Prepare the information around a painting before changing anything about its surface. Dimensions, framing, material and condition help the photographer plan a safe and useful capture.
Why surface condition should be checked first
Record any existing damage and tell the photographer about loose paint, fragile supports or unstable frames before handling. Do not clean, flatten or repair a painting simply to make it look better for the camera. If the surface is unstable, seek conservation advice first. The purpose of digitisation is to record the work without changing it.
How varnish and glass change reflections
Glossy varnish and glazing can reflect the room, lights and camera. Send a phone photograph showing these reflections so the setup can be planned.
Which details and labels should be recorded
Prepare a list linking each work to its title, artist, date, medium, dimensions and inventory number. Include verso labels or signatures when they matter to the record. Keep labels beside the work rather than attaching new adhesive to it. A consistent filename and metadata plan prevents a technically good image from becoming an unidentified file later.
Practical checklist
- Share dimensions, medium and surface information
- Decide whether the work will come to the studio or be photographed on location
- Remove glass where possible or flag glazed works in advance
- Clarify whether files are for archive, web, catalogue or print reproduction
Discuss your project
See the Fine Art & Gallery Reproduction service, explore our photography services in Berlin, or contact the studio with your brief.
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