DESIGNING A FINE ART REPRODUCTION SYSTEM
GENERAL CONCEPT
Digitizing fine art, particularly oversized fine art, for the purposes of scholarly archiving, custom print reproduction, high end lithographic reproduction, or conservation and preservation requires precision high end photographic equipment, and technical expertise in using that equipment.
Fine art digital imaging provides the ability to capture not only the overall representation of a work of art; the technology should (in the right hands) provide:
- accuracy in color capture not subject to personal interpretations or digital interpolation;
- nuances of shading, gradations of tone;
- documentation of every detail.
AIA is primarily interested in providing technology and services that meet the highest standards of reproduction and capture the largest and most challenging works.
Putting together a fine art repro system requires integrating the following components, not the least of which are photographic expertise, digital post-processing expertise, knowledge of specific printing processes, and a "feel" for and understanding of the art itself. That is why the following list includes training and education:
- Digital Camera Back
- Camera and Lens System
- Lighting
- Reprographic Workstation
- Image Post Processing Software
- Color Management Software and Accessories
- Computer and Monitor
- Initial and Continuing Training and Education
CHOOSING A DIGITAL CAPTURE DEVICE FOR FINE ART REPRODUCTION
AVAILABLE CAPTURE DEVICES FOR FINE ART REPRO
| BACK | TYPE | POTENTIAL RES. | RECOMMENDED USAGE |
|---|---|---|---|
| Better Light Super 6K-HS | Tri linear Line Scanner | 6,000 X 8,000 216 MP 9,000 X 12,000 Extended Mode |
High end Repro and Archiving |
| Better Light Super 8K-HS | Tri linear Line Scanner | 8,000 X 10,600 384 MP |
High end Repro and Archiving |
| Better Light Super 10K-HS | Tri linear Line Scanner | 10,200 X 13,600 794 MP | High end Repro and Archiving |
| Sinar 54H | 1,4,16 Exposure PAD* | 5440 X 4080 510MB via PAD |
High end Repro and Archiving |
| Leaf Aptus AFi | Single Exposure | Publication Level |
CHOOSING LIGHTING FOR FINE ART REPRODUCTION
Lighting controls the choice of capture device. Some camera backs can only work with continuous light sources like HMI, HID, Hot Lights (traditional Tungsten) or Flicker Free Fluorescents. Others can work with strobes. The difference is in how the capture device gains its resolution. If the CCD is moved, either in a line or x y micro scanning, it requires stable continuous lighting. If the CCD is used in conjunction with an electronic shutter and motor drive, it can use strobes as well as continuous lighting.
After making that choice, there are the pros and cons of strobes vs. the various types of continuous lights, ergonomic factors, and of course the relative buy-in price for each.
| Type of Capture Device | Technology Used | Lighting Requirements |
|---|---|---|
| Single real time exposure back | Bayer Filtered RGGB CCD | Strobe or Continuous Lighting |
| 4 Shot exposure back | Bayer Filtered RGB, RGGB CCD is shifted 4 times either manually, or electromechanically by Piezo Aperture Displacement (PAD) | Strobe or Continuous Lighting |
| 1,4,16 exposure back | Bayer Filtered RGGB CCD is shifted 4 or 16 times x and by no more than 1/2 pixel overlap. This is called micro scanning and is achieved by Piezo Aperture Displacement (PAD) | Strobe or Continuous Lighting |
| Scanning Backs | Line Scanner. A row of CCDs, each filtered R, G and B is moved across the art work via an electromechanical device capturing each pixel 3 times R, G, B. | Continuous Lighting |
TYPES OF LIGHTING FOR FINE ART REPRO
| Type | Lamp | Pros | Cons |
|---|---|---|---|
| Tungsten | 3.2K Tungsten | Hard focusable light | Hot |
| Dichroic Tungsten | 3.2K Tungsten coated with | IR filter to reverse flow of heat away from the art | Ambient heat still present. May be difficult to adjust and feather |
| HMI | 5.6K Halide Metal | Pure Day Light | Cost and cost of maintenance |
| Fluorescent | Flicker free | Smooth, even diffusion and low IR | Not adjustable. Large footprint to get required amount of needed light. Must be UV coated. |
| HID | High Intensity Discharge | Energy efficient. Produces more light than heat. Low UV, adjustable, long lasting lamps |
No heat strike. |
CAMERA FORMATS AND LENSES
| Medium Format | Equivalent to film size of 2¼“x2¼ inches. Considered DSLRs and use Bayer Pattern Area Arrays. Each manufacturer has a specific type of lens mount that only fits their lens systems. |
| Large Format | Equivalent to 4”x5" film size. Referred to as a View camera because it has a front and rear standard that can be moved up and down, and gearing that can create shifts, swings, and tilts, ensure absolute parallelism and increase depth of field. Large format lenses are manufactured by specialty lens companies and usually represent the highest standard in lens manufacturing. |
EASELS, COPYSTANDS AND REPROGRAHPHIC WORKSTATIONS TO HOLD ART FOR DIGITAL PHOTOGRAPHY
The next decision is how to hold the art. The type of art being captured will largely dictate this. Stretched canvasses and framed works need to be held on easel like devices. Unframed works have to be laid down against a flat surface. Therefore they require a Copy Stand or Repro-Workstation. The stands used in large format digital reproduction are massive stable precision instruments that not only hold art safely and securely, but also hold the camera in an exact position that remains parallel to the camera, and can move the camera and digital back up and down an optical in such fine movements as to actually effect focus. Such systems are usually not found in photography stores.
Types of Repro-Workstations suitable for Fine Art and Oversized Art Reproduction:
Vertical Repro Systems: systems that hold the camera pointed down at a work surface holding the art. Main advantage, you are working with gravity , and therefore, only one person is required to place art. Disadvantages include: risk of dropping something on art, and difficulty of use depending on the height of the column and camera position.
| Type | Features |
|---|---|
| Wall Mounted Columns |
Column and camera arm only |
| Free Standing Vertical | Column supplied with integral base usually with magnetic or vacuum surface |
| Horizontal: camera mounted on rail, tripod or studio stand facing art mounted on wall or easel | Ease of use, greater variety of lenses, and use of longer lenses reduces "fall off," but sometime requires two people to place large art. |
| Dual: allows use in both positions offering the best of both worlds (vertical and horizontal stands.) | Can be used in either position. Can load in vertical (table position) then raise and flip to horizontal position electrically or manually. |
Post Processing Software
| Image Post Processing Software such as PhotoShop, or Silverfast , Equi-light | Digital imaging is like playing a piano with 2 hands. Mastery of Post Processing software is essential for enhancements, adjustments, and corrections, that are easier to accomplish non-photographically. |
Color Management Software and Accessories
| Color Management | Software and targets snyc your digital back to your monitor and printer through a process called profiling, and are essential to producing consistent results. |
Computer and Monitor
| PC or MAC | You are going to be working with very large files. Whichever OS and hardware you choose there is no such thing as enough storage and enough RAM. Purchase the best monitor you can. Do not skimp on the monitor. |