We operate a fully colour-managed ICC (International Colour Consortium)-based workflow throughout our reproduction process to ensure the most accurate representation of your original artwork.
The reproduction process begins with professional digital cameras and specialised lenses optimised for the purpose, complemented by studio lighting to provide controlled illumination of the artwork for imaging. Each combination of camera, lens, light modifier and filtration is individually profiled, ensuring that the initial source file from the camera is as faithful to the original artwork as possible. The lighting is tuned to the specific characteristics of each painting, allowing its original appearance to be retained, whether that be oils or acrylics with heavy impasto or watercolours with the most subtle gradations.
The RAW file from the camera is converted to a 16-bit tiff file in ProPhoto RGB colourspace using Capture One Professional software, which in conjunction with custom input profiles provides a highly accurate rendition from the original file and ensures that the most subtle gradations and the widest range of colours in the artwork are fully retained. Using reference images and additional processing, any variations in lighting density across the image can be compensated, allowing for asymmetric lighting where requiredto emphasise texture and eliminating otherwise inevitable minor variations in brightness accross the image.
The converted master file is then further edited as necessary to fine-tune its appearance where colours may differ visually from the original artwork, due to the specific pigments used and variations in the spectral response of the camera compared to that of human vision. This edited image is 'soft-proofed' on a regularly calibrated and profiled Reference monitor, using custom output profiles for the specific combination of printer, media and inks which closely approximate the final print appearance, although skill and experience are still required to interpret this soft-proof correctly.
Once we are satisfied with the appearance of the soft proof, the image is resized to the required output dimensions and sharpened to the optimum for the print size and media before a hard-copy proof is printed. Further incremental adjustments and hard-copy proofs are made if necessary before saving as a final print-ready file for output.
Unless otherwise requested, prints are balanced for a standard D50 daylight illuminant. If you have specific requirements for alternative permanent display illumination, for example tungsten lighting, please advise and we can adjust the output accordingly.
Our Canon iPF large-format printer is controlled by dedicated RIP software which handles the colour management and layout of the images, allowing individual settings for each print to be retained to assure the best possible output quality and the consistency of future print runs. Each combination of media and ink is individually profiled in-house to ensure the most accurate reproduction. The advanced Lucia EX archival inks have amongst the highest scratch-resistance currently available and, in combination with Canson and Hahnemühle museum-grade media, boast an independently-rated lifetime in excess of 100 years under proper display conditions.
ICC profiles for any of our print media are available on request for advanced photographers and digital artists producing their own files who wish to soft-proof these on their own systems before committing to print. Images are not restricted to sRGB, and we accept files in either 8-bit or 16-bit depth and in any colourspace at no additional charge.