Re: fine art reproduction questions
Re: fine art reproduction questions
- Subject: Re: fine art reproduction questions
- From: Mike Strickler <email@hidden>
- Date: Sat, 1 May 2010 10:33:59 -0700
You can print whatever size you like regardless the capture method,
and the buyer must decide whether it is sharp enough for his purposes.
Museums do not generally consider MF digital backs to be adequate for
high-fideity reproduction of their paintings, any more than they used
MF film for this particular purpose (though they used it for other
things). I can tell you that my customers always found my prints from
LF capture noticeably more detailed than those done by an MF back at
another studio. You may not be so critical, and that's OK.
On May 1, 2010, at 5:12 AM, Stefan Ohlsson wrote:
We do a lot of fine art reproduction and when we print we have
access to the original. Most of the time the file comes from a
digital camera, and the reproduction has nearly the same color as
the original. We have no problems printing in sizes up to 1 meter.
Sometimes we get a chrome and it is much harder to get the colors
right. We scan on an Imacon and we use a profile that is tested to
be within DeltaE3 from the target values. So we are pretty sure that
the scan has captured the colors in the chrome.
Best
Stefan
30 apr 2010 kl. 21.26 skrev Mike Strickler:
David,
It really depends largely on the final print size. Bear in mind
that 40 MP will just accomplish an 18x24 print without
interpolation. The Betterlight does much better, of course, but as
you noted the exposure times are extremely long. The required
illumination levels are also too high for delicate originals. This
leaves you with using a smaller, instant-capture back and
photographing in sections, or simply using 4x5 or 8x10 film (Kodak
EPY tungsten recommended) and scanning the film. The latter has the
advantage of a high quality, low initial investment, and the
ability to use safe levels of lighting (including use of diffused
lighting) and short exposures.
Mike
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