How to Photograph Your Artwork for Online Submissions

Knowing how to photograph your artwork properly is one of the most practical skills you can develop as an artist submitting to open calls. A strong piece presented in a poor photograph will not make it through curation, not because the work is weak, but because the curator cannot see it clearly enough to evaluate it.

The good news is that you do not need expensive equipment. Most modern smartphones are more than capable of producing submission-quality images. What you need is the right setup, the right light, and a few minutes of care.

What galleries actually require

Before anything else, check the specific requirements of the open call you are submitting to. Most galleries ask for:

• Format: JPG or PNG
• Minimum resolution: 1500px on the longest side (some ask for more)
• Maximum file size: typically 10MB
• No watermarks, filters, or digital signatures on the image
• No frames in the photograph unless the frame is integral to the work

Light – the single most important factor

Lighting makes or breaks an artwork photograph. Bad light creates shadows, glare, colour casts, and a general sense of murkiness that no amount of post-processing can fully fix. Good light makes colours accurate, surfaces clear, and the work visible as it actually is.

Natural light – the easiest option

On an overcast day, the light coming through a large north-facing window is close to ideal – soft, diffused, and consistent across the surface of the work. Direct sunlight creates harsh shadows and glare, especially on varnished or textured surfaces, so avoid photographing in direct sun.

Position the work parallel to the window, not facing it. If you position it facing the window, you will get glare. Parallel to the window, you get even side lighting that reveals texture without creating reflections.

Artificial light – if you need to shoot indoors

If natural light is not available, use two light sources placed at 45-degree angles on either side of the work – equal in brightness, equal in distance. This eliminates shadows and creates even illumination across the surface. Daylight-balanced bulbs (5000-5500K colour temperature) produce the most accurate colours.

Avoid mixing light sources – for example, a window on one side and a lamp on the other. Different colour temperatures create uneven colour casts that are difficult to correct.

Setting up the shot

1. Hang or prop the work upright. Photographing flat on the floor or a table introduces perspective distortion. The work should be vertical, as it would be displayed.
2. Use a neutral background. White, light grey, or mid-grey walls work well. Avoid patterned wallpaper, wood grain, or anything that competes visually with the artwork.
3. Position the camera at the centre of the work. The lens should be at the same height as the middle of the painting, and directly in front of it – not angled up, down, or to the side. Any angle introduces distortion.
4. Use a tripod or stable surface. Hand-held shots at close range often have slight motion blur that reduces sharpness. A tripod eliminates this. If you do not have a tripod, prop your phone against a stack of books and use the timer.
5. Fill the frame. The work should fill as much of the frame as possible, with a small amount of neutral background visible on each side. Do not leave large empty margins – they waste resolution and make the image harder to use.

The work should fill as much of the frame as possible. Every pixel you give to empty background is a pixel taken away from the painting.

Checking the result

After photographing, zoom in on the image before you move anything. Check for:

• Sharpness – is the entire surface of the work in focus?
• Colour accuracy – do the colours in the image match the original work in person?
• Glare – are there any bright reflections on the surface, especially on varnished areas?
• Geometry – are the edges of the work parallel to the edges of the frame, or is there distortion?

If anything looks wrong, adjust and shoot again rather than trying to fix it in post-processing. A correctly taken photograph needs minimal editing. An incorrectly taken one is difficult to save.

Post-processing – less is more

If the photograph is well taken, post-processing should be minimal. A small exposure or white balance adjustment if the colours are slightly off is acceptable. Cropping to clean up the edges is fine.

What to avoid: filters of any kind, sharpening beyond a very small amount, significant colour correction that changes the hue of the work, and any retouching that alters the appearance of the surface. Galleries want to see the work as it is, not as it could look with digital enhancement.

Special considerations for different media

Textured or impasto work

Highly textured surfaces create shadows when lit from directly in front. A slight side angle on one light source can help reveal the texture while still keeping the surface evenly lit. Take multiple shots from slightly different angles and choose the one that best communicates the physical quality of the surface.

Varnished or glossy surfaces

Varnished paintings are the most challenging to photograph because the glossy surface reflects light sources back into the camera. The solution is to ensure both light sources are at equal angles and the camera is positioned directly in front of the work – any angle will catch a reflection. A polarising filter on the camera lens eliminates most glare if the problem persists.

Works on paper

Paper can buckle or curl slightly, which creates uneven shadows. For small works on paper, photograph flat on a lightbox if one is available. For larger works, pin or tape them to a flat wall and shoot as you would a canvas. Ensure the paper surface is clean and free of fingerprints before photographing.

Sculpture and 3D work

Choose the angle that communicates the piece most clearly – usually a three-quarter view that shows both depth and the primary face of the work. Ensure the background is plain and the lighting comes from two directions to eliminate harsh shadows. A second photograph from a different angle can help, but most open calls accept only one image, so make the first one count.

Submit your work to Marea Gallery

Marea Gallery open calls accept JPG or PNG images, minimum 1500px on the longest side, maximum 10MB, no watermarks or filters. Browse the current open call and submit at mareagallery.com/open-calls.