A vital consideration when reproducing artwork is the accuracy of the photography. If a transparency is sub-par, the reproduction will suffer. It is of the utmost importance that your transparency submitted for reproduction accurately match the original artwork in all aspects, including color saturation, hue, density, contrast and detail. There are many variables in the science of photography. As a result, it is important that your transparency or print be carefully inspected and evaluated before you accept it from the photographer. We recommend that you view the transparency on a color-corrected (5000 degrees Kelvin) light table while comparing to the original under the lighting conditions used during shooting. 

Large format photography is necessary for fine art reproduction. Desirable sizes are 4" x 5" & 8" x 10" "production quality" transparencies. 35mm slides or 4" x6" film positives are not suitable for this purpose because they do not provide enough detail to reproduce well. 

Check each color very closely. Verify that the different color characteristics are accurate such as "Saturation & Intensity", "Hue", and "Value" (relative darkness or lightness) of each color.

Evaluate the contrast, brightness and density of the image. Make sure that the shadow areas are not so dark that they are "plugged up" resulting in all black with no detail. The highlight areas should also show good detail. If the photography has been overexposed or underexposed it will result in problems in the image.

Check for color casts in the image. Are the overall tones accurate or do they have a red or blue tint? Images on a white background are especially a problem. Often the photography will show inconsistencies and color in white backgrounds which is difficult to remove when scanning and preparing files for reproductions. 

A serious problem which commonly occurs when photographing oil & arcylic paintings is "specular highlights". These are tiny white dots in the image resulting from reflections off of the painting's varnished surface. These reflections are at best difficult and usually impossible to remove. They can cause problems ranging from white dots in shadow areas to entire sections of the image looking "washed out. Some solutions to this problem are as follows; 1) Photograph the painting before it is varnished. This is by far the preferred procedure; 2) Have the photographer use a dulling spray on the painting before shooting. This is a special product made for this purpose and is removable. "One caveat about dulling sprays....there is currently no solid data regarding potential effects on the archival quality of the painting's varnished surface:. 3) The photographer can use special lighting angles and/or linear polarization when shooting the piece.  "The trade off here is that linear polarization can cause color shifts in the image". 

Photography is not the place to cut corners. We recommend that you find a photographer with experience in "fine art photography" who has the proper equipment and knowledge to get consistent results. Paintings should always be photographed under controlled lighting conditions, using film and settings appropriate for the type of artwork being shot. Proper processing of the film is also critical. Check our Photographer Reference List to see if we list a photographer in your area.