This document provides instructions for photographing artwork using the photography studio setup at M/J/C-C. It details recommended background styles and materials, as well as methods for hanging or positioning artwork. Instructions are given for setting up lights, cameras, and adjusting exposure. Tips include photographing on white backgrounds, expanding the photo table, and securing cameras when not using a tripod. The goal is to produce high quality photographs that accurately represent the dimensional qualities and intended display of the artwork.

1. M/J/C-C
Photography Set-Up
Fall 2016

2. Background Style:
•White (for publications, “edgeless”
photographs) (good examples:
http://www.emily-culver.com/)
•Black/Grey (used for pinned work to hide
method of hanging work) (good examples:
http://www.vhimelstein.com/portfolio/)
•Gradient (used to create depth) (good
examples:
http://www.coroflot.com/rachelfine/portfo
lio1)

3. CAD-CAM work
•Time permitting, can be photographed, however a photo-quality
rendering would be appropriate

4. Background Paper:
• White paper is available hanging above the photo-set up in the Seminar
room. Smaller pieces can be purchased at the media output center if
needed.
• Large rolls/sections of black paper can be purchased at Photo Supply
stores, such as Webb Cam LLC (12th and Arch). Smaller/Medium sized
backgrounds can be printed out at the Media Output Center.
• Gradients are best created in Photoshop and printed out at the Media
Output Center. See instructions at MOC for gradients (to avoid banding).
• You want the size of your background to belarger than your work, so that
when photographed the background fills the frame, in order to avoid
further edits in Photoshop.

5. Methods for hanging/positioning work for
Photography:
• Foam
• Monofilament
• Microcrystalline Wax
• Acrylic supports
• Pins

8. Hanging/Positioning work for
Photography:
• General rule of thumb: You want to display the work to communicate
function and how it is worn.

9. Setting up the Lights:
• Strobe lights. We have two sets. To
begin, place each on either side of
the work at a 45 degree angle,
between the camera and the wall.

10. •Plug in the power source below the Cybersync Reciever. Then plug
into an outlet.
Setting up the Lights:

11. •Slide the exposure power to
1/8 to begin. Turn the switch
to ‘ON’. This will turn on the
model lights for lighting your
work. (If model lights are not
on, push the ‘model lamp ON’
button.
Setting up the Lights:

12. •Adjust the height of the strobe lights as needed to light the work.
•You may chose to unplug the input chord
to one of the receivers as needed, if using two
strobes is unnecessary.
Setting up the Lights:

13. Setting up the Camera
• Have extra batteries charging.
• Put camera card into camera.
• Attach camera receiver to shoe at the top of the camera. (DO NOT
REMOVE SHOE ADAPTER)

14. •Expand tripod legs BEFORE putting
camera onto tripod.
•Carefully secure camera to the tripod.
Make sure all three arms are connected
to the tripod plate attached to the
bottom of the camera. If this is loose,
see faculty.
•Adjust height if needed (NOT with the
legs, but with the neck adjuster on the
tripod.)
Setting up the Camera

15. Setting up the Camera
• Turn Camera ON.
• Take Lens cap OFF
• Make sure the Camera mode is set to manual (M) on the left dial.

16. •Look into viewfinder. Press the shutter release half-way to activate the
viewfinder. Make sure the speed is ‘125’ and the F-Stop is 16.
Setting up the Camera

17. •The speed being set to 125 (which = 1/125 of a second) correctly times the
opening of the camera with the flash of the strobe. Using a strobe allows
us to adjust F-Stop and exposure, without sacrificing a fast shutter speed.
This helps keep the piece in focus, even on model.
•Starting at F16 is a ‘sweet spot’ for shooting work. It allows you room to
increase and decrease your F-stop to adjust exposure and still have your
work in focus.
Setting up the Camera

18. • FOCUS FOCUS FOCUS
• Make sure the focal point (bright red dot) of the camera is focused
1/3 into the depth of your object on an edge.
Setting up the Camera

19. Adjusting the Light/Exposure
• Set up your light (or lights) using the model lights a guide, to light
your work adjust the location of your shadows.
• Begin by setting the power to 1/8 on your strobe(s).
• Take a photograph, make sure the shutter spead is 125 and the F-
Stop is 16.
• Look at the image in playback, does it look over or under exposed? If
yes, adjust the power level on the back of the strobe(s). Increasing
the power will increase the exposure, decreasing the power will
decrease the exposure. You may also decide to use only one strobe
if using two. Change one variable at a time to understand the impact
it makes on your light.

20. Adjusting the light/Exposure Part 2
• If the exposure now looks correct at F16, take additional shots at
each F-Stop between 11 and 22. This will give you a valuable range of
exposures to review later on a larger screen to see which F-Stop was
the best setting for your piece. DO NOT change the shutter speed or
strobe power while taking these shots, only change the F-Stop.

21. Additional Photographs:
• Before taking any additional shots
and/or remove the installation of
your piece, check the images on the
computer. Use the provided card
reader to do so.

22. CHECK YOUR IMAGES ON THE
COMPUTER BEFORE MOVING ON TO
THE NEXT PIECE
•1) Make sure they are in focus
•2) Make sure you have images with good exposure
•3) Look at the shadows at full size- are they distracting? Are they
soft?
•4) Make sure the work looks dimensional (shadows and highlights
are important for this!)
•5) Assess the overall quality of the image and the background.

23. Additional Tips:
• When shooting on white, the background is ultimately WHITE and your
piece is OFF WHITE/ LIGHT GREY
• Shooting WHITE work on WHITE backgrounds involves post-processing in
photoshop. If you want to avoid time-consuming edits, consider shooting
white work on grey, black, or gradient backgrounds.
• Aiming a strobe at the white or light background can help even out and/or
brighten the backdrop. Just make sure to not over-light your work.
• For larger pieces, the photo-table length can be expanded by rolling one of
the seminar tables underneath the photo-platform.
• Use the curtain to “double-diffuse” the strobe light if needed/wanted.

24. Photographing WITHOUT a tripod
• CAMERA MUST BE SECURED TO NECK WHENEVER IT IS BEING
HANDLED OFF OF THE TRIPOD
• Consider moving the position of the lights to get better lighting for
different angles- do not assume the same lighting for different
positions will be as successful
• F-Stop reminder- LOWER F-stops (2, 4, 8, etc) have a SHALLOWER
depth of field, so portions of your work can be OUT of FOCUS. This
can happen especially with more dramatic angles.
• Do not depend on photographs overlaying perfectly when you are
NOT using a tripod. To successfully overlay images, use the tripod.