While at first, copywork involving flat materials like paintings and three-dimensional subjects like sculpture would seem to be quite different, the basics are in fact, similar. The key to easy, predictable results is establishing a basic setup and modifying it as necessary to suit particular requirements. As we discuss this procedure keep in mind that equal lights at equal distances provide equal light, lights at different distances provide different intensities. We can control these differences quite easily and then simply observe the results to adjust or correct as necessary.
Camera/Subject Setup
The procedure for aligning the camera is as follows:
1) Level the camera from front to back with a level placed in the hot shoe or by other suitable means.
2) Find the center of the picture by measuring the top to bottom and side to side distances and locate the center.
3) Measure the distance from the floor to the vertical center of the subject (how high is the centerline?)
4) Adjust the center of the camera lens to the same height as the center of the picture. Check the front to back level again (see step 1)
5) See that the camera is parallel to the subject. In other words, is the film aligned with the subject? You can check this in the viewfinder by checking the top, bottom and sides of the subject to see if they are aligned with the camera's frame. The distances on opposite sides should be equal for proper centering. If the camera is not squared onto the picture, you may get converging angles:
Note: There may be some distortion of the image near the edge of the frame as a result of the distortion in the viewfinder optics. Do the best you can, as centering is more important than the view. The image should be OK in the final picture.
6) Level the camera side to side to line up the horizontal sides in the frame. If you leveled the subject, then leveling the camera should be sufficient, but check it again anyway.
As a result of this, the image in the viewfinder should be squared up in the finder, with edges parallel to the sides. If one side or the other is too close or far, then readjust the camera's position to compensate. It may take a few tries, but it becomes easy after some practice. Obviously, you will need a good tripod to aid in the above procedure.
The lights at the 'O' on either side should be at equal distances from the subject and at a 45-degree angle to the centerline. This will provide even lighting. By placing the lights at about six to ten feet, any small differences in placement will be reduced. We now have a camera squared and level with our subject evenly lit.
Exposure determination
Exposure Determination
There are several methods to determining exposure. The meter in the camera can be used, but not directly. In-camera meters rely on the subject's reflectivity. However, the meter is set to make everything in the scene 18% gray on the film. That is if a black subject and a white subject were photographed on two different frames and the camera's meter recommendations followed, both would be the same densities, approximately. Since the two subjects are not the same brightness, they should be rendered differently.
So that the camera can give us the proper exposure, we must show it a 'gray card', which gives the meter a standard from which to work. By setting the meter using this method, we can show whites as white, blacks as black and middle gray tones properly. For this part of the discussion, we are primarily concerned with a black and white rendering, though this method works with color as well.
The preferred method is to use an incident reading light meter. Any meter can be used for this, but some are specifically designed for this task. A meter of this type is the Sekonic Studio Deluxe. This meter uses a 'ping-pong ball' receptor so the light falling on it is registered. The cell never 'sees' the subject, but only the amount of light falling on it. Therefore, the reading is independent of the reflectivity (whiteness or blackness) of the subject. Properly used, this type of meter will provide accurate and consistent readings.
A standard hand held meter can be used for this purpose with a gray card as in the camera meter method below.
To properly meter with any of these methods, place a gray card (or the receptor on an incident meter) at the subject (facing the camera). This way the card receives the same light as the subject. Take a meter reading and set the camera accordingly.
Sculpture and 3D setup
Sculpture and 3-D setups
The basic setup for photographing sculpture and 3-D subjects is very similar to that above. However, due to the nature of these items, we must use shadows to define shapes or provide definition as necessary.
We can do this by changing the amount of light on one side of the subject. Moving one light back from the subject darkens the subject on that side. Remember light dims as it gets farther away. This technique is effective in bowl shaped subjects to provide modeling and depth.
The greater the difference in the distance of the two lights, the deeper the shadows will be. So, by controlling the distance, we control the shadows and thus the final result. Due to the wide variety of subjects that may be photographed, it is impossible to provide specifics for each, but by starting with the basic setup above, you can begin from a known point and make adjustments to suit the subject.
Lights and light quality
Lights and Light Quality
By controlling the nature of the light, we can vary the intensity and sharpness of the shadows. This can have a dramatic effect on our results. The smaller the size of the light source, the sharper are the shadows and the large the light source, the softer the light. To understand this, think of the shadows on a sunny versus a cloudy day. Shadows on a sunny day have sharply defined edges and are very deep. While on a cloudy day, there may be virtually no shadows since the light comes from a large area of the sky.
The quality of light can be used to emphasize the harshness or softness of a 3-D subject for impact or artistic purposes. Fortunately, this is all easily controlled. Using lights directly results in harsh shadows. To soften the shadows, use a white reflector. Foam core works well, is inexpensive and readily available. Do not overlook the use of a colored reflector to achieve special effects as desired. The larger the source in relation to the distance to the subject, the softer the shadows will be. A sheet or other reflector may also be used. It is also possible to use filters over the lights to achieve special highlight effects.
Lights and Film
Lights and Film
Now a word about light and films: Light around us is of many different colors. Sunlight differs from that in a room. Even fluorescent lights come in cool white (blue) and warm white (pink). Our eyes adjust to these differences but films cannot.
Films are designed to work with specific colors of light to give proper subject colors in the photograph. If you use film designed for blue (day) light under fluorescent bulbs, subjects will be green. If used under standard light bulbs, the results will be too red or yellow. So, you must match the lights to the film or vice versa. The chart on the last page will allow you to mix and match light sources and films to achieve desired results.
Films are generally put into two categories: Daylight or tungsten. We refer to films balanced for blue light as 'daylight films'. Daylight is nominally a 5500-degree source. In 35mm, tungsten films are usually called 'Type B' films for use with 3200-degree bulbs. The 'degrees' simply refers to the color of light produced by a light source heated to 3200 or 3400 degrees. A source at this temperature gives off a known color of light and the films 'likes' to see this color for proper results.
Using filters, we can use most films with incompatible lights and achieve acceptable results. In fact, with color print films this may be the only way we can use them with lights as most negative (print) films are designed for use with daylight exclusively.
Another thing to bear in mind is that color is subjective. No two people see the same color the same way. Color shifts occur due to the film being out of spec, color filters being slightly off, low or high line voltages causing lights to burn cooler or hotter etc. So, exact color matches are virtually impossible to achieve. Fortunately, these errors are usually small and may actually offset each other. Having done everything possible to minimize these differences, one does the best one can.
It is important to realize that some paints, dyes and clay colorants react in unusual ways when bathed in intense light. Some blues, for example, may change hue or become intense due to taking in light and re-emitting light of a completely different color.
It is possible, using color standards, to bring the final results close to perfection when necessary. By photographing a gray card, a known standard, results can be checked for accuracy. Kodak and several others produce color-checking charts which can be used for reproduction purposes when necessary. Simply photographing these on a roll will permit very precise corrections to be made or results to be checked for accuracy.
A word about Polarizers
A Word about Polarizers
Nearly all surfaces reflect light. It is necessary to control reflections from these surfaces so colors appear saturated or reflections from glass covering a painting can be reduced or eliminated.
First a few facts about light and reflections:
Nearly every surface that reflects light polarizes that light as it is reflected. This means that the light is vibrating in only one plane or direction. If we use a polarizer which is not oriented in the same plane, the reflected light can't get through and so cannot be seen.
Visualize the beam of light as seen end on as a (+) sign. Light vibrates horizontally and vertically. If we strip off (polarize) the vertical portion, we have a beam which looks like this (-). Now, if we line up a polarizer with its plane vertically ( | ), the horizontal beam can't pass so the reflections aren't seen. Other unpolarized light still passes, though it may be reduced in intensity.
The degree of polarization depends on several factors, but very strongly on the angle of the beam from the reflection surface. Rays at an angle very close to the surface (sharp angle) are more strongly polarized than those beamed nearly straight back. This means that using our setup above and placing a polarizer on the camera, which is head on to the glass on the painting we will get very little benefit from it. But, if we place polarizers over the lights and a polarizing filter over the camera lens, we can usually simply dial out the reflection or most of the anyway. As a practical matter, it may not be possible to eliminate all the reflections, but any that remain will be greatly diminished.
The use of a polarizer on lights or camera will require some exposure increase since the filter(s) reduce the light. In some cases, it can be quite severe, but using the method below for color filter compensation, it is possible to make the light reading adjustment just as easily. Remember that when you have filters over the light, that reduction is automatically taken into account since it affects all the light falling on the subject. The only adjustment necessary is for the filters on the camera.
Polarizing material is available in sheets for placement over any type of lights you may have. It is not inexpensive, but it may be a necessity in certain circumstances. This may be an item best shared within a group. The material is like any plastic, somewhat fragile, but with reasonable care it can last a long time.
If you wish to see the actual effect of using a polarizer, most any camera store should be able to demonstrate this quite easily. Polarizers come in two types: Linear and circular. The circular polarizer is significantly more expensive due to its construction, and is generally used only with autofocus cameras since the autofocus mechanism actually polarizes the light in its operation. A standard polarizer would interfere with the autofocus mechanism, and a circular polarizer is a necessity.
Linear polarizers are available for about $15 to $20. Circular polarizers start at about $25 and rise dramatically as the size increases. The higher cost is justified, as they are more difficult to make.
An actual Setup
An Actual Setup
Adjust the camera for the proper exposure and take the picture. That's all there is to it!
Remember to consider any filters used in determining the exposure. See below for an easy way to do this if you are using a hand held light meter.
When the lights are properly placed and everything is in order, determine the exposure.
Place camera and tripod and adjust the polarizers (if used) as necessary.
Get stands and reflectors placed to properly illuminate the subject.
Select the proper lights and filter for the film chosen (see charts).
Determine what your final result will be: Slides or prints and choose a film to match.
Here are the steps to follow in actually making photographs:
See the equipment list for low, medium and high cost alternatives for each item listed above.
A Few Useful Tips
To determine the exposure adjustment required with a handheld light meter, proceed as follows: Set the proper film speed on the meter dial. Meter normally as your meter requires, but put the filter over the cell. The exposure registered will automatically be adjusted for the filter light reduction. Set this adjusted exposure on the camera.
When shooting, particularly with slides, use a bracketed exposure. This means shooting one exposure with the meter reading as given, close your lens down one stop (move to a higher number), open it one stop (move to a lower number). That way, particularly with slide film, you will be more likely to have at least one usable exposure. Slide film is more critical in its exposure requirements. Eventually, you may be able to reduce the amount of bracketing. Some cameras and methods will provide consistently better results with over or under exposure.
Pick a reasonable shutter speed and stick with it! After setting your lights pick a shutter speed which gives you a middle lens opening (5.6 or 8). This provides some room for adjustment if necessary without changing the shutter speed. Varying the shutter speed does not necessarily change the amount of light reaching the film in exact steps. Shutter speeds change and may not even be consistent. Change only the lens opening as this is more likely to provide a consistent change in exposure.
Equipment List
While this list is pretty complete, your specific situation may require more or less of an item, (2 vs. 3 lights). But it represents a good starting point in building an outfit that should meet most needs and leave few surprises. Please note that while some specific recommendations are made with regard to brands etc. these are not necessarily gospel. There is a wide variety of equipment that is similar in nature and will suffice. A lot of this equipment is available used at good prices. It may be possible to share the expenses with a friend or borrow items for a short time to complete a project.
'A' represents a low cost, 'B' a medium and 'C' a higher cost alternative. Where necessary an explanation of reasons for and against a given chose is provided.
Camera: Any single lens reflex type, as the image in the viewfinder is, for practical purposes, exactly as it will appear on the film.
A: Pentax K1000, all manual, built in meter, widely available.
B: Minolta X-370,(X-9A), manual and auto shutter speeds (convenient). Do not use the auto setting for copying artwork.
C: Minolta X-700 or Nikon 6000, Canon Rebel or Elan. As this update is being written (4/99), this category can include many of the new autofocus single lens reflex cameras which feature built-in winders, a variety of exposure modes and a host of features to make your job much easier and more productive. Generally, autofocus cameras should be used in the manual focus mode as the AF mode may not provide critical focus.
Lens:
A: The normal lens can be used for most items, that's a relief! The lens should be in the range of 50mm or so. Do not use wide-angle lenses or telephotos unless a special effect is desired, as they have a tendency to distort the subject. Some short zooms (28 or 35 to 80mm) can be used, but test them first. There are several good quality short zooms that permit working at the same distance and zooming to adjust framing. This saves a great deal of messing about adjusting camera position etc.
B: For close-ups or small subjects, it may be necessary to use close-up lenses on the normal lens. This is a relatively inexpensive way provide additional capabilities.
C: Macro lens. This lens is specifically designed to be used at close distances, but may also serve as a normal lens. Those in the 50mm to 60 mm range work well and may be the only lens necessary for work of this type. They are roughly $200 and up. If you are considering this as a purchase, Sigma makes one that will permit working to life size (1:1) and is in the $200 to $300 range, in mounts to fit most cameras.
Tripod:
There is not much choice here. Either you have a good one or you don't. Those of lightweight aluminum are more trouble than they are worth. If a tripod is too light, it moves or won't lock properly.
Bogen makes several good ones, or you may find a used Tiltall or similar. Unfortunately, a decent tripod and head run about $125+ new. However, it is probably the only one you'll have to buy. A poor tripod can be very expensive in terms of frustration.
Light Stands:
A: A chair (with clamp lamps from the hardware store). Cheap, quick and dirty, but not particularly adjustable.
B: Lightweight stands of aluminum. Fairly practical, but not for use with larger or heavier reflectors, those above 10" in diameter.
C: 'Heavy duty' pro-type stands. These come from a number of sources and will hold nearly light securely. Bogen makes a very good one at about $60. Several companies make similar stands at lower prices. For most situations either will suffice. The Bogen stand will last longer or take more abuse, take your pick. The other stands run from $30 to $40.
Lights:
Flash is not recommended…how do you know where the shadows will fall or reflections may pop up? The exception is professional lighting equipment with modeling lights…expensive!
Here is where we really get down to some heavy decisions for it is here that the most money is involved, and the final results will be determined. NO single alternative is good or bad, but each has an effect on almost all others.
Photoflood bulbs burn at a much higher temperature than ordinary household lamps. They will burn you severely if you touch them or the reflector while on. For this reason, be sure that your setup is very stable and not likely to be tipped when in place. You don't want to have to catch a falling reflector.
A: Clamp lamps from the hardware store. The 10" (approx.) diameter is necessary. Do not use with 500-watt bulbs!!! Use care as the reflectors get very hot! Mount them securely to your chair etc. The costs vary a little but are seldom more than $10 each. The sockets are metal and use cardboard insulation so they are not for prolonged use with photo lights since the cardboard insulator can be burned due to the high heat of the lamps.
B: Photoflood reflectors. These are available from a number of sources, but Smith-Victor is probably the best known. There are several grades from simple to fancy in the line. The sockets are designed to be safe with the high heat levels encountered. More expensive models provide some cooling/shielding to reduce the chance of burns. They are available in sizes to suit the bulb used. The 5", 8" and 10" models are for use with 250-watt bulbs. The 12" model is for 500-watt bulbs. Using the wrong bulb in a reflector can give uneven light, or in some cases the bulb cannot be physically mounted due to the neck length. Generally, the 10" size and 250-watt bulbs are sufficient and satisfactory. These lights are now available in a version with a special converter that can be used with quartz lights substituted for incandescent lights. See the discussion of quartz lights in section C.
C: If you plan to do a lot of shooting, move a lot or want the ultimate in adjustability, consider the Lowel Totalight TI-10. The Totalight is the smallest, most powerful and most adjustable light available…at a price. Reflectors are about $125 each. However, they will last a lifetime if properly cared for, are very small and the per hour cost of the bulbs is much lower than the reflectors listed above. You can use up to a 1000-watt bulb, but the 500-watt bulbs are more or less standard.
How can it be cheaper to burn these bulbs than a standard photoflood bulb? The cost of the standard 250-watt bulb is about $4.00. It has a useful life of about 3 hours in photo applications. The actual burn time is greater, but the color of the bulb changes over time and 3 hours is about the useful life. That's about $1.33 per hour.
The bulbs for the Totalight cost about $30.00, but burn at a constant color for about 300 hours. That's about 10 cents an hour. The cost of operation is dramatically lower and more consistent for long term use.
Other lighting controls:
Umbrellas can be useful to soften the light on a particular subject. You may also use a white sheet or other material as a broad reflector. These can be used with any of the lighting methods mentioned above by obtaining or rigging mounting brackets. The material must be white otherwise color shifts will occur.
Note: Films are changing very rapidly, and some of these types may not be available in the future, but there will be substitutes. Contact any professional camera dealer for the current equivalents.
Color Slide
Color
Type
Ektachrome 64T (EPY)
3200K
B
Ektachrome 100
Daylight
Ektachrome 160T
3200K
B
Bulb / Color Temperature / Wattage chart
These are 'standard' photofloods, not quartz.
Designation
Color temp
Type
Wattage
BBA
3400K
A
250
BCA
5500K
Daylight*
250
EBV
3400K
A
500
EBW
5500K
Daylight
500
ECA
3200K
B
250
ECT
3200K
B
500
Quartz Bulbs
FDN
3200K
B
500
FHM
3200K
B
1000
* Generally, it is not advisable to use blue bulbs alone with daylight films. These bulbs are not designed to be the sole source of illumination, but are to be mixed with or supplement daylight. When used alone, results tend to have a slight brown cast and may not yield true colors, though at times they can be quite close.
Type 'A' bulbs are used with type A films. The only example of this in 35mm is Kodachrome professional type A, speed = 40.
The most satisfactory combination of daylight film and bulbs is daylight film, 80 A filter and 3200K bulbs.
Film light source conversion chart
To use this chart, match the film type on left to the bulb type on top row. Read the film row and bulb column to find the filter match.
Film Type -- Bulb color
Daylight
3200K
3400K
Daylight
none
80A
80B
Tungsten type 'B'
85B
none
81A
Tungsten type 'A'
85
82A
none
Safety Precautions and Considerations
As in any project, it is necessary to consider safety. While every situation and setup is different, here are some general guidelines to consider.
Lamps and reflectors get hot!! Make sure they are cool before touching or tearing down for storage.
Have a clear path for movement between subjects and camera and for moving objects in and out of the photo area.
Make sure the extension cords you are using are in good condition, long enough to reach without hanging in the air and can carry the required current. Remember that the lights may be using 5 to 10 amps of current or more. This means that under normal circumstances, no more than 2 - 3 bulbs should be plugged into any
socket. If you are in an old apartment, even this modest load might be too much.
To avoid tipping the stand over, run the cord from the lamp down the stand and through the leg. This will cause the stand to slide rather than tip is you trip over the cord.
The information contained herein is believed to be correct at the time of its original publication. However, materials, processes and circumstances change with time. Check with a professional camera dealer for the latest information or call Kodak at 800-224-2424. Additional information is available on our website.
I have used my own experience and that of others in writing this. If you have questions or corrections, or need further information, please contact me at:
Permission is hereby granted to reproduce this work in whole or in part, provided credit is given to the author.
University Camera rents cameras, lenses, tripods, lights and other equipment for photographing artwork, at nominal prices.
DISCLAIMER
University Camera will not be held liable for any injuries, losses or damages, consequential or inconsequential arising from following any of the information above. Since we have no control over equipment, processes or materials used by others, we cannot be held liable or responsible for any and all improper use or injuries.
