How To Digitize Paintings: Pro Tips And Tools For 2026

Use a high‑resolution camera or scanner, even lighting, and color‑calibrated editing.

If you want to learn how to digitize paintings the right way, you’re in the right place. I’ve helped artists build clean, accurate digital archives for prints, portfolios, and licensing. In this guide, I walk you through how to digitize paintings with simple steps, pro tips, and tested workflows you can trust.

Why digitize your paintings

Digitizing protects your art from damage or loss. It helps you sell prints, license work, and build a portfolio. It also makes sharing fast and easy across sites and shops.

Good digital files show true color and detail. They help you win clients and juried shows. This guide teaches how to digitize paintings without guesswork.

Main methods: scanning vs photographing vs phone

Choosing the right method is key. It depends on size, texture, and budget.

• Flatbed scanning. Best for small, flat pieces. Delivers sharp files and even light. Limited by bed size and raised texture.
• Camera capture. Best for medium to large works. Flexible and fast. Needs a tripod, good lens, and controlled light.
• Smartphone capture. Works in a pinch. Use a recent model, RAW apps, and color cards. Quality can be lower than a camera.

Tip from my studio: I scan works under 12×17 inches. I photograph larger or varnished pieces. This mix keeps color and texture true.

Gear checklist for clean, accurate files

You do not need a full studio to start. But a few items help a lot.

• Camera. A 24 MP or higher DSLR or mirrorless works well.
• Lens. A 50 mm or 85 mm prime with low distortion is ideal.
• Tripod. Keeps the frame square and sharp.
• Lights. Two identical lights at 45 degrees each side.
• Polarizing filters. One on lens, one on lights to cut glare on varnish.
• Color target. A gray card and a color checker for white balance and profiles.
• Scanner. An A3 flatbed with 600–1200 ppi for small works.
• Monitor calibrator. Keeps your screen honest.

I learned to always carry a gray card. It saves hours in editing.

Step‑by‑step: how to digitize paintings with a camera

Follow this simple workflow.

1. Prep the art

• Dust the surface with a soft brush. Do not rub.
• Remove frames if safe to do so.
• Place the piece on a neutral wall or flat board.

2. Set the scene

• Mount the camera on a tripod, centered to the artwork.
• Keep the sensor parallel. Use a level and grid lines.
• Place two lights at 45 degrees on each side, same distance.

3. Control glare and color

• Use cross‑polarization for glossy or varnished work.
• Set white balance with a gray card shot.
• Shoot RAW files. Turn off in‑camera filters.

4. Capture

• Use base ISO (100–200). Use f/5.6–f/8 for sharpness.
• Use a remote release or timer.
• Fill the frame, but do not crop off edges.
• Take one frame with a color checker in view.

5. Edit

• Correct white balance with the gray card.
• Align perspective with straightening tools.
• Remove lens distortion and vignetting.
• Create a custom profile using the color checker if possible.
• Export master files as 16‑bit TIFF, Adobe RGB or ProPhoto RGB.

6. Save and back up

• Use clear file names with date, title, and version.
• Use the 3‑2‑1 backup rule.

This is the cleanest way to learn how to digitize paintings with repeatable results.

Scanning workflow for small, flat art

Scanning is simple and very consistent.

• Clean the glass and the art edge.
• Scan at 600 ppi for prints up to original size.
• For line art or pen work, consider 1200 ppi.
• Turn off auto sharpening and auto color.
• Scan a gray card strip if possible for correction.
• Stitch scans for larger pieces with overlap.

Export a 16‑bit TIFF for your master file. Many museums follow similar steps based on common imaging standards.

Color management that actually works

Accurate color wins trust. Use these basics.

• Calibrate your monitor monthly. Set white point to D65 and 120 cd/m2.
• Use consistent lighting at 5000–5500K when judging prints.
• Create a custom camera profile using a color target.
• Keep a single white balance per session.

This is the backbone of how to digitize paintings that look right on screen and in print.

Handling texture, glare, and varnish

Paintings can shine and reflect. Control it with simple moves.

• Cross‑polarization. Put linear polarizers on lights and a circular polarizer on the lens. Rotate to kill glare.
• Raise the lights. Move them farther and angle at 45 degrees.
• Use a lens hood. It blocks stray reflections.
• Capture texture. Use raking light from one side for a texture map. Blend as needed in editing.
• Focus stacking. For thick impasto, stack 3–5 frames for depth.

In my early days, I skipped polarizers. The result was silver glare on blues and blacks. Never again.

Resolution, DPI, and file formats

Simple rules keep files ready for any need.

• Master file. 16‑bit TIFF, Adobe RGB or ProPhoto RGB.
• Working copy. 16‑bit PSD or TIFF with layers.
• Web copy. JPEG, sRGB, 2000–3000 px on the long side.
• Prints. 300 ppi at the print size. Upscale with high‑quality tools if needed.

DPI is a print setting, not a capture metric. Pixel dimensions are what matter. Knowing this helps you explain how to digitize paintings to clients with confidence.

Common mistakes and easy fixes

Most bad files come from simple errors.

• Skewed edges. Use a tripod and turn on the grid. Fix with perspective tools.
• Mixed color cast. Use same bulbs and turn off window light. Set custom white balance.
• Soft focus. Use live view and manual focus. Use a 2‑second timer.
• Noise or banding. Use base ISO. Light the scene more instead of pushing exposure.
• Over‑sharpening. Sharpen last and only for output size.

Save a step‑by‑step checklist near your setup. It keeps you on track.

Large or framed works

Big pieces need a few tweaks.

• Tiled capture. Shoot overlapping tiles and stitch in software.
• Rail or copy stand. Slide the camera with precise overlap.
• Keep perfect overlap. Aim for 30–40 percent between tiles.
• Remove glass if safe. If not, use cross‑polarization and a black flag to block reflections.
• Rent gear. For very large works, consider a rental studio for a day.

I once digitized a 6‑foot canvas with a four‑tile grid. Stitching took minutes because the overlap was consistent.

Prepping files for prints, web, and marketplaces

Match the file to the job.

• For fine art prints. Soft proof to the paper profile. Add gentle output sharpening. Embed the ICC profile.
• For online shops. Convert to sRGB. Resize to their size and weight limits. Add a subtle watermark if needed.
• For social. Keep the long side around 2048–3000 px. Keep file size small but clean.

This is the final stretch in how to digitize paintings that sell and share well.

Budget‑friendly setups

You can get great results without a huge spend.

• Starter kit. Recent smartphone with a RAW app, two LED panels, a phone clamp, and a gray card.
• Mid kit. 24 MP camera, 50 mm prime, tripod, two LED lights, polarizers, color checker.
• Pro kit. 45 MP camera, macro lens, calibrated lights, copy stand, cross‑polarization, monitor calibrator.

Start small, learn the process, then upgrade what limits you most.

Archiving, metadata, and backups

Treat your files like assets. Because they are.

• Use clear names. Year_Title_Version.tif
• Embed metadata. Artist, title, medium, size, year, keywords, copyright.
• Keep masters and exports separate.
• Follow 3‑2‑1 backups. Three copies, two media types, one off‑site.

This is part of how to digitize paintings with a pro mindset.

Legal basics and rights

Protect your work and respect others.

• You own the copyright of your art. Register if selling or licensing.
• Get permission for any third‑party elements in the photo.
• Share only watermarked or web‑sized files if needed.

When in doubt, ask a legal pro. It is fast and worth it.

FAQs: how to digitize paintings

What resolution do I need to print my painting at original size?

Aim for 300 ppi at the final print size. Capture at enough pixels to meet that target without heavy upscaling.

Is a scanner better than a camera for paintings?

For small, flat works, a good scanner is great. For textured, glossy, or large works, a camera setup is better.

How do I avoid glare on varnished paintings?

Use cross‑polarization with polarizers on both lights and your lens. Keep lights at 45 degrees and match distances.

Which file format should be my master file?

Use 16‑bit TIFF in a wide color space like Adobe RGB or ProPhoto RGB. Keep layered PSD or TIFF for edits.

Can I use my phone to digitize art?

Yes, with care. Shoot RAW, use even lights, a gray card, and a solid mount. Results can be good for web and small prints.

How do I keep colors accurate across devices?

Calibrate your monitor and use consistent white balance. Embed ICC profiles and soft proof for print.

Conclusion

You now know how to digitize paintings with a simple, repeatable workflow. Use good light, square framing, a color target, and clean edits. Protect your masters, export for the right use, and back up with care.

Take the next step today. Pick one method, set up your space, and capture one piece start to finish. Want more guides like this? Subscribe, share your results, or drop your questions in the comments.