 |
 |
A useful tool for dark oils and some photographic prints, velvet stipple paper being a prime candidate. The flattening of the surface highlights can, as you say, render a rather flat looking image and colours tend to be a bit whack. Have you tried creating a custom profile under the cross polarised light? This will help bring the over saturated colours back to true. It’s all about angles, and my understanding is if you have a long enough lens/studio you can mitigate specula highlights by avoiding the point they intersect with the lens. M > On 14/05/2019, at 4:33 PM, Max Browne <[log in to unmask]> wrote: > > My take is that polarised light for oil paintings is an indispensable but not obligatory tool. For whatever reasons oil paintings can shine/sparkle etc in a way that is acceptable to the eye but not to the camera. The polarising angles of the filters on the lights and camera can be adjusted for the amount of effectiveness required. If fully polarised, colours will be over saturated and black levels lower although these characteristics can be compensated for later which is well worth while if the only way to get a good repro. > Best > Max Browne > > ⚡️Phone mail > >> On 14 May 2019, at 16:10, Denis Mortell <[log in to unmask]> wrote: >> >> 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 ######################################################################## To unsubscribe from the AHFAP list, click the following link: https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=AHFAP&A=1