How to photograph a painting for insurance and catalogue
Table of contents
Sooner or later the owner of a painting needs a photograph of it: for the policy, for a valuation, for resale, or simply for their own records. It seems simple — point the phone and shoot. In practice most shots are unusable: reflection on the varnish, distorted geometry, colour thrown off.
Here is how to shoot a work properly without special equipment.
Why it is needed at all
Three situations where a good photograph is required.
Insurance. The insurer requires a photograph of the work to write the policy and as evidence in a claim. The shot has to be taken before the event, not after.
Valuation and resale. The first thing a prospective buyer or valuer sees is the photograph. A poor shot cheapens a good work.
Personal archive. If the work is stolen or damaged, the photograph is the only evidence of how it looked. Plus a record of its condition on a specific date.
The main problem: reflection
An oil painting, especially a varnished one, mirrors. Direct light produces a patch of reflection that swallows part of the image.
The solution is not to fight the light but to place it correctly.
Raking side light. Two sources on either side of the painting, at about 45 degrees. The light skims the surface without reflecting straight into the lens. This is how it is done in museums.
Diffuse daylight. The simplest option at home. Place the work by a window on an overcast day, or so that indirect light falls on it. Direct sun will not do — it both mirrors and overexposes.
What not to do. Do not use flash — it puts a patch right in the centre. Do not shoot under a chandelier — the overhead light reflects into the lower part of the canvas.
Geometry
The second problem is distortion. Shoot from the side or from below and the rectangle of the painting becomes a trapezium.
The camera squarely opposite the centre of the work. The lens at the height of the canvas's middle, perpendicular to the plane. Not to the side, not above, not below.
Distance. Step back and zoom in rather than shooting close. A close shot with a wide angle bows the edges — the centre bulges, the corners tip inward.
Check. The edges of the painting in the shot should be parallel to the edges of the frame. If the canvas “leans” to one side, the camera is at an angle.
A tripod helps but is not essential. It is enough to brace yourself and shoot level.
Colour
The third problem: the colour in the shot does not match the original.
Shoot in neutral light. An incandescent bulb gives yellow, a fluorescent tube green or blue. The truest colour is in diffuse daylight.
Turn off automatic filters. Phones “improve” the shot: boosting saturation, contrast, warmth. For a documentary photograph this is harmful — turn off the enhancement modes and shoot as neutrally as possible.
A reference in the frame. If colour is critical (for valuation, for catalogue print), place a sheet of white paper alongside. It gives a reference point for correcting the white balance.
What to photograph
The full set for insurance and archive is not a single frame.
The overall view. The whole work, square on, without reflection. The main shot.
Close-up details. Two or three shots of details: a characteristic brushstroke, the area with the signature, any distinctive feature. Evidence of authenticity and a record of the surface.
The signature. A separate close-up of the artist's signature.
The reverse. Essential. The stretcher, the writing on it, the catalogue number, stamps, labels. The most informative part for identification.
A side view. One shot at an angle showing the surface and the relief of the brushwork. This is what distinguishes an original from a print.
Practical checklist
Briefly, step by step.
- Stand the work upright in diffuse daylight
- Camera squarely opposite the centre, perpendicular
- Turn off flash and enhancement modes
- Step back and zoom in, do not shoot close
- Check the edges are parallel to the frame
- Take the overall view, details, signature, reverse, side view
- Save at full resolution, do not compress
Frequently asked questions
Can a painting be photographed on a phone?
Yes, a modern phone gives quality sufficient for insurance and archive. What matters is not the camera but the light and angle: diffuse light, camera opposite the centre, no flash.
How do I get rid of reflection on the varnish?
Do not place the light straight in front of the work. Use raking light at 45 degrees from both sides, or diffuse daylight. A direct source will always give a reflection.
Is a professional photograph needed for insurance?
Not necessarily. The insurer only needs a sharp shot showing the work, the signature and the reverse. A professional session is needed for an auction catalogue or print, not for a policy.
Do you provide photographs of works on purchase?
Yes. Every work is photographed before handover, including the reverse and the certificate in one frame. These shots are given to the buyer along with the work.
Every work from the studio is handed over with a set of photographs for insurance and archive. If you would like advice on shooting a particular work, write to me.
