A New Look at Fine Art Reproduction

December 9, 2012

(photo courtesy of Lucia Prosperi.   ©Lucia Prosperi, 2012   All rights reserved.)

If you consider Color Management to include capture, processing, output and viewing, it brings some pretty interesting implications to Fine Art reproduction techniques. In the last few years we’ve developed some remarkable new methods – many considered heresy by traditional photographers – that produce equally remarkable results.  It’s based on a few simple ideas.

First, the original should be photographed under the same lighting conditions (if not under the actual lighting) in which it was created.  Not only the color of the light, but the quality and direction is of crucial importance to capture the work as the artist saw and created it.

Second.  The work needs to be color managed from the point of capture using a RAW level “profiling” system.

Third, the entire system must be working at the highest level of Color Management standards, with the appropriate protocols in place for the capture system, the processing and the printer’s unique characteristics.

Finally, the print must be evaluated under the same light that the original is viewed under.  If the print is to be shown under slightly different lighting, a final evaluation must be made under that lighting as well.

It’s a fairly simple concept, and with today’s Color Management tools and proper training, it’s a simple process.  It yields amazing results.  We have, for the last few years, had several opportunities to use these methods and have produced prints enthusiastically approved by the artist within two proofs.  The most resounding endorsements?  “Yes.  That feels like my painting.  It’s what I was trying to get the painting to say.”

Read more about this process at The Atelier Print, here.

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