How to photograph the defects of a collectible card

In a restoration studio a photograph is not a keepsake: it is a document. You quote on a photo, you prove how the card looked when it arrived with a photo, and the client judges your work by comparing two photos. A bad photo always costs you something, sooner or later.

The two lights

Diffuse light

Soft, even light without hard shadows: a bright window without direct sun, an LED panel with a diffuser, a light box. It is for colours, centering and the card's overall condition.

Raking light

Light coming from far to the side, almost parallel to the surface. It brings out creases, dents, warping and scratches that disappear under diffuse light. A torch or a lamp held low, to the side, is enough. Move the light around the card: some defects only show from one direction.

Every card needs both. One alone does not tell the whole story.

The basic shots

For every card, always:

1. the whole front, with all four edges visible;
2. the whole back, with all four edges visible;
3. a macro of every defect, close enough to see the scratch or the whitening, wide enough to tell where it is on the card.

Without a macro of a scratch, a treatment cannot be quoted seriously.

Background and glare

• Use a neutral matte background, grey or black. White hides edge whitening; coloured backgrounds shift the card's colours.
• On holo and foil cards glare is the enemy: frontal light or the flash creates a shine that hides exactly the micro-scratches you need to document. Tilt the card or the light slightly until the glare leaves the area you care about.
• Avoid the phone's flash as the main light. If the room is too dark, move closer to a light source rather than taking a photo that says nothing.

The same shots, before and after

A before and after comparison is honest only if the two photos can be compared: same framing, same light, same distance. If you shot defect 3 with raking light from the left on arrival, shoot it again with raking light from the left when the work is done. A comparison with different lighting can make an unchanged defect look improved, or the opposite.

Note how you shot: one line is enough ("raking from the left, 20 cm"). You will need it at the end.

What to ask the client

The client is not a photographer. Give simple instructions, the same every time:

• whole card, all edges in the frame;
• dark, matte background;
• light from the side, not the flash;
• a close-up of every defect they can see.

Four good photos beat twenty blurred ones in a chat.

How Registro does it

In Registro every card has its own file with front, back and details, and photos stay tied to the phase in which they were taken: request, arrival, diagnosis, work, final check. From the file you generate a QR code, scan it with your phone and shoot: the photos arrive in the file open on your computer, already resized. The studio's public page shows the client the same shooting instructions and lets you make defect macros mandatory. Defects are then marked on top of the photo, numbered, without touching the original.

For how to use these photos in a quote, see the guide on how to write a restoration quote.

Frequently asked questions

Do I need a microscope?

For many defects a good macro from a phone is enough. A digital microscope helps document fine scratches and edges, and show the client a before and after at high magnification.

What resolution should the photos have?

Enough to read the defect in the macro. Beyond a certain point photos get heavier without adding information: Registro resizes them to a size that stays readable and uploads even on slow connections.

Can I photograph the card in its sleeve or toploader?

For the arrival photo, if the client sent it that way, yes: it documents how it arrived. For the diagnosis and the final comparison, take it out: plastic adds reflections and hides surface defects.