Strong photographs give online bidders the information they would gain from handling an object in person. Clear images reveal colour, scale, construction, markings and condition, helping collectors decide whether an item belongs on their watchlist or in their absentee bid.
For consignors sending items to Cork Auction Rooms, careful photography can also support a more accurate catalogue description and valuation. The aim is not studio perfection; it is a truthful, consistent visual record that serves buyers viewing a monthly auction catalogue from Cork, Sydney, Melbourne or further afield.
Use a plain background in white, soft grey, cream or muted charcoal. A large sheet of card, fabric without a pattern, or a clean wall will keep attention on the antique. Remove distracting objects, price stickers and household clutter before taking the photograph.
Place smaller pieces on a stable surface and larger furniture where all sides can be accessed. In a Sydney or Melbourne apartment, a dining table near a window may be the most practical setup. Make sure the surface is level, and use a folded towel beneath fragile pieces to prevent movement while positioning them.
Soft daylight is usually the most reliable source. Photograph near a window with indirect light, or use a sheer curtain to reduce hard shadows. Avoid direct Australian midday sun, which can create glare on glass, polished silver and varnished wood while hiding fine scratches.
Turn off mixed indoor lighting where possible. Warm ceiling bulbs can make ivory look yellow and alter the appearance of textiles, paintings and ceramics. In Queensland’s humid climate, allow objects to reach room temperature before photographing them if they have been moved from strong air-conditioning, reducing the risk of condensation on metal or glass.
A recent smartphone can produce excellent auction images when its lens is clean and the phone is held steadily. Use the rear camera, tap the object to set focus, and avoid digital zoom. Move closer instead, leaving a little space around the item so it is not cropped.
Keep the camera parallel to the front of a painting, mirror or framed print. For tables, cabinets and boxes, take straight-on views as well as a slightly elevated view that shows the top. A small tripod is useful, particularly for long-exposure photographs in dim rooms or when photographing a complete collection.
Begin with a full front view, then add the back, sides, underside and any open compartments. Capture maker’s marks, hallmarks, signatures, labels, stamps, inscriptions and restoration evidence in separate close-ups. For Irish silver, a sharp image of the hallmark can be especially important because date letters and assay symbols help specialists assess authenticity and interest; background reading on Irish silver candlesticks can provide useful context.
Include every fault honestly: chips, dents, hairline cracks, fading, missing fittings, foxing, worm holes and repaired areas. Photograph damage close enough to be understood, while retaining a wider image that shows where it appears on the object. This approach supports accurate catalogue descriptions and builds confidence with bidders.
Photographs can make a small box appear monumental or a large cabinet look deceptively compact. Place a ruler beside smaller objects, keeping it on the same plane so the scale is meaningful. For valuable pieces, use a ruler rather than a familiar household item, since personal comparisons vary.
Record height, width, depth and, where relevant, weight. Use centimetres and kilograms for Australian audiences, while retaining any original imperial measurements marked on the object. Furniture buyers in Brisbane, Perth and Adelaide often need dimensions before arranging transport, checking lift access or planning space in a home.
Keep the original, unedited files and avoid filters, heavy sharpening or artificial background removal. Minor cropping and exposure correction are acceptable when they do not change the object’s appearance. Photograph a white card beside the item if colour accuracy is critical, then remove the card from the final catalogue image.
Check images on a larger screen before sending them. A photo that looks sharp on a phone may reveal blur when enlarged. If you also create physical records for insurance or family archives, guidance on printing high-quality photos explains why resolution and file quality matter beyond social media.
Name files clearly, such as silver-candlesticks-front, silver-candlesticks-hallmark and silver-candlesticks-damage. Keep images in their original sequence and match them to an inventory list. This helps an auction house connect photographs with the correct lot when several similar items are being consigned.
A simple set of consistent views is more useful than dozens of repetitive images. Include a full view, key details, marks, condition issues and scale. Australian sellers should also retain ownership records and provenance where available. Cultural material, military objects and historic artefacts may involve state, territory or federal restrictions, so provide relevant permits or documentation rather than relying on photographs alone.
| Photographing approach | Best use | Main advantage | Common risk |
|---|---|---|---|
| Smartphone in daylight | Everyday antiques and small collections | Fast and accessible | Glare or blurred close-ups |
| Tripod with controlled lighting | Fine art, silver and jewellery | Consistent, sharp results | Requires more setup |
| One full image only | Quick preliminary enquiry | Shows the general object | Hides marks and condition |
| Full set with detail views | Final online auction submission | Supports confident bidding | Takes longer to organise |
When your images are ready, send them with dimensions, condition notes, provenance and any valuation information to Cork Auction Rooms. Clear photographs help the team assess consignments, prepare stronger online listings and give distant buyers the detail they need to bid with confidence.