Light Kit SetupLighting/ Color Balance/ FilmWorking with 2 Dimensional ImagesWorking with 3 Dimensional Objects
Light Kit Setup
Lighting/ Color Balance/ Film
Working with 2 Dimensional Images
Working with 3 Dimensional Objects
The kit comes with lights with cords, stands, and umberellas. The 500 watt bulbs are sensitive. Do NOT touch the bulbs with your fingers! The oil of your skin will cause the bulbs to blister and break the bulb.
The light shines into the umbrella. The light with umbrella is then placed facing AWAY from the work. The umbrellas filter and spread the light evenly across the surface of the artwork to avoid "hotspots". Place cords under the stand. Use care not to trip over cords and stand legs. Lights should be turned on and off as necessary only to shoot the work. Do NOT leave them on for long periods as this shortens the life of the bulbs.
The light setup will be different for different types of artworks. (see below)
Any problems with this equipment should be reported to the Media Center Director. Never attempt to repair damaged equipment yourself! There are many aspects of the equipment that affects its proper functioning.
Lighting/ Color Balance/ Film
Daylight is a cool light and requires a "daylight film". Kodachrome is an excellent daylight slide film best used for archiving images. To process Kodachrome it must be shipped which may take up to two weeks. Ektachrome daylight slide film has the advantage of local processing (called E6 processing) but, it does not have the longevity of Kodachrome. Use these films to shoot works outdoors.
Film
Lights and Flatwork:
Another concern is glare. Not all artworks are matte surfaced. An uneven surface of paintings can reflect more light in areas causing glare in the photograph. This will eliminate the detail that you want to maintain. Try moving the lights slightly up and down, side to side. This will sometimes minimize the glare. A nifty gadget for the camera, a polarizing filter, will also help with glare without shifting lights. If you continue shooting your own work, the filter is well worth the few dollars that it costs.
Lights and 3D Work:
Before we begin, lets talk about backgrounds. What is behind the work is frequently problematic because it may distract from the work itself. Try to select a site that will enhance the work. If it is impossible to place the work in an appropriate situation, you can crop the background with opaque slide masking tape. (see slide preparation) The last thing you want is for that gallery director to ask, "why did you paint this object in the middle of a brick wall" when your work is really a sculpture that you couldn't move from in front of the brick wall. I have witnessed that type of confusion about photos of artwork.
Multiple views are necessary for sculpture. Most show entries will accept more that one slide of sculpture. Take photos from several positions.
Lighting can be used to promote the qualities to which you want to draw attention.
Remember to consider depth of field. If you need a deep form in focus, a smaller aperture setting will be necessary.
Lights have different "temperatures" meaning they may be warm or cool toned. This means that the film must be balanced to the type of light that is to be used. We have all seen the family snapshots that come out orange or green. Sometimes color problems result from the film development but usually it is the improper film for the light conditions.
Incandescent lights are called "Tungsten" which requires Tungsten film balanced for warm light. Most indoor photographic lighting systems will use tungsten lights. Professional films will be tungsten balanced and have a "T" after the ASA number. Ektachrome 160T is commonly used.
Do not shoot Tungsten film with a lighting system and natural sunlight from the windows. This can throw off the color of your film. Never shoot photos with florescent lights.
All film has a number associated with it. This is the ASA setting or the 'film speed". (not to be confused with shutter speed) Higher ASA number means that the film will have a larger "grain", or a coarseness to the image. Use lower ASA films to have a finer grained film that is better for enlargements.
Remember to set the ASA setting on the camera. This can seriously affect the proper exposure. What? Shot a whole roll at the wrong ASA setting? Write down the mistaken setting and your film processor may be able to adjust the processing time to compensate for the mistake!
Flat works of art require even illumination to be best represented. Avoid a "hotspot" on the your works. Some types of bulbs will have a slightly brighter illumination in the center of the area lit. Watch for it when you are working with the lights. Equipment such as light meters to help find the uneven illumination. Squinting will sometime help you to locate it. A hotspot may not be very obvious during the process of shooting, but it can be very obvious in the photograph. You will want to use two or more lights. To light a large flat work, direct two lights from opposite directions towards the far edges of the work. (see 2D Floor Plan)
Shooting 3D works is a different matter all together. Consider these points before you begin. What should be emphasized in the work with the photo? Scale of the work, the textural quality, and/ or its form?
Scale is sometimes a problem. How does your juror know the difference in a sculptural work that is 4 inches or 4 feet if the projected slide/objects are the same size on the wall? Some works will show scale by showing a "known" object with the artwork to show scale. Perhaps a large sculpture can be shown with people near it. More than likely you will want to represent the work alone. Can you take the shot from a low vantage point to emphasis it scale? Or would that appear to distort the work?
Lights must also be used to enhance characteristics of the piece, like texture and materials. Use a racking light from the side to emphasize a surface texture. Use light and shadow to show off the form of the piece. Multiple lights can be used in front of and to backlight an object to give it dimension. (see 3D Floor Plan and light setup) Lights should emphasize the form not "flatten" the work. 
Updated July 1999
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