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Copy room paint
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Copy room paint


  • Subject: Copy room paint
  • From: Mike Strickler <email@hidden>
  • Date: Wed, 21 Sep 2005 13:58:16 -0700

Black is theoretically ideal, but remember that in practice the amount of light bouncing off the walls may be very small compared to the illumination on the artwork--assuming those walls are at least middle grey. What may be more important is that the background surrounding the artwork by up to several feet be quite dark and neutral as this area may be well within the angular coverage of the copy lens (assuming a typical view camera lens) and can produce a bit of flare inside the camera. I do not agree that an all-black room is a healthy work environment; it can be very oppressive. IF you have a large enough studio to dedicate one room just to the copy work, go for it, as you will spend only a portion of your time there, but if you also use the space for other work, try side walls and ceiling of neutral grey, the black background, and the opposite wall in black to reduce obtrusive reflections when you must shoot through glass.

At 2:34 PM -0400 9/21/05, Ken Fleisher wrote:
I did go to RIT (BFA in Commercial Photography 1989) and I AM going to RIT (current student for MS Color Science, I'm in the second year). I still think black is the way to go. You would never use a white studio for copy work. As someone who has done a fair amount of catalog work, I will "weigh in on this." Black is best (and copy work does not necessarily have the same demands as catalog work anyhow). Neutral gray walls are not necessary for evaluating the image on the monitor, as the room will be fairly dark anyhow. Black is the best way to go for reproducing artwork.

I agree with Ken-black is the way to go. At the National Gallery of Art, all the copy studios are black, and they're getting very good results. As windowless rooms go, it's not a particularly unpleasant environment, and it's easy to control the lighting (both capture and viewing light).
--
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