenses
The ideal lens for photographing artwork is a 55mm macro lens. The term "macro" means that the lens is capable of close focusing. Regular lenses generally will not make a decent image of a smaller artwork because you simply cannot get close enough. With a macro lens, the aperture controls light intensity. Opening the aperture allows more light in; closing the aperture lets less light in. Macro lenses cost a little extra, but used ones are easy to find.
Lighting
The term "tungsten light" in photography refers to a specific type of light; only these lights must be used. Ordinary household lamps will not work. Lowel Totalights are very good and inexpensive. Read all directions before using them.
Film
Slide film comes in either daylight or tungsten balance. This means it is sensitized to accurately reproduce colors in either blue light (daylight) or red light (tungsten). Make sure you use tungsten-balanced film. All films have a distinctive color palette -- I prefer Fujichrome 64T for its saturated colors and its consistency -- and a film speed or ISO value. The ISO number refers to how sensitive the film is to light: the lower the number, the less sensitive the film. In addition, the slower the film speed the better it is for shooting slides. Slower film has better color fidelity and less grain. All of these are desirable in slides -- so get the slowest film you can.
Method One: Daylight
You will need:
- A camera and a tripod
- Slide film; Fujichrome is best
- A large bright white sheet of foam core, larger than the largest work to be photographed
- A grey card (18% reflectance) is also useful and can be purchased from any camera shop for a few dollars.
Setup
Daylight is blue in color and not entirely consistent. This method is fast and easy but will not provide accurate color reproduction.
It is easiest to start with the largest work first. Once the light and exposure are correct for the largest, it will be correct for all the others. Take the work outside and place it horizontally on an easel out of direct sunlight. The easel should be set low to the ground. It is not necessary to go into the shade. Use the sheet foam core to reflect light back onto the image (from beneath it, but between the camera and the work). This will provide even illumination after some adjustment and shifting of the foam core.
Now go to "Photographing Your Work."
Method Two: Tungsten Lights
You will need:
- A camera and a tripod
- Slide film; Fujichrome is best
- Two tungsten lights on light stands
- A grey card (18% reflectance) is also useful and can be purchased from any camera shop for a few dollars.
Setup
Choose a wall on which to hang your work. Roughly measure out an area that is larger than the largest work to be photographed. Set up lights on light stands and illuminate this entire area. Adjust lights until you get very even illumination. A good starting point is to set the height of the lights at the same height as the camera and arrange them so that they cast their light at a 45-degree angle. Once the illumination looks even, take a pencil and touch the point to the center of the wall under full illumination. There should be a shadow on both sides of the pencil. Take a look at the density of the shadows -- they should be exactly the same. If one is lighter than the other there is too much light on that side. Adjust the lights until the shadows are exactly the same density; do not worry if the lights are no longer symmetrical. Once the shadows are the same the illumination is perfectly even. Hang the largest work to be photographed horizontally, even if it is a vertical image.
Photographing Your Work
Next, lay the grey card against the image. Bring the camera close enough to fill the frame with grey but do not focus. Take a meter reading with your camera and set the exposure. This will be your exposure for all the slides shot in this session. You will not need to take another meter reading unless you move the lights. Since you set up the lights for the biggest piece, all smaller works will fit perfectly in this field of light. Now remove the grey card and set the camera up on a tripod. Compose so that the image fills up at least 80 percent of the frame. Make sure you are pointing directly at the center of the image so that right angles on the image will still be right angles on the slide. Be patient and adjust the composition until everything looks square in the camera's viewfinder.
Now, make the exposure. If you are not confident with your exposure you may want to bracket. This is done by making a correct exposure according to the camera and then
making two more exposures, one half-stop above and one half-stop below. If you do bracket, try to notice which exposures tend to be best so that you do not need to bracket in the future.
Then, go on to the next image. Always progress from the largest to the smallest image -- this way the camera adjustments are minimized and it will not be necessary to adjust the lighting. In addition, the exposure will remain constant.
Brian Miller teaches studio art at Dartmouth University.
|
|
|
|
|
|
Course Home Pages