Capturing high-quality artwork images can be challenging, especially when dealing with glossy surfaces, varnished layers, or dark colors. When I first started putting my artwork online, I struggled to capture it digitally to share with potential collectors. Luckily, my photographer husband shared valuable tips, such as using north-facing light and indirect sunlight for best results. However, finding the perfect spot without dappled light was difficult, especially since my studio was amongst many trees in the Poconos. Over time, my photography skills improved, and accurately representing my work online gave potential buyers the confidence to purchase my paintings without seeing them in person.

One crucial reason for ensuring accurate artwork photography when posting onto Cohart is to provide potential buyers with a clear representation of the piece. When the photograph on Cohart accurately showcases the artwork the collector receives, you will always have a happy collector, and there will never be a need to return an artwork.

In preparation for this blog, I contacted Michael Daks, a talented photographer, director, and Cohart artist based in London. With over 30 years of experience in fashion and portrait photography, working with prestigious clients like NYT Magazine, Rolling Stone, Marie Claire, and MTV, he seemed like the perfect expert to guide us in capturing stunning photos that truly showcase our art.

Washington: Michael, thanks for taking the time to chat and share your expertise with us artists. Let’s dive in! What are the most important factors when photographing artwork to share online?

Daks: The most important factors are to make sure that the image uploaded is a true representation of the art, the colors are accurate, and there is even (flat) lighting and no shadows.

How can lighting impact the quality of photos? Can you share some tips for achieving the best lighting setup without spending a fortune?

Without using photographic lighting, which can be expensive, it is a question of finding appropriate ambient (daylight) for instance, from a window. I have hung some of my larger paintings on a north-facing wall to photograph. Or place it on an easel in front of a window so the light falls evenly onto the surface of the art. Look out to make sure you are not causing a shadow from yourself or your camera/ or phone. It is best with flat light and non-direct sunlight, so again, look for a window with north light.

So, if an artist has good natural lighting available, whether from their studio or outside, is that better for photographs?

Natural light is good, but you have to consider the color temperature of the light as often that can change the colors in the artwork - for example, if you shoot early morning or late afternoon you can get either a blue or orange cast on the image - you can compensate for this on some cameras/phones, but also in Photoshop by adjusting the color temperature. You also get ‘fall off’ with natural light depending upon the source and direction of the light, so it is important that the art is perpendicular to the light source. Shooting down on the artwork is also a good option on a cloudy day as long as you do not block the light falling onto it. I often use a tripod and a time-release so I can get out of the way before the photo is taken.

We need to capture the most accurate image we can; how can artists maintain color accuracy when photographing their work to ensure it closely matches the real piece?

Normally, 11 a.m. to 3 p.m. is when the color temperature is most neutral - however, it helps to have some knowledge and access to Photoshop or Lightroom for example, to make any adjustments needed.

And what about capturing the texture of the surface of a painting?

The main problem with using flat light is that it evens out the texture, so sometimes that is better to look at as a detail shot of the art rather than the whole piece. Side lighting brings out the texture, but it is hard to balance while showing the entire artwork accurately.

Very dark colors and shiny surfaces can be problematic, too. What is the best way to accurately capture these surfaces?

It is very hard to photograph black or very dark colors as they absorb the light. I know because I have made a lot of textured black paintings. Normally you would slightly overexpose the painting/artwork, and then I use ‘clarity’ and ‘dehaze’ in Photoshop to make adjustments to the image until it has sufficient texture but still shows the darkness of the image. Varnished paintings are also a problem because of the reflective surface. It might be an idea to photograph before and after varnish to show the accuracy of the colors and texture before the ‘shine’ is added to the artwork. Again with a shiny surface, even lighting is very important and trying not to get the reflection of the light source.

What about editing photos? Do you have recommendations for photo editing software, and how much editing is acceptable to stay true to the original?

I would recommend using Photoshop or Lightroom. I shoot on a DSLR and then edit the RAW files, first in the Raw File processor in Photoshop for the overall contrast and making sure there is good detail everywhere, and enough Clarity and detail. I then open in Photoshop and adjust the colors to match the original artwork.

Artists on Cohart now can offer prints. What should those artists they be aware of in terms of resolution and file formats for high-quality reproductions?

I always save at 300dpi, and most magazines and posters are produced at that in Industry, some fine art magazines are reproduced at 350 dpi, but the difference is negligible. Usually, 8 bits is fine but you can also use 16 or above. It’s hard to see the difference unless printing is very large.

How can artists best photograph their artwork in a small space or with limited lighting conditions?

If it is impossible to photograph well in your own space - look outside if the work is portable or for a friendly artist with a bigger, more well lit studio. You could also look at some cheap lighting options.

What’s your approach to photographing artwork for prints vs. photographing for social media?

When photographing for prints I turn down the brightness of my monitor to about ⅔ brightness, as when they are printed they will not have a bright monitor light behind them. It is always a good idea to calibrate your monitor to your printer - or if outsourcing - have a test print made first and calibrate to that.

What are some common mistakes artists make when photographing their art for social media or online platforms, and how can they avoid them?

iPhones and other camera phones often enhance images to ‘make them look better’ so that can change the actual colors of your artwork, making them more vibrant or lighter/darker than the actual art. Also viewing art on a small screen, such as for Instagram on your phone can change its appearance. You can turn off the auto-enhance feature if that is causing problems with accuracy.