If you have a covered porch out of direct sunlight, that might provide enough light.85Kocher wrote: Thanks. It be harder then I thought, especially without using flash. I guess that is where the tripod comes in handy.
Baydream wrote:
If you have a covered porch out of direct sunlight, that might provide enough light.85Kocher wrote: Thanks. It be harder then I thought, especially without using flash. I guess that is where the tripod comes in handy.
michelle m wrote: I'm not a total expert or anything, but I have learned that anytime you want to photograph anything under or through glass, you need to do so from an angle. Light follows straight lines and if you're directly in front of the glass you'll get the flash back in your photo. Think of a pool ball banking off the side of the pool table. If you're at a slight angle the light will bounce away from you and you won't get the glare.
Hope that helps.
Baydream wrote: The "bad" part of photographing artwork from an angle is the distortion. I have photographed some of my wife's hand hooked rugs and if I don't get then dead on the perspective kills them. Same with my paintings.
Yasko wrote: I've photographed a few paintings under glass before. The trick is to have two diffused lightsources from either side (never frontal, and windows with natural light work well), and your camera mounted on a tripod with a large black backdrop behind it. Cameras and tripods are usually black, but just in case drape a black cloth over the setup as well. Shoot the painting straight on, preferably with a light to medium telephoto or macro lens to minimize distortion. Use the timer or cabled release to stay away from the tripod so yourself doesn't show as a reflection on the glass.
Paintings without glass are much easier. You can shoot those just fine on an overcast day, or in the shade of a house.
Baydream is right, it's very easy to get a skewed perspective of the painting. Make sure you're lined up as evenly as possible, and use around f8.0 for maximum sharpness and good depth of field.
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