Time to be with your loved ones

Time to be with loved ones

by sat

submit your photo


Hall of Fame
View past winners from this year

Please participate in Meta
and help us grow.

Tag Info

Hot answers tagged

25

There is a good book which indeed does talk about photographing a canvas. It is the first book I would recommend someone who wants to learn about lighting. It is called Light: Science and Magic. (At this point: Anyone wants to have the previous edition of it? I think I'll get the new one. ;) ) The thing about the canvas is (I guess you have noticed so far ...


14

This particular logo is easy, because: It's only three colors It's relatively simple vector art there's a simple outline around the shapes The goal is reconstruction, not preservation of a masterpiece That means you don't need to light it very well and you don't need to worry too much about noise. Take a photograph straight down, and notice any sources ...


6

You camera isn't holding you back. I would think that slide film would be even harder for you to use since the time it takes to get feedback on your results will be measured, mostly likely, in days, not seconds. I've photographed my gallery owner's (Katherine Baltivik) works for her to have printed so quality was of utmost importance. Here's what one looked ...


3

From my experience, accurate colour reproduction comes from getting it right in camera first. This is how I would approach the scenario: Set the camera up properly - Use a lense that minimises vignetting and other unwanted distortions. Make sure it's of a focal length that means you're not of a distance that is uncomfortably close to the canvas. Shooting ...


3

Given your update, I would offer that color with digital photography is as much a problem of mathematics as it is getting proper illumination and white balance when actually making the photograph. Your camera senses light, separates that light into discrete collections filtered into certain ranges of wavelength (reds, greens, and blues). Depending on the ...


3

While @Paul Cezanne has pretty much covered what you need to do, I'll add a few notes: Photographing the paintings outdoors has its own challenges: Movement due to breeze, and harsh shadows of brush-strokes, which will show up under close examination and create a false pattern. If you must, you can partly address both these concerns by fashioning a "soft ...


3

Well, first off, unless your willing to get the new Nikon D800 (which has a 36.3mp sensor...and is supposed to list around $3000), its unlikely you'll find a cheap camera that is fully capable of reproducing at 300dpi (I assume you mean in final print here...its tough to correlate scanner DPI to digital photo resolution), let alone at the quality you could ...


2

I shoot artwork regularly with my Nikon D300, i use a Nikon 50mm 1.4f on arounf 10f, 2x studio flashes, a tripod, and a colour chart. mount the artwork directly in front of the camera, 90 degrees in all directions. always shoot raw, and use a circular polarising filter. IF the artwork is oil, you may need to experiment with flash/ light positioning to ...


2

A flexible tripod with a level from a good brand A platform with two/three steps for shooting the artwork from an appropriate level (you may need, sometime) Consult the curator whether they will allow you to use a flash or not. Because in some art studios, it's strictly forbidden to use flash during taking a photo. If they allow using flash, get a ETTL ...


2

Here's the problem with photographing paintings: Cameras are RGB devices that don't see the way humans see. So there is going to be problems matching colors in a painting, because a camera that's profiled using a target like a color checker, is most accurate on those pigments and colors...in the color checker. There is a scientific phenomenon called the ...


1

To get a good photo to work with you would want: A long focal length (i.e. taken as far up as possible, not a wide angle closeup). As close as possible from right above. As even lighting as possible. Normally a good light source (i.e. not fluorescent light) is needed to get a full range of colour, but in this case it's not so important as the logo only ...


1

You basically have two options: (hint: I think option 2 is far superior, but not nearly as fun) Option 1 - technically difficult, time consuming and requires equipment and some expertise The camera must be parallel to the floor, above the center of the logo, you will need a fancy tripod that can hold the camera steady pointing strait down without it seeing ...


1

Your camera is fine. Slide film will do fine as it kick out more dynamics for you. Use a low ISO (50-100). If you don't have good lighting go to a ISO 200. Higher ISO than that will start to give you noticeable grains. The biggest "enemy" so-to-speak photographing oil/acrylic paintings, is reflection. I recommend you therefor to use a polarize filter on ...


1

Since this is a homework question I prefer not to give a direct answer (especially as there is a near duplicate), but as I read it, the task set is "what is the best way that you can think of to do this". It is not "what is the bare minimum/cheapest way to do this" On that basis, these are some questions you may want to ask yourself about the answer ...



Only top voted, non community-wiki answers of a minimum length are eligible