Museum Art

I got this job photographing art at a museum. Some of the art pieces are framed and cannot be taken out of the glass frame. They bought 2 of the Adorama Monolight Budget Flash 100 Watt. I have never used sync flash before. So my question is this ... What would be the best way to photograph glass framed photos and art?

The basic setup would be setting your two lights at a 45 degree angle (or shallower) in order to avoid reflections off the glass. You may still get glare/specular highlights on the frames, or even the texture of the painting. It can be tricky at times.

Check out the book Light Science & Magic - they cover this specific topic very well and offer solutions for when you can't set up the basic shot, like when there is a wall close to your hanging artwork and you don't have room to set up your light.

Shooting artwork(paintings)

PhotosGuy wrote in post #16072693
Shooting artwork(paintings)

Thank you so much.

MJEXP wrote in post #16072719
Thank you so much.

Let me add to my post in that thread.

Glass, especially if there is glossy texture of any kind behind it, means you will have to use polarizing filters on the lights and on the lens. It critical that you get the gel on the light in the same orientation. I have mine in frames that are marked to ensure they are both oriented properly when put on the lights.

Also, shoot a color checker once you have the light within 1/3 or less a tenth is ideal at all four corners and the center of the piece. Best way to get even lighting is to move the lights farther back so the center half of the cone is covering the entire piece.

I'd try to get the lights a little more oblique than 45* just to minimize hot spots on the frames. Or at least get the hot spot along the outer edge of the frame.

If the art is matted inside the frame then move in and eliminate the frame. The objective is to document the art not the frame.

Given your equipment list, I expect that you will be using the 7D and 24-70. The 50 is another option but means moving the camera for every piece to get it as large as possible in the frame.

The 100Ws lights are going to be a limitation. To get down to F8, especially with a polarizing filter, which is almost a necessity as you describe the situation, you are going to have to use a fairly high ISO. That's a compromise.

dmward wrote in post #16072869
Let me add to my post in that thread.

Glass, especially if there is glossy texture of any kind behind it, means you will have to use polarizing filters on the lights and on the lens. It critical that you get the gel on the light in the same orientation. I have mine in frames that are marked to ensure they are both oriented properly when put on the lights.

Also, shoot a color checker once you have the light within 1/3 or less a tenth is ideal at all four corners and the center of the piece. Best way to get even lighting is to move the lights farther back so the center half of the cone is covering the entire piece.

I'd try to get the lights a little more oblique than 45* just to minimize hot spots on the frames. Or at least get the hot spot along the outer edge of the frame.

If the art is matted inside the frame then move in and eliminate the frame. The objective is to document the art not the frame.

Given your equipment list, I expect that you will be using the 7D and 24-70. The 50 is another option but means moving the camera for every piece to get it as large as possible in the frame.

The 100Ws lights are going to be a limitation. To get down to F8, especially with a polarizing filter, which is almost a necessity as you describe the situation, you are going to have to use a fairly high ISO. That's a compromise.

Thank you so much for your info, it is greatly appreciated.