To obtain the best digital quality output, we prefer to perform the image scan in our studio (or yours, if your in the Colorado Springs area)  The more detail that is recorded from the original, the better that detail will be maintained in any size reproduction.

We use a 144 mega pixel BetterLight digital scanning back attached to our large format 4x5 camera to  capture that original detail in your fine Art.  We also use asymmetrical lighting to bring out all of the important textures that are in your original. 
 Cross polarization lighting may also be used.

We record first-generation digital images with perfect, uninterpolated pixel data up to 6000 x 8000 pixels (137 MB 24-bit RGB file / 274 MB 48-bit).

For art reproduction this is one of the best methods available.  In fact, this is the method and equipment  most museums now require for reproduction.

The BetterLight digital system provides extremely sharp focus, wide dynamic range and total control of image tone range.  Working with our 4x5 large format view camera and lenses, the BetterLight system will yield image quality that rivals 4x5 transparency film.

Sample images
captured by our Betterlight scanning back

Good Lighting is paramount in achieving a good image capture.  The lights that we use offer full spectrum lighting with a lumen output that is 80-85% brighter than equivalent Tungsten or Halogen lights and with lower UV output in a cooler environment.  This assures complete color capture and provides overall protection for your artwork.

We also use asymmetrical lighting techniques to bring out all of the important textures that are part of the art work.

Many times artwork, especially acrylics and oils, need to be captured using a Cross polarization technique to remove all of the specular highlights and reflections.  Trying to use this technique, using Tungsten or Halogen lighting, usually is not adequate and can result in noise being generated in the digital image, subtle details not being captured and/or an overall flatness look of the capture.

Even though our Betterlight and Northlight captures are already 95-97% color accurate, there is always some tweeks that usually have to be made to assure good color matching to match the original artwork.  Our workflow includes capturing a Greg Macbeth Colorchecker™ chart along with the original image.   This chart provides a set of known reference colors which can then be used as an adjustment standard.  We work in Photoshop to correct the colors to match, as close as possible, the colors in the original.

In rare cases you must be aware, that due to the limitations of process inks and media, some colors fall outside of the printable color spectrum or gamut.  We work with you to determine if additional changes are required to allow the closest match to the original as possible until you are satisfied with the proof.

Even if using the best technologies and methods of image capture, lighting and color matching, they are not much good if you cannot accurately represent all of that work in the final printed output.

This is where good ICC profiles come into play.  The profiles that we use are accurately matched to the printer type, it's ink sets and to the specific media the work is being printed on.  These profiles are continually being checked and new ones made as newer or different printers, inks and media become available.

We use Epson UltraChrome K3™ ink printers which incorporate eight or nine color pigments, including a three-level black technology which dramatically raises the bar for professional color and black and white prints.

UltraChrome K3 pigmented inks print with amazing color fidelity, gloss-level, and scratch resistance, while providing consistently stable colors that significantly outperform lesser ink technologies.