Copy Work
Copy Work is the cornerstone of Perceptual Intent.
35mm and 4x5 transparencies are pristine and color balanced.
Artwork up to 72 “ X 72” in size can be captured.
All large format 2D works are photographed on a black background
with controlled polarized lighting.
White backgrounds for film capture will require extra turn around time and will have to incur additional charges depending on your canvas size and medium.
Some originals will require additional time for Repro quality...
If you are having problems reproducing certain yellow / gold tones or specular textures for example
I am having outstanding results performing dual pass digital capture:
One exposure with full polarization and a second with reduced polarization.
I combine the two captures on separate layers in Photoshop and do some creative blending to bring back the specular highlights and give life to gold tones without glare. If you are comfortable in Photoshop I can give you the two captures in a layer intact file to finesse the blend to your own taste. Just let me know.
Other colors or mediums can require similar techniques to best capture the feel of your original.
I view your artwork under a variety of light sources to better get a sense of the original’s character.
Film capture does not allow for this technique however I frequently employ other advanced approaches to ensure your 35mm or 4x5 chromes are as close as possible to your originals as possible.
In most cases I don’t charge additional fees for the above time consuming extra’s.
On average I spend a total of an hour or longer with each of your originals.
Though perhaps you’ll find less expensive services (tell me where) and many more expensive studios
you will be hard pressed to find better output and service.
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The standard single capture $15.00 file is excellent for all web and small print uses.
* Digital Capture file sizes above the basic capture are created by precise multiple captures of the original in a level grid pattern. These individual files are “stitched” together with seamless precision on the computer to create the final image file.
This method can generate extremely large files with amazing resolution.
Any where from 2 to 25 or more captures are required depending on the final print output required.
The dimensions listed on the pricelist and below are for estimating digital capture price for a specific output size . The actual number of capture frames depends on the amount of overlap the original
requires and the actual physical size and dimensions of your original artwork.
The sizes on the chart below represent the approximate total image capture area.
An small border area will be required to comfortably fit your artwork inside the total capture frame.
The final file size and number of captures depends on the format of your original.
If for example your artwork is square then on a 12 x 18 print your artwork would
reproduce at approximately 11.5” x 11.5”.
All Ultrachrome prints created in house require files sized to 360 ppi.
This is the only option for true “Giclee” quality reproduction.
Up-sampling may be acceptable depending on your original,
the print viewing distance and the total file size increase.
However at these interpolated higher resolutions the quality is often more
‘poster-like” then what can be considered a true fine art reproduction.
Ask to see examples to judge resampling quality for your self.
Some originals are more forgiving, it depends mainly on the level of detail in your original and how much of that detail you expect to see in the print at a given size and viewing distance.
Digital Capture pricing and procedures are currently being modified.
Exact pricing will depend on several factors.
I now must charge extra for dual capture technique for gold, silver and some other reflective surfaces in original art. Very large captures are now 8-bit only.
All Digital Capture files are edited in Photoshop for individual image enhancement.
I can provide a master file with industry standard Gretag-MacBeth color checker as well as files at your requested output size for most images. Additionally you can have the master camera raw file (DNG) for a nominal charge. Special sized output can be provided. If supplied by you all files can have custom file names and copyright meta data applied to each at no extra charge.
All files copied to CD or DVD and if desired placed on an ftp for yours and / or your clients access.
New customers can have a sample 8x10 proof print of one digital capture file at no charge.
Simply mention this web page.
Turn around time varies depending on current workload.
I will strive to meet your deadline and assist with special needs whenever possible.
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Scanning
Global color correction along with initial capture sharpening is applied to each image in Photoshop.
We will cut most 120 / 220 film into strips of two frames prior to scanning.
Scans from all B&W films will be scanned in RGB mode unless otherwise requested.
I will apply your specified file names if requested.
Full roll bulk scans are the exception to the above and are scanned “as is” with all color correction applied as an automated Photoshop action. These bulk scans are intended for proofing purposes.
Bulk scans from negatives will sometimes require additional color correction
before satisfactory print or screen output.
We recommend 16-bit scans for maximum image detail.
Even when your requirements call for 8-bit, it is always beneficial to apply all image manipulation & color correction at full resolution in 16-bit mode for optimum results, then downsize a duplicate file to 8-bit if needed keeping the master 16 bit archived for possible future requirements. Unless you request otherwise I will provide multiple formats of each scan on the disk.
Scans from all 35mm and medium format C-41 and E-6 films
will have Digital ICE™ applied unless requested otherwise. This software will eliminate most film surface imperfections (dust, small scratches etc) though this will soften the image very,very slightly (in most cases observable only above 300%) but the tradeoff with almost dust free scans is welcome in most all instances. This process is not compatible with B&W films or on any 4x5 scans and as such these scans will often require additional post scan cleanup.
All negative film scans will be very slightly cropped. Scans from mounted slides will show the entire image
as viewed in its mount. Be aware that most paper mounts have rounded corners and will require slight add’l cropping for print unless requested otherwise.
100% full frame scans of all film formats can only be achieved with wet mount scans,
as there is no film holder masking the film edges.
Unless specifically requested I do no additional cropping of your scans.
I am currently performing 35mm and 120 format scans on a Nikon Coolscan 8000.
Though not equal to a drum scan the output from the 8000 is outstanding and one would be hard pressed to see the difference in most real world output.
If you have doubts click below and give the 8000 a try!
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Wet Mount Scans
We use oil free KAMI SMF 2001 fluid to wet mount film on the 8000 with an Image Mechanics holder.
This will produce some of the same benefits as drum scanning,
including absolutely flat, sharp scans.
The fluid will fill in surface imperfections and will increase D-Max and image detail considerably.
Kami fluid will evaporate completely after use and will not harm your film.
Additional turn around time required and sorry I can’t offer any discounts on wet mount scans however
the cost is still considerably less cost than a drum scan.
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UltraChrome Printing
Click here for info on current papers.
I use Ilford Smooth Pearl paper printed at 1440 ppi as the standard for digital prints.
When the image requires it I will output at 2880 ppi.
Files sized to the final print size @ 360 ppi are required.
If unsure please leave your file as is and I’ll resize as possible.
All Ultrachrome prints created in house require files sized to 360 ppi.
This is the only option for true “Giclee” quality reproduction.
Up-sampling may be acceptable depending on your original,
the print viewing distance and the total file size increase.
However at these interpolated higher resolutions the quality is often more
‘poster-like” then what can be considered a true fine art reproduction.
All Ultrachrome prints created in house require files sized to 360 ppi.
This is the only option for true “Giclee” quality reproduction.
Up-sampling may be acceptable depending on your original,
the print viewing distance and the total file size increase.
However at these interpolated higher resolutions the quality is often more
‘poster-like” then what can be considered a true fine art reproduction.
Printing to a RIP can sometimes be the exception when printing
from lower resolution files.
For example an Image Print RIP can input true 180 ppi files and
ColorBurst can input true 150 ppi files.
However a 360 ppi file will output a superior print.
RIP printing is currently not available in house.
If you do need prints larger than those listed on our price-list
I may be able to outsource those for you. Just ask.
Please note that if you are printing your file
on your own Epson Stylus printer (any model) you will require a 360 ppi file.
Actually the Epson driver does a great job of up-sizing 240 ppi files.
You can feed the printer a lower resolution file however the Epson print
driver will interpolate your files to 360 “under the hood” with mixed results.
If needed its best to resample your files in Photoshop rather
than let the print driver do it as the appropriate output sharpening can be applied and photoshop offers superior interpolation algorithm's.
Some hp printers require 240 ppi native files.
Our printer uses UltraChrome K3 pigment inks.
Pigment inks are far more light stable and less sensitive to
humidity and environmental gases than dye based inks and therefore are
significantly more “archival” than dye based inks.
As always mounting, display and storage conditions will have a large impact on the life of a print.
Pigment inks can exhibit varying amounts of metamerism
(shifting colors under different kinds of viewing light sources).
This is observed especially on glossy RC papers. Gloss differential, where one part of image will look duller than another can also sometimes be observed on prints depending on the image.
Framed prints will look normal. This is practically nonexistent on matte art papers.
And now with our latest generations printer and K3 inks it is almost a non-issue on
our RC Ilford papers as well.
I perform all work in a color managed environment.
Our monitor is calibrated to 6500K at a 2.2 gamma setting.
Adobe RGB (1998) and ProPhoto RGB are my working spaces. On most jobs I’ll keep an archive 16-bit file and then convert final files to Adobe RGB for print output or sRGB for web output.
If you need a file reworked it is beneficial to go back to the 16 bit archive file.
Please note we can only attempt to match color to a hard copy print. Prints from
customer provided digital files can not be color matched to a customer’s monitor
unless prepared and viewed in a completely color managed environment. If you have concerns please ask.
Please be sure you have embedded your working space RGB profile in any files you send for printing!
Check your color preferences in Photoshop and ensure the box to embed color profiles is checked.
Once again I will gladly answer any questions and attempt to fulfill your special needs.
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Optical Printing
Conventional B&W printing of your negatives from all film formats up to 5x7 is available via VCL.
Vasile offers pickup and drop off through perceptual intent
B&W Film hand processing also available.
Call Vasile at 503-222-5430 for current info
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