How can I photograph a framed artwork with glass without the camera reflecting in it?
Asked 11/5/2024
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I need to photograph a small triptych in a shiny gold frame behind glass. When I cover the camera/tripod and surrounding area with black cloth, the camera reflection is minimized, but the gold frame goes very dark because there’s nothing bright for it to reflect. If I add bright diffusion in front, the glass shows the camera/lens reflection. I want the artwork to look square-on, without obvious keystoning. Is there a practical way to avoid camera reflections in the glass while still lighting the reflective gold frame so it reads correctly?
Originally by JoeB. Source · Licensed CC BY-SA 4.0
JoeB
1y ago
2 Answers
3
If the camera must be square to the frame the correct tool is a shift lens. A shift lens can be placed off to the side so as not to reflect, but not require being tilted. They are used to photograph off center subjects without tilting in order to eliminate keystoning (e.g. architecture).
Here is an example of one being used to photograph a mirror perpendicular to the camera without its' reflection showing.
If that is not possible due to time/budget, and fixing keystoning in post is not an option, then the only other solution is compositing multiple images.
Note that if you have excess resolution you may be better off photographing the frame from farther away where perspective shifts are less apparent. That way you can composite images with the camera slightly left and slightly right; to eliminate the reflection when composited and it not be apparent.
Originally by Steven Kersting. Source · Licensed CC BY-SA 4.0
Steven Kersting
1y ago
0
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Yes, but with a flat glossy/glass-covered subject there’s a tradeoff: if the camera is centered and square to the frame, it wants to appear in the reflection. The cleanest solution is a shift lens. It lets you place the camera/lens off to the side so it doesn’t reflect in the glass, while shifting the lens to keep the artwork framed square without tilting and causing keystoning.
If a shift lens isn’t available, the practical fallback is compositing multiple shots. Shoot from slightly different lateral positions so the camera reflection falls in different places or outside the critical area, then combine the best parts in post. If you have enough resolution, backing up farther away can also reduce perspective differences and make compositing easier.
So, in short: for a single-shot, use a shift lens; otherwise use multiple images and composite, potentially from farther back to minimize perspective issues.
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