Photographing Artwork

Not all “flat” artwork can be scanned. Some pieces are too big for even 11 x 17-inch scanners. Others cannot be removed from their frames. Therefore, there is still a place for cameras.

Photographing flat artwork is a straightforward process, but it is not always easy or inexpensive. It requires precise setup, exacting technique, and special equipment and materials.

I. Setup

There are three requirements:

(a) The axis of the camera lens must be perpendicular to the center of the artwork, so that the center of the film plane is perpendicular to the center of the artwork. Deviations from this geometry will result in distortions of the image. Using a copy stand is the only sure way of achieving the required geometry.

(b) The lighting must be even across the artwork, and the color temperature of the lights must be matched to the film. Ordinarily, this requires at least two lights. A good starting point is to position the two lights at 45 degrees to the artwork. If tungsten lamps are employed, the camera must be equipped with a color conversion filter or loaded with tungsten balanced film.

(c) Reflections must be eliminated. If artwork is photographed in a glazed frame, polarizing screens must be placed over the lights and a polarizing filter must be placed over the camera’s lens. Quite often, the taking setup must be surrounded by flat black screens and the equipment must be draped in black cloth.

II. Technique

Please consult one of Kodak’s fine books on copying. Meanwhile, here are a few key pointers:

(a) Use a tripod. If your light meter indicates that need to make an exposure less than 1/30^th of a second, use a cable release as well.

(b) Centering the artwork. Use bright lights and a focusing screen with a grid. A copy board with a grid is useful.

(c) Determining exposure. For best results, use a light meter. While you can use in-camera light meters, these will average the entire scene viewed by the camera. For more accuracy in determining your exposure, use a hand held light meter. If the artwork is either very light or very dark, take an “average” reading using a gray card positioned in front of the artwork (illuminated by the same lighting as your setup). Use a gray card and run tests with color transparency film. Always lay a grayscale along one edge: it provides black and white points for scanning. If you use polarizers over the lights and lens, you may need a handheld meter. Record your results in a notebook for future reference.

(d) Bracket exposures. Film is cheap compared to a reshoot session.

(e) Turn off all room lights and draw all curtains and shades. Consider working at night when on location.

III. Equipment

(a) Cameras and lenses.

(b) Filters. A polarizing filter for the lens is a must. An 80a light conversion filter is necessary for matching 3200°k tungsten light to daylight balanced film. An 81a or 81b filter may be needed to warm the light from some electronic flash units. Large polarizing screens for the lights can be purchased from photo speciality stores, although it’s less expensive to build them yourself.

(c) Copy stands. Dedicated units are available, usually at a premium price. Many enlarger stands can be used as copy stands. Large artwork may require specially constructed equipment. Many artists use a tripod and mount the work on the wall. .

(d) Black screens. Use black photo paper, available at most photo speciality stores. Frames can be purchased or constructed from readily available materials. Black or gray velvet is also a good choice for “framing” flat artwork or setting off certain kinds of 3D work (jewelry, ceramics, etc.).

(e) Lights. Studio electronic flash is the best choice. It’s balanced for daylight film. Make sure your units have modeling lights. 3200°k tungsten lights can be used (this is the cheaper way to go), but they do generate tremendous heat and can damage plastic polarizing screens. Do not use blue coated floodlights with daylight films unless you use a light balancing filter: they’re balanced for 4800°k, not the required 5500°k. Daylight can be used, but it’s harsh and difficult to control. Never use fluorescent lights, even with filters.

IV. Films

(a) Contrast should be medium or low. High contrast films will be difficult to scan, and may produce empty shadows and blown highlights.

(b) Color reproduction. Choose fine-grained films designed for accurate color reproduction. Avoid films with boosted color saturation. The best choices are medium speed (iso 100–200) professional films designed for portraiture and for commercial photography. Kodak, Fuji, and Agfa make excellent medium speed negative films for portraiture. Kodak also makes excellent general purpose negative films for commercial photography.

(c) Negatives or slides. Negative films have greater exposure latitude and are less expensive. They are, however, more difficult to scan because of the orangish built-in printing mask (icc color profiles are required for consistent results). Slide films require more precise exposure and cost more, but are much easier to scan.

(d) Color balance. Daylight balanced films are the best choice for electronic flash. Tungsten balanced slide films can be used with 3200°k floodlights to eliminate the need for an 80a filter. A good starting point is Kodak T64 or Fujichrome 64T (the T is for Tungsten). Other speeds are available (50 – 320 ASA). Daylight films are finer-grained and sharper than tungsten films of the same speed.