Print

Print


For me it is all about what the image is being used for. I regularly use polarization because the information my images are being used for is more easily obtainable with the technique but my image making has less to do with aesthetics than others.  The technique does cause for odd saturation and contrast shifts which have to be accounted for in the metadata as well as with the viewer, but it is all a part of the process.  Communicating the characteristics and limitations of the image/image technique is just another thing to add to the list.


At the end of the day, it is just another tool to use if the job requires it, and like those other tools it has its own peculiarities that come with its use.


Aaron


PS. Correcting for fully crossed polarization is not my favorite thing to do, i wish there was an easier way (even if i try not to do it all that often preferring for a reshoot without it). I am all ears if someone has suggestions for making the process easier.


Aaron Steele
Detroit Institute of Arts
Conservation Dept.
Imaging Specialist/ Photographer
313 833 1383
[log in to unmask]

From: AHFAP, for image professionals in the UK cultural heritage sector <[log in to unmask]> on behalf of Denis Mortell <[log in to unmask]>
Sent: Tuesday, May 14, 2019 11:10:36 AM
To: [log in to unmask]
Subject: Using Polarized Lights and Polarized Filters when photographing oil paintings
 

Hi All,

 

I’m just curious to know what people’s take on the use of polarized lights and filters is.

 

Unless I’m going blind, a search of both FADGI and Metamorfoze guidelines reveals that no mention is made of them whatsoever. Is this because their use is a taken as a given in certain situations, or because it’s not countenanced at all?

 

Personally, I only resort to them on a rare occasion.

 

I take the view that, while they remove all specular highlights on an oil painting, it can end up looking more like a print than an oil.

 

Secondly, the public will never view a work under Polarized lights and, even if they were, they would be wearing Polarized sunglasses! So, a work in a catalogue will look quite different to what’s on display. Colours can become quite blocked out.

 

In the right conditions, almost all oils can be lit to eliminate any problems. Issues only arise when, typically, an oil painting in screwed and alarmed to the wall of an old house and lighting choices are restricted!

 

Would be interested in any current received wisdom on this topic.

 

Thanks.

 

Denis

 

 

 

 

________________________________________________

 

D  e  n  i  s    M  o  r  t  e  l  l

 

www . denismortellphotography . ie

 

m. | +353 (0)86 604 4111

 



To unsubscribe from the AHFAP list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=AHFAP&A=1



To unsubscribe from the AHFAP list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=AHFAP&A=1