Digital Capture:
To produce high quality digital prints from original artworks you need a high quality digital file. To produce the best digital file possible the Oxford Giclée & Photographic Centre use the latest 5x4 inch scanback technology from Betterlight as the basis of an ultra high quality digitisation system.
The scanback has a 5x4 inch image area and incorporates three CCDs, one for Red, one for Green and one for Blue. Standard single shot DSLRs or medium format digital backs only contain one CCD which captures colour in a less than optimum way. Red is captured by 25% of the total pixels, Green by 50% and Blue by the remaining 25%. A lot of guess work is needed for these CCDs to output colour. The 5x4 inch image area of our system captures 100% Red, 100% Green and 100% Blue at 16 bit colour depth ensuring unrivalled colour accuracy, sharp definition and smooth tonal gradation.
Our system can be set up to record most of the infra-red spectrum which opens up the possibility of showing the underlying images and corrections that were painted over. Museums have been using this technique to view old masters works and revel new insights into their painting styles.
The scanback is mounted in a modern large format camera with optics that are designed for the super high resolution of the CCDs. We are able to produce files in excess of 500 mb which are in excess of 100 megapixels. Some medium format single shot digital backs have resolutions of upto 60 megapixels. These pixels are concentrated in a very small area in comparison to the Betterlights large format area. Squeezing high numbers of pixels into a small area increases the heat produced within the sensor thus increasing the digital noise which is evident in images taken with a high iso. The Betterlight's large image area means that the pixels are larger and less tightly packed which helps to produce virtually noise free images no matter what iso value is used.
When digitally capturing an original artwork nothing comes into contact with the artworks surface. Standard scanners will damage works and squash impasto. This is of course totally unacceptable. Being members of the Museums Association you can be assured that the handling of your artwork is carried out with the greatest of care.
All standard scanners and some high end scan systems have a single light source which moves across the artwork as it is digitised. This lighting will never reveal any 3D brushwork or impasto techniques. With our free moving system textural definition is achieved through the careful use of 2 or more museum quality HID lights. These lights are energy efficient thus keeping infra-red, uv and heat discharge to a minimum.
With a special combination of techniques we are able to capture oils and acrylic works reflection free. Oils will exhibit high light reflection The technique is so efficient we are able to capture glazed works with no reflections.
Set up & Standard Proofing:
After initial capture, colour correction and assessment by ourselves, a proof is made (Approx- A4). This printed proof is then viewed by the artist underneath our dedicated colour correct lighting set-up before any further colour correction takes place. The lighting set up we use for proofing complies with and exceeds the ISO 3664:2000, ensuring that proofing takes place within a properly lit environment of the correct colour spectrum. To ensure colour consistency, our colour managed workflow is set to the same D50 specifications. Viewing takes place with one of our technicians and any changes can be discussed fully. Proofs can be posted if distance is a problem but we do recommend viewing proofs underneath our dedicated lighting to avoid any colour casts caused by different lighting.
The proof should be returned to us ( if posted ) along with notes on any further adjustments deemed necessary by the artist in order to match the original artwork. Further adjustments are then carried out and a new proof is printed and is viewed or sent to the artist for approval. The job will be printed when a proof has been approved by the artist.
The proofing process is necessary to the (digital) artist and printer because of the degree of difference between viewing conditions (monitors etc.) and output methods. The proof can also be archived for future reference to ensure consistency throughout printing and reprinting irrespective of the time between the original prints.
Digital capture, initial set up and up to 2 proofs (Approx A4) £50 ex Vat for images up to 48x48 inch.
For images larger than 48x48 inch please contact us for a quote.
Extra standard proofs are available subject to a charge of £5 ex Vat per proof ( Approx A4).
We do not charge extra for 3D works.
Normal turnaround for capture & proofing is five working days. If you require a quicker turnaround please contact us. Please be aware that rush jobs are subject to a rush fee.
After capture, set-up and proofing (all of which is included within the capture fee) the final stage in the workflow is Printing. Please visit this section to see prices and sizes available.
Oxford Giclée & Photographic Centre accepts no responsibility for copyright, it is the sole responsibility of the customer to ensure that no copyright infringement occurs. If you do not own the copyright then we will not capture the artwork or print the file.