Photographing Marquetry

In this world of digital photography this task has become rather automated with the advent of the point and shoot camera. This is possible with the use sensors that employ an algorithm to determine the proper lens setting. Film speed, focal length and shutter opening all play a part in this process. The problem is that all sensors are not created equal. Where the sensor obtains the light source has a great impact on the final result. The difference between an acceptable picture and an exacting photo are very noticeable.

To overcome this obstacle a digital camera, and preferable a DSLR, a manual metering system is required. To use this setting a light meter is needed like the one below which I have used since my 16mm film making days.


Light from any source can be used. Once the setting has been determined and set, other factors are considered in taking the best possible picture. A tripod is essential in reducing blur. Another addition is the use of bidirectional lighting. This helps in eliminating shadows by the marquetry frame. I have found though that artificial light negatively impacts the transparency of a photo. If the photo will be cropped with photo-editing software then additional lighting is not needed. The best lighting is natural light. It will produce more natural wood tones and appear ideally realistic. If shooting outdoors and the camera accepts filters then a UV filter is well worth the investment. Another advantage I have found is that the UV filter can increase the warmth of the picture as seen below. The first without the filter and the second with.


Whatever camera you use to capture your marquetry, these will help in producing the best possible picture. Clarity should be the prime objective, but remember that every camera has its limitations. Try to get the most from yours. Leave out unnecessary background and let your marquetry take center stage.

Regional Differences

After a respite of unintended duration I was able to relocate and have exchanged my workshop for a studio environment. I no longer feel compelled to create marquetry for others. My main focus now is to work on projects that challenge me and enkindle my passion for marquetry. Occasionally, I will teach a class to art students who are looking for an alternative medium. In all, I am more focused on marquetry than ever before.

As an afterthought I pondered the regional differences found in creating marquetry. These are generalizations and exceptions do exist. Americans are fond of their technology and seem convinced that marquetry can only be created with the latest and most costly scrollsaw. Emphasis is placed on technique more than design. I would go so far as to say they have an obsession with joints while neglecting their art. In my case, I never used a scrollsaw until after I had worked with the fretsaw and knife for nearly 10 years. Some regions of the World are dedicated knife users. It is interesting to note that obstacles encountered by one group are often eliminated by the other. One contributing factor to these regional differences may be that only one technique is taught in that area. Those that really apply themselves may learn the other elsewhere and that makes all the difference for the gifted artist. This may be a blindsided assessment, but the lesson here is not so much how marquetry is created as what was created.