Faithfully photographing and reproducing a painting requires a deep understanding of color and lighting coupled with a genuine appreciation for the object in front of the camera. For nearly forty years, Gregory Williams dedicated himself to this craft, combining a high level of technical skill with a profound love for the art he was documenting.

Greg began his museum career at the Art Institute of Chicago. His tenure was distinguished by his forward-thinking embrace of emerging imaging technologies and his crucial role in the transition from film to digital imaging. Greg brought his accumulated knowledge to the National Gallery of Art in 2005. To overcome the limitations of early digital systems, he explored the application of mosaicking techniques to augment the detail that cameras could achieve in a single capture. He continued using this technique even after technology had improved because it helped him provide the highest quality reproductions possible. A lifelong learner, in recent years Greg’s curiosity led him to explore even more advanced techniques, such as reflectance transformation imaging and photogrammetry. He was an advocate for continual improvement, constantly pushing the boundaries of art documentation and seeking ways to enhance quality, craft, and capability.

Although he could seem quiet on first impression, Greg maintained a vast network of professional connections. He regularly collaborated with other experts in photography, imaging, color science, and lighting, sharing knowledge and developing innovative solutions and tools for museum imaging. His ability to identify limitations, solve problems, and connect people with diverse skill sets generated advances benefitting many institutions.

Though his skills and passions were diverse, Greg took great pride in his identity as a paintings photographer, focusing intently on the fine details of each artwork he photographed. He was meticulous, often preoccupied with how to showcase the texture of brushstrokes without distorting the artist’s chosen colors or their intentions. He would agonize over emulating the glow created by gilding without allowing reflections to become distracting.

While no photograph can replace the painting it depicts, Greg’s dedication allowed him to create the best possible reproductions. His relentless pursuit of excellence is evident in every capture. It is fitting that in this volume we not only celebrate the extraordinary images he created but also honor his unwavering dedication to the future of art documentation. Gregory Williams’s memory may be enshrined in the images he created, but his work to improve the field of museum imaging lives on through the connections he helped foster and the example he set for those in our field to always strive for better.