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With framed artwork, the obvious, easy answer is to remove the glass from the frame and then photograph the piece. In many cases, though, that s not an option, and you have to shoot through the glass. If you re not careful, you ll capture your own reflection in the image. As an example, see the painting photos on Page 18 of the color insert. If you look closely, you can see my reflection in the top image.
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CHAPTER 4: Exploring Product Photography and Other Still-Life Adventures
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I took this picture standing about seven feet directly in front of the painting, using one light set a few feet to my left. Although the light itself was diffuse enough to prevent any hot spots like the ones in the helmet image discussed earlier, my reflection caused a ghost-like countenance in the middle of the picture. You may be wondering why I didn t use a polarizing filter for this shot as I did when photographing the glass window discussed in the preceding section. Unfortunately, a polarizing filter isn t much help in this situation. For a polarizer to have any impact, the reflected light must be polarized, which isn t typical with indoor lighting. Some people use sheets of polarizing material to convert studio lights into polarized light sources and then put a polarizing filter on the camera a technique called cross polarization. But that s a little complicated for my taste and, more important, it can create unwanted color casts. If you simply light the artwork properly, you should be able to shoot it straight-on without creating much of a reflection, if any. The secret is to use two diffused light sources, one to the left of the art and one to the right. Position the lights at about a 45-degree angle from the art and at about the same height as the art. This lighting setup known as cross lighting should enable you to stand right in front of the art without creating much of a reflection. But if you still see some hint of yourself or the camera in the glass, put the camera on a tripod and then drape both with a black cloth. Use your camera s self-timer function to take the picture so that you can step out of reflection range before the image is captured. This is the technique I used to record the second painting photo in the color plate. Notice that the addition of the second light also brought out more of the frame details and eliminated the heavy shadow that falls behind the right side of the frame in the first image.
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Another technique to avoid reflections when photographing framed art is to tilt either the frame or the camera. But this approach distorts the parallel lines in the picture, and you ll need to use your photo editor to correct the problem. See the How-To sidebar Correct Convergence in Photoshop Elements later in this chapter for information on how to do this.
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Art glass that is, decorative glass such as the candle holder on Page 19 of the color insert offers some special creative photo opportunities, because you can shine light through it as well as on it. By varying the direction at which the light enters the glass, you can produce different effects, as illustrated in the color plate.
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The text in the color insert provides details on the lighting setups that I used for each image, so I won t waste space repeating that information in this chapter. But here are a few pointers to help you start planning how you want to photograph your next piece of glass:
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