“Should I stay or should I go?” ponders David Noton. “If I go there will be trouble, and if I stay it will be double. So you’ve got to let me know: should I stay or should I go?”
To go or not to go, this was the question: I didn’t really have time, less than a week in fact, not really long enough, when all was considered. It would take a couple of days to get there, another couple to get back, and, as I didn’t really know the area, the time-consuming business of familiarization and location-finding would eat into that still further. Okay, we’d visited for a few days way back in 1997, but all I can remember from that trip was a day spent shooting mushrooms in a wooded valley. My captions from that shoot were delightfully imprecise: the Val du Lison. No, if I did go for it, I’d have to start again from scratch.
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The Art of Copying Art - James Paterson shows you how to use your Canon gear to capture artwork and paintings the right way with simple camera and lighting skills
Whether you want to capture a painting like the above, digitise old prints or reproduce any kind of canvas, there's real skill in capturing artwork with your camera. Not only do you need the colours to be accurate, you also need to master the spread, angle and quality of the light to minimise glare and show the work at its best.This painting by the artist Bryan Hanlon has a wonderfully subtle colour palette. To reproduce the painting in print and digital form, it needs to be captured in the right way.
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