I had a wonderful time showing some of my work at Art Around Town in Chappaqua, New York. My paintings will be up at Noelle Marie Photography at 140 King Street until the end of June. There are more than 30 other artists of the Northern Westchester Artists’ Guild showing at merchants about the town.. Do stop by and see our work.
Have you ever finished a painting, loved it and couldn’t wait to photograph it to share on social media? But after you photographed it, it had shadows, glare and all sorts of blips and blobs highlighted that made it look awful and nothing like what it looked in life? Recently I finished a painting that was textured and had a number of layers of glazes that gave me that problem.
I want my photographs of my art to look like the painting, not better, not worse. If I were to sell a painting online or submit it to a show and the painting looked substantially different than the photograph, it might cause disappointment or even (horrors) the thought I was trying to put something over on them or hide a flaw.
There are a couple of quick fixes for photographing a textured painting that has a glaze on it or a varnish. The easiest is to take the painting outside and photograph it in natural light. Try to light your painting at an angle and visually adjust for glare.
OK, so you tried taking outside and playing with that angle and this angle and it still didn’t work. Then do the following:
Use two lights at a 45 degree angle to the painting and try some filters.
I paint using artificial light. Specifically, I use 2- 2200 K lights on stands with diffusing umbrellas, in studio with the walls painted white. Which gives me a nice soft daylight. The benefit of this, is as the sun rises and gets stronger or as it sets in the afternoon, my light doesn’t change, so I don’t change my pigments in intensity because they look different under different lights.
A good link talking about lighting, color and temperature, can be found here.
The next thing is to orient your light at 45 degree angles to the painting. But there is still a lot of light bouncing around. You then need to add polarizing filters on your light, or camera or both as done in this article on documenting art.
Take a moment to look at your setup as if you were the camera. Is there light bouncing off an area causing a highly visible glare? Play with your lights. I use a liner polarizing filter and manually adjust the focus on my camera. If you plan to use auto focus use a circular polarizing filter. I am not, at this point, using additional filters on my lights. A circular polarizing filter may bend the edges of your painting a bit.
This is the first time I’ve used a filter. The one on the left is filtered and on the right is unfiltered. I felt I lost a little of the line definition on the filtered. But I lost the glare and the tones show up better. But once again, a photograph never quite looks the same as the painting viewed by the eye. So I leave it up to you, to filter or not. My goal is to make the photograph look as much like the original painting as I can. I also manually focused as a linear polarizing filter works better that way.
You may be one of those people who buys a fancy camera with all sorts of bells and whistles fully intending to learn how to use each and every one, but after a brief time with it you find leaving it on auto and auto-focus suits you just fine. And you go to buy a filter for it and search for “polarizing filter for my brand of camera”. And you can’t find a single one, only packages with prices you can see might be a bit of a rip-off. Look on your lens, take off the lens cap and look at the area directly around your lens. Somewhere there will say what mm the lens is. My Cannon 60D is a 67 mm lens. So when I went and searched for 67 mm polarizing filter I found a much larger array of choices. I know, “duh”, why include this? I figure if I wasted time doing it, someone else might and I could save them some time.
Another alternative, is to scan your art. If it is just for your own records and the work is small you can probably use your in-home or in-office scanner. If it is a larger work, you plan to make and sell prints, you may wish to take it to a facility that has large format scanners and experience in scanning work of your type.
This is another larger one at 36 X 48 inches in size. I wanted to capture some of the aspects of nature without making it relative to size. At the bottom I have painted some pollen grains that I think have a wonderful abstract quality. This painting is bright, without being overwhelming. If you look carefully you’ll find a tiny homage to the first video game I played and also a pair of my tired eyes after painting the many very tiny details this painting holds.
A good number of my characters have a story in my head. In fact a whole life, a family, growing up, and occupation and a sense of ethics or not. None of this is told in the painting. You get to see, in a Kodak moment, a snippet in time from their imaginary life. One of these characters is Foxy. Here, in The Trickster in Love we see him as a young fox, in love with the idea of falling in love, tracking it down and planning it’s capture.
Instead, when Foxy finds true love, it overwhelms and transforms him. So I painted his wedding in the enchanted forest.
Dan bought me several books on art for Christmas. One subject really surprised me. Winston Churchill as a painter! At the end of a book detailing his work, was a wonderful poem by Rudyard Kipling. I must share it with you.
L’Envoi To “The Seven Seas”
When Earth’s last picture is painted and the tubes are twisted and dried,
When the oldest colours have faded, and the youngest critic has died,
We shall rest, and, faith, we shall need it — lie down for an aeon or two,
Till the Master of All Good Workmen shall put us to work anew.
And those that were good shall be happy; they shall sit in a golden chair;
They shall splash at a ten-league canvas with brushes of comets’ hair.
They shall find real saints to draw from — Magdalene, Peter, and Paul;
They shall work for an age at a sitting and never be tired at all!
And only The Master shall praise us, and only The Master shall blame;
And no one shall work for money, and no one shall work for fame,
But each for the joy of the working, and each, in his separate star,
Shall draw the Thing as he sees It for the God of Things as They are!