Which color film and lens should I use to photograph paintings?

Hello guys!

My sister has just asked me a favor. She wants me to photograph her paintings (oil and watercolor) so that she can send the prints to someone who is selecting works for an exposition. I seldom shoot color, so I know next to nothing about color films. I have heard, though, that some films are more appropriate in this or that situation and this is why I'm here.

I'm going to use daylight, either outdors or close to a large window. My first thought would be a Fuji Superia, but I hear this film may be too "warm" (??). Anyway, what would you suggest?

Oh, I own only 35 mm cameras. I'm thinking of using my Olympus OM 2000 and a 50 mm Zuiko lens. Or should I use another kind of lens? I also own a Bessa R3A with a Voigtländer 90mm Lanthar lens.

Thanks!
Edimilson

Hello Edimilson,

In the United States, I have photographed some friends works for their portfolios. All of the graduate art schools that they have applied to only accept portfolio submissions in the form of 35mm mounted slides. I would normally suggest Ektachrome 100G for portfolio work; however, if someone explicitly asked for prints, that is much harder to keep colors accurate (I have never actually head of someone wanting to look at a portfolio in print form)...I would...well, I cannot actually recommend a color negative film, unless you are doing the processing with the actual artwork next to it to judge color corrections.

Has anyone here had to submit an art portfolio in print form? I would also like to know what is an acceptable color negative film to get extremely accurate color rendition, in case I ever have someone ask me to document their artwork with a color negative film. Good question and thanks in advance for responses.

-Alexander

Be very aware of reflections. Sometimes you can't see them with your eye. The film will see them. A polarizer will help.

Get the film and the picture as perfectly square with each other as possible. A tripod and a carpenters level are required. You will need a very secure mounting system for the art work. Personally, I would think a slightly longer lens than a 50mm would work best. Depends on the size of the art pieces I guess.

I see what you mean, Alexander. At first I thought of using slides, but I hear there are only a few expensive ways of getting them printed in the traditional manner (that is, other than scanning them). I think that whoever asked for prints was thinking of avoiding digital files for one reason or another that I can't guess either. Maybe they just don't want to look at the images on a computer screen.

I guess you have answered my question, anyway. If there's no color film that will do the job as slides would, then I'll shoot slides, scan them and have them printed. Then I'll have to wait and see the level of accuracy of the prints.

Thanks for your tips too, Venchka. I had already decided I should use a tripod, but using a polarizer hadn't ocurred to me.

I would go with Kodak Portra NC135. It's more neutral-balanced than the VC, which has more saturated colors.

IF you want traditional printing shoot a slow negative film like Kodak Gold 100 or Fuji Superia 100 and (there was a url link here which no longer exists)

If you consider a minilab to be traditional, you're better off shooting slides. You will get better color accuracy.

Try lighting with diffuse light from oblique angles and using tungsten light and a 64T slide emulsion. Get a tripod, 64T likes long exposures. A polarizer will help.

If you shoot negative film use a 80A conversion filter.

I don't know if there is a good negative film for art. For most oil paintings I'd use 160NC if it were acrylic I'd use 160s. Watercolour, guache or tempra I'd use NC if the colours and contrast were subtle with predominant earthtones and 160s if the palette tended toward jeweled hues. If you shoot it with slide film under daylight try and find some EPN otherwise I'd go with Astia or 100G.

I would not use a consumer film as they tend to have more punch. If shooting with neg film be sure to be sure to give it plenty of exposure.

I'd use the 50mm. I have a pretty good feel for film, but I'm crap at copy work so take my advice with a fair amount of salt.

The standard 50 mm lens should provide satifsfactory resolution and field flatness when used at not too near distances. Daylight allows the use of slide film such as Kodak Elite Chrome 100 with a not too harsh contrast - Fuji Astia 100F is even softer, but more expensive.

Use a grey card for metering, and make an additional exposure at + 1/2 f-stop, if you want to afford the expenses of bracketing.

With (any) color print film, you should include a color checker or color reference card so that the color balance for the prints can be corrected by the minilab's or lab's operator. Even cheap Fuji C200 ASA print film will suffice.

Unless you go with a "custom" lab, unfortunately just about all the places you might have your film printed will scan it and print digitally, although on real photo paper. Nothing particularly wrong about this method of printing *IF* the operator of the printer is skilled.