Nikon lens for shooting paintings

[FMK]

I need some recommendations for choosing a good lens for shooting paintings with my Nikon D3300.
I recently bought this camera as my first DSLR in order to photograph my artworks, witch are mostly acrylic on canvas paintings ranging from sizes between 40x40 cm (16x16 inches) up to 230x230 cm (90x90 inches).
I shoot my photos indoors at my university in the painting laboratory. There I have a diffuse natural light illumination by day and fluorescent illumination my night.
Currently I only own the the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR kit lens, and I need some suggestions on lenses and setups to enable me to take pictures of my works with high sharpness and color accuracy, since most of my paintings make use of hard-edge compositions.

Thanks in advance,
Felipe

[AlwaysOnAuto]

I'm not 100% certain it would work on your camera, and if you don't mind using a manual focus lens, I can recommend you look around for a used Micro Nikkor 55mm f2.8 lens.
I have one I use on my Sony A7ii and my Nikon D7000, and it is the sharpest lens I own. I think it'd work great for your purposes.

[Mike Buckley]

This could be a really enjoyable project for you. Considering that you're new to using a DSLR, don't be surprised or dismayed if getting everything right is more involved than you might have imagined.

Regarding the setup, buy any version of Light: Science & Magic including an old version, which will be less expensive. The book is currently in its fifth version. I can confirm that the last two versions provide the same, word-for-word explanation of the how and why of using particular setups to photograph a painting. The explanations will probably be the same in earlier versions because the principles will never change. Perhaps your university's library has a copy.

The combination of sunlight and fluorescent light in the room can play havoc with you. Even if you turn off the fluorescent lights and use only the natural sunlight, that will probably light one part of the image more than other parts. Worse yet, the sunlight may cast shadows on your paintings.

If you're going to go to the trouble to buy a special lens, you might as well also buy two inexpensive continuous-light lamps (though see my comment below about your priorities). A pair of lamps with 12-inch (diameter) reflectors will work well for at least all but your largest paintings and they may be sufficient for that. Use compact fluorescent bulbs that are specified to be 5600K. Set your camera's white balance to 5600K.

Accurate color will probably be really important to you, so I recommend that you also get an XRite Color Checker for use during post-processing. And if you're going to that trouble, be sure to use a calibrated monitor when doing your post-processing. At least your colors will be accurate when using your monitor, though you'll have no control of others viewing your image files on their monitor.

If you're on the kind of small budget I had when I was in school and can't afford all of that, I encourage you to buy the two lamps as your highest priority, not the lens. Hopefully you can get two friends to hold the lamps. If not, you'll need light stands.

Perhaps your university has a photography department that can loan some equipment to you. Or maybe some photography students could do the photography for you.

[george013]

I need some recommendations for choosing a good lens for shooting paintings with my Nikon D3300.
I recently bought this camera as my first DSLR in order to photograph my artworks, witch are mostly acrylic on canvas paintings ranging from sizes between 40x40 cm (16x16 inches) up to 230x230 cm (90x90 inches).
I shoot my photos indoors at my university in the painting laboratory. There I have a diffuse natural light illumination by day and fluorescent illumination my night.
Currently I only own the the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR kit lens, and I need some suggestions on lenses and setups to enable me to take pictures of my works with high sharpness and color accuracy, since most of my paintings make use of hard-edge compositions.

Thanks in advance,
Felipe

Often macro lenses are used for it, as far I know. Less distortions.

George

[Stagecoach]

Hi FMK, and welcome to CiC.

Disregarding, sharpness, colour accuracy and lighting for now one significant thing in choosing/selecting a lens (for this specific job) is that the focal length is suitable for photographing the subject size (area) within the limitations of the distance from subject you can use in the space/room you have available.

Some checks with your existing lens should give an idea of acceptable range of focal lengths that can be used.

Also, from your post it possibly suggests that you do not think you can get 'sharp' and 'colour accurate' results with the 18-55mm?

[Black Pearl]

Any of the current Nikon macro lenses will offer you the quality you require.

The advantage of a macro lens is they are flat field corrected so ideal for shooting flat subjects, they have very low levels of distortions also ideal for a square/rectangular subject and they are all biting sharp across their frame once stopped down a little so corner to corner sharpness will be guaranteed.

The desirable lenses are the longer ones but they may cause issues with shooting distance so look at the 60mm and 85mm offerings. They are generally less expensive but will do the job you want just as well.

[rpcrowe]

I am not sure if this was mentioned... When shooting, ensure that the focal plane (sensor or in reality the back of your camera would do) is exactly parallel to the face of the artwork. Any deviation will induce distortion.

Ensure that the room in which you are shooting is darkened except for your shooting lights to avoid reflections from windows or other light sources.

A cross lighting setup (each light at 45 degrees to the artwork will give you even lighting.

Adding polarizing filters to the light sources (large sheets of polarizing foil) would also help.

[Saorsa]

How large are your paintings?

Nikon macro lenses are called Micro-nikkors. Your camera is a DX which has a 1.5x crop factor. There is a 40mm f2.8 micro-nikkor which is designed for the DX cameras and is the equivalent of the 60mm f2.8. The 60mm FX lens is outstanding but might be too long for your work.

The Micro-nikkors are designed to have a flat field of focus and floating elements which help with very close focusing. The flat field is probably more important to you shooting flat subjects.

If you need to do this a lot, see if you can find an old enlarger to adapt to a copy stand and use the enlarger lens as a copy lens. Enlarger lenses are also designed for a flat field and will do well for your project. They are also pretty cheap.

[Mike Buckley]

How large are your paintings?

The OP explained that in the first post of the thread.

[Mike Buckley]

Ensure that the room in which you are shooting is darkened except for your shooting lights to avoid reflections from windows or other light sources.

If man-made light sources are used and if they overpower the other light sources and reflections, that issue will be solved.

Adding polarizing filters to the light sources (large sheets of polarizing foil) would also help.

I've never done that, but the authors of Light: Science & Magic explain that a polarizer filter mounted on the lens must also be used.

[Saorsa]

The OP explained that in the first post of the thread.

Sorry, I missed that or forgot about it. Either the 60mm or 40mm would work fine.

The 40 is a cheaper by $300 and suited to his DX camera for non-macro uses.

[Manfred M]

I have done some work in reproducing paintings using a crop frame sensor.

As others have suggested, good, flat, even light that provides a full spectral response is mandatory for this type of work. I you know the colour temperature of the source, the need for a reference gray card shot, but it certainly does not hurt if you do as even high end studio lights will have some slight output variation between shots.

I have never used a macro lens for this type of work, because they tend to have a fixed focal length, which means adjusting the camera on a tripod to frame shots. I prefer a zoom lens for this type of work, and a longer focal length to minimize distortion. A good setup, with the camera sensor square to the subject is relatively important. Choose an aperture setting that is in the lenses "sweet spot" of f/8 to f/11 with most lenses, and you should be fine. Distortion correction software takes care of lens distortion quite nicely. Even low end lenses, like the one you have perform quite well, although I do think the focal length is a bit short.

I shoot with two soft boxes at 45 degrees to the subject, just outside of the camera frame (large light sources that are close to the subject give you nice, even, diffuse lighting) and there should be NO reflection from this type of setup.

This shot was taken with a Nikon D90 with a Nikkor f/2.8 70-200mm lens at ISO 200, a focal length of 82mm at f/8 and a shutter speed of 1/60th second (although this is a bit irrelevant as long as the shutter speed is at or below the camera's synch speed).

[Mike Buckley]

Though the very best photograph of your paintings will be made using a tripod, it's possible and maybe likely that you won't need a tripod to meet your requirements unless you are going to print the images at rather large sizes.

[loosecanon]

Two additions

Use a tripod, hand holding means accurate framing is much more difficult and also means you cannot use slower shutter speed and optimum aperture, ie probably 2 stops down from wide open.

Secondly there can be a problem with reflections of the camera and photographer on glossy parts of the image and even a colour cast from the photographers clothing. Black fabric with a hole to shoot through can solve this problem.

[Mike Buckley]

Secondly there can be a problem with reflections of the camera and photographer on glossy parts of the image and even a colour cast from the photographers clothing.

That won't happen if the ideal lighting setup is used.

[Manfred M]

+1 to Mike's comments. I've never run into either problem.

I've always shot in a dark room where the ambient light is totally overpowered by the flash I use. Same comment about the reflections. If the lights are setup properly, there are no reflection issues at all.

I don't have access to the image right now, but I have shot images with glass in front of them, while hanging on the wall without having any reflection issues. The book that Mike has recommended covers; Light: Science & Magic by Fil Hunter, Steven Biver and Paul Fuqua covers off the theory well.

[Mike Buckley]

To help prove Manfred's point, this image was shot late morning in a living room that has a relatively large bay window. All of the ambient light, which is always diffuse that time of day but still makes glare happen, was overpowered by the two continuous-light lamps set up the same way that he explained that he uses softboxes (fitted presumably with flash units). The only glare in the image is where some of the joints of the jigsaw puzzle occur and that happened only because this photo was made mostly as a reminder of a memory and was never intended to be a serious photo. My notes in the metadata make no mention of a polarizer, though the shutter speed makes me wonder if I used one to minimize (not eliminate) those bits of glare.

[William W]

I need some recommendations for choosing a good lens for shooting paintings with my Nikon D3300.
I recently bought this camera as my first DSLR in order to photograph my artworks, witch are mostly acrylic on canvas paintings ranging from sizes between 40x40 cm (16x16 inches) up to 230x230 cm (90x90 inches).
I shoot my photos indoors at my university in the painting laboratory. There I have a diffuse natural light illumination by day and fluorescent illumination my night.
Currently I only own the the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR kit lens, and I need some suggestions on lenses and setups to enable me to take pictures of my works with high sharpness and color accuracy, since most of my paintings make use of hard-edge compositions.
Thanks in advance,
Felipe

Frankly, it is very likely that you are not asking the best question.

Considering the USE of the images, it is possible that you do not need a new lens.

The vital bit of information that is required from you is the answer to: ”What is the purpose and the use of these images?"

***

At one extreme – if you require accuracy for purposes of forensic interrogation and comparisons: for example for insurance or security recording and archival records, then your question concerning the lens is much more relevant; but arguably, as well as buying a Micro Nikkor for this task, (considering the sizes of the paintings), one would also seriously consider buying “Full Frame” Nikon DSLR, mainly so that the Working Distances could be more easily managed whilst using a slightly longer Focal Length Lens. (explained in Post #6 by Robin).

On the other hand at the other extreme if you want to make images for the purposes of web display then the lens that you have will provide more than adequate results.

***

Whatever the purpose and uses of the images, the first major concern is the lighting and for any purpose, except perhaps the crudest and simplest image record, the lighting that you describe is inappropriate.

The next priority concern is workflow and post production - for example 'colour accuracy' and also 'sharpness' does certain not remain within the aegis of the lens which is used.

Lastly, one requires the skills to use the lighting, the camera the lens and the post production equipment.

I suggest that you reread carefully the general suggestions that Mike Buckley provided in Post #3 and also answer my question above as doing so will allow more targeted assistance apropos how to get your task achieved.

WW

[Cogito]

Goodness! FMK is asking for a lens suggestion! Manfred seems to supply the best answer - e.g. the best lens you have together with added suggestions i.e be flat on to the picture. Lighting etc can all be corrected in PP. Why complicate the issue?
Here are 3 alternates to ONE SINGLE IMAGE each modified with ONE SINGLE CLICK in LR.

[rpcrowe]

I have shot with only polarizing filters over the light source. Granted this was in 1964 (I remember where I was stationed when I did this - so I remember the date approximately) and I could easily have forgotten that we added the polarizing filter to the camera lens also.
However, as in the fact that a polarizing filter on a camera lens will not impact reflections off metal surfaces (since they are already polarized) I am not sure that the lens filter is absolutely necessary for this work.
I have looked up several references and a couple say lens filter and a couple do not...