Scans & Reproductions
We digitize works of art, photos, negatives, and slides for fine art print editions produced by us.
We also reproduce or scan larger bundles for books and catalogs.
The optimum method for every original
Paintings and large works of art
Large works up to 150 × 250 cm — Cruse scanner
Cruse scan for paintings, watercolors, oil paintings, collages, large photographs and graphics
Sizes: from 20 × 30 cm to 150 × 250 cm. We offer stitching for larger formats.
Resolution: 250 dpi up to 600 dpi
Scanner: Cruse scanner
In contrast to conventional scanners, the scanner does not touch the artwork. It lies face up and the scanner hovers over the image. Therefore, also suitable for works of art that must not lie directly on the glass plate of a flatbed scanner.
Optional use of a suction wall for optimum flatness of non-laminated and non-flat paper work.
Application example: A small-format edition of a large-format painting (unique piece) is to be produced as a fine art print, e.g. in DIN A2 on mould-made paper. To achieve this, the painting is scanned using the Cruse scanner. The resulting file is metrologically compared with the original directly after the scanning process so that it comes as close as possible to the original in terms of color and appearance. If desired, further post-production can be carried out to intervene in individual details.
Highest detail reproduction even with large formats. Maximum possible adaptation of the file to the original artwork in terms of color fidelity and appearance. Every brushstroke, every detail becomes visible. Sculptural properties such as pasty paint application, canvas structure or collage elements can be impressively reproduced using light deflectors.
Minimum order quantity: 3 works, different sizes possible. And by appointment.
Graphics, drawings and photos
Up to 30 × 45 cm – flatbed scanner
Sizes: 30 × 45 cm, DIN A3, DIN A4 or smaller
Resolution: up to 8,000 dpi
Scanner: Scitex Eversmart, iQsmart2
Application example: Scan of albumen print 1880s (6 × 9 cm / CDV) for later fine art print with print size up to 100 × 150 cm.
Highest detail reproduction for original formats up to 30 × 45 cm / DIN A3. Maximum possible adaptation of the file to the original artwork in terms of color fidelity and appearance. On request, additional post-production can be carried out to intervene in further details.
Minimum order quantity: 5 works or by arrangement
Film negatives, glass negatives, slides
Hasselblad Flextight X5, Imacon 848, iQsmart2
Scans of the following negative sizes:
- 35 mm
24 × 36 mm, 24 × 65 mm (XPan) - Medium format (roll film)
6 × 4.5 cm, 6 × 6 cm, 6 × 7 cm, 6 × 9 cm, 6 × 12 cm - Sheet film and glass negatives
4 × 5″, 13 × 18 cm / 5 × 7″, 20 x 25 cm / 8 × 10″
Special formats on request
Scans delivered as:
- TIFF files (Adobe RGB 1998), 16 bit or 8 bit, for 300 dpi print output
- 3f files (only X5 and Imacon 848, in addition to TIFF)
Overview scan sizes:
Which scanner for which purpose?
The X5 is the flagship among the scanners, top technology of the premier league.
Formats: 35 mm, medium format, 4 x 5″
Features:
- Scans with maximum sharpness and highest level of detail
- Scan resolutions up to 8,000 dpi
- No software intervenes during scanning, e.g. for automatic dust and scratch retouching, meaning that every scratch is also scanned.
- Post-production should therefore be carried out by an experienced hand and is more time-consuming.
The Nikon scanners produce outstanding quality with automatic dust and scratch retouching.
Formats: 35 mm, medium format
Features:
- For color negative films C-41, color slide films E-6, not K-14
- Post production requires less effort than with the X5
- Less retouching required than with the X5
- Recommended for book projects, smaller prints and general digitization of archives
- Scan resolution up to 4,000 dpi
- Negatives with a lot of waviness may show small blurring in the wavy area.
If the X5 is not enough for you in terms of grain, you can opt for the 848.
Formats: 35 mm, Mittelformat, 4 x 5″, 13 x 18 cm
Features:
- The 848, like the X5, works with Flextight technology, but does not have a light condenser.
- It therefore brings out the grain even more – analog appearance at its finest, maximum sharpness and richness of detail.
- The purest film grain, a scanner for real enthusiasts.
- These scans are more cost-intensive, as the scanning process is time-consuming and slow.
- Resolutions up to 8,000 dpi, depending on the film size.
The iQSmart2 is the perfect scanner when it comes to digitizing glass plate negatives..
Formats:
Ninth plate: 5.1 × 6.4 cm / 2 x 2.5″
Sixth plate: 7.0 × 8.3 cm / 2.75 x 3.25″
Quarter plate: 8.3 × 10.8 cm / 3.25 x 4.25″
Half plate: 11.4 × 14.0 cm / 4.5 x 5.5″
Full plate: 16.5 × 21.6 cm / 6.5 x 8.5″
Modern: 13 × 18 cm / 5 x 7″
Large panels: 20 × 25 cm / 8 x 10″
Maximum: 30 × 45 cm
Features
- The iQSmart2 uses the XY-Stitch technology, which ensures consistent sharpness, precision and resolution across the entire scanner bed.
- Only this technology allows multiple glass negatives to be scanned simultaneously in one scanning process.
- Resolution: 1,600 dpi to 3,000 dpi
Good to Know: Highlights and shadows in negative, scan, print
All the scanners we use offer excellent D values (Nikon D=4.8 and Flextight D=4.9). This allows us to achieve the maximum possible detail in both highlights and shadows without the highlights being “washed out”.
Standard flatbed scanners with an integrated transparency unit are completely unsuitable for scanning film material, as the density range is too small (often only D=2.5) or/and lies in the wrong range: Either the shadows are too dense, or the highlights are “eroded”, or both.
It would therefore be a waste of time to try to scan negatives or slides yourself, as it cannot be done in a satisfactory way. Quality requires the right technology in combination with the necessary know-how.
“Where there’s nothing, there’s nothing to expose on the paper!”
In other words, if the negative contains no or almost no detail, none can be created in the scan.
This principle also applies when printing from a scan:
Below a certain value of detail in the negative, the print in the darkroom remained black in this area, even though there was some visible detail in the negative on the light table.
Below a certain value of detail in the negative, the print in the darkroom remained black in this area, even though there was some visible detail in the negative on the light table.
This could not be corrected by dodging, as the light shone around these areas and blackened the paper. Dodging only resulted in gray areas. With harder contrasts, you had already lost earlier.
The same applies to the process of file/scan to print. Below a certain level of detail, the paper can no longer depict the detail, although a slight hint can still be made out on the monitor. This can be tested before printing with a soft proof (paper/print simulation) on the monitor.
Details in the shadows can be challenging in low-key photography.
DURING THE SHOOT
If, despite the desired low-key effect, you want details in the shadows, e.g. the folds of black trousers, to be visible on the print, you should not underexpose the negative too much. With such motifs, the low-key effect is mainly created in post-production, not during shooting.
SCAN
With underexposed negatives, detail can be restored in the shadows if there is enough information available (see TIFF B). TIFFs that have been “rescued” in this way lack the “crunch”, they look too soft and too bright — but the detail is there. This makes them the only possible starting point for a “low-key” post-production which also shows shadow detail.
Example: TIFF A, © TW
Standard output TIFF with normal contrast in underexposed negative. Details in the blacks, here e.g. on trousers and shoes, are missing and can not be retrieved in the subsequent post-production.
Example: TIFF B | image © TW
TIFF file from the same scan file as TIFF A.
The contrast is too low, but there is detail in the shadows. “Low-key” post-production with details in the shadows can only be successful with such a source file.
↑ Both TIFFs were generated from the same scan.
YOUR SCAN ORDERS
Important: Please tell us what you intend to do with the TIFF before we develop it. We will then generate your TIFF from the scan according to your requirements, optimized for your subsequent post-production.
Analog darkroom techniques from the time a picture was taken are translated into digital and applied to the digital positive.
The intention of the editing is to create an image that corresponds in its appearance to the period in which it was taken. Special retouching can be carried out on request.
Artworks in a collection
Photographic reproduction on your premises
Paintings, watercolors, oil paintings, graphics, collages, photographs, carpets. Framed, glazed, permanently installed, not transportable for insurance or other reasons or permanently installed in a collection.
Size and position artwork: (almost) any, by arrangement
Scanner: Camera with 50 megapixel back. Plane-parallel alignment of camera and art work using a special laser to achieve full-surface sharpness.
Lighting: Flash system with extra-large softboxes for optimum illumination or “flying flash system” for narrow corridors or small rooms.
Further post-production of the reproduction files produced by us. Scope and type of execution by agreement.
Minimum order quantity: 20 or by arrangement.
Notes on the process
- A scan/reproduction produced by us is compared with the supplied original in such a way that it comes as close as possible to the original in terms of color and appearance. Depending on the process, this is done, for example, by measurement (Cruse) or KODAK color chart (KODAK Color Patches and KODAK Gray Scale).
- Further post-production, which intervenes in individual details or includes retouching or partial restoration, can be carried out additionally and by arrangement.
- The reproduction file is compared with the original under D50 standard light (5,000 K) on a calibrated monitor (110 cd/m²).
- Coordination for printing: We simulate the paper to be printed on later on a calibrated monitor (soft proof). The file is adjusted using the paper profile so that the maximum possible match is achieved in terms of color, contrast, and detail reproduction.
- The aim is to create the illusion for viewers of the printed image that they are standing in front of the original.
- In originals with a white border or large white areas, the “white” is (almost) never 100% white (RGB 255-255-255), although the human eye often perceives it as 100% white. Paper always has its own color (paper color). Scanners or cameras measure this white accordingly and output it in exactly the same way on the scan.
- In the subsequent print of the reproduction file, the paper white of the paper to be printed is therefore not automatically visible at these points, but the color tone of the paper white of the original. This paper white in the file can be modified in a separate post-production.
- Neon colors cannot be fully displayed by the printer, as some of them are outside the color space used.
We coordinate every scan order with you by telephone and advise you on all the details. You will then receive a quote in the next step.
- 10 scans for negatives and slides
- Cruse scans by agreement
Post-production up to the print-ready file is available on request.
Fine art prints, consulting scan
Bergmannstr. 68, 10961 Berlin.
Cruse scan
Direct delivery of the artworks to our scan workshop in Berlin by the customer, optionally by courier.
Negative and slide scans
Films and slides are packed by the customer and handed over to Digital Darkroom Berlin ready for shipment. Onward shipment to our scanning workshop is carried out by DHL (insured according to the agreed value of the goods) by us or by courier by arrangement.
Reproduction of artworks in collections
We will be happy to visit you. Europe-wide.
Frequently asked questions about scans and reproductions
This depends on the selected scanning process and the condition of the original.
As a rule, we can print up to 100 cm x 180 cm.
- A scan/reproduction produced by us is compared with the supplied original in such a way that it comes as close as possible to the original in terms of color and appearance. Depending on the process, this is done, for example, by measurement or KODAK color chart (KODAK Color Patches and KODAK Gray Scale).
- Further post-production, which intervenes in individual details or includes retouching or partial restoration, can be carried out additionally and by arrangement.
- The reproduction file is compared with the original under D50 standard light (5,000 K) on a calibrated monitor.
- Coordination for printing: We simulate the paper to be printed on later on a calibrated monitor (soft proof). The file is adjusted using the paper profile so that the maximum possible match is achieved in terms of color, contrast and detail reproduction.
- The aim is to create the illusion for viewers of the printed image that they are standing in front of the original.
Please first find out about suitable scanning methods under Scans & Reproduction.
Please send us an e-mail with the following information:
- Desired scanning method
- Type of work (e.g. oil on canvas)
- Number of works
- Size of each of the specific work
- Purpose of reproduction (e.g. printing an edition in A3+)
You can have the following work reproduced by us:
- Paintings, watercolors, oil paintings, collages, photographs and graphics
- Very large works of art, up to 150 cm x 250 cm
- Non-planar works, such as collages
- Working with fragile surfaces that must not be pressed / touched (e.g. pastel painting)
- Working with a varnished surface
- Thin, unstable, non-flat workpieces that must be brought into flat position using a suction wall
- Work with damage that is to be restored later
- Permanently framed works
- Negatives, glass negatives, slides in the sizes 35 mm (KB/35 mm), 6×6, 6×9, 6×12, 4×5″, 13×18/5×7″, 8×10″ and special formats
- Special orders
Yes. We are most familiar with reproductions.
Many of our clients are outstanding artists. A painting or collage is unique, but also has its price. Moreover, it is available for only one person. In order to make their art accessible to more than one buyer, visual artists like to have high-quality reproductions of their originals made by us. In the post-production phase, we adjust these in detail with the original on a calibrated monitor under standard light D50 (5,000 K). The resulting file is then printed on the finest artist’s paper, usually in small-format limited editions.
Editions are not an invention of our time. Already in the 15th century, paintings (uniques) were copied by using copper engraving, at that time an inexpensive reproduction technique. Thus pictures as editions found a rapid and multiple distribution and increased the degree of fame of the respective creator. Today, more and more artists sell their works also through Instagram – with limited editions of unique pieces they offer potential buyers the ideal and affordable entry into collecting art.
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