Colour reproduction when printing on glass is one of the most important aspects of our job, and one of the hardest to get right. When transferring art on canvas to a print on glass, working with digital image that has captured as much of the original colour information as possible is imperative. Without it, we can end up wasting valuable time and resources on colour correction, image re-touching and unnecessary sample printing.
Second to colour is resolution. Large format billboard advertising can get away with incredibly low resolution as the viewing distance is so great. For the printed glass that will be going on the Munday Wall, it’s a bit trickier. We need a print that looks great when viewed from 30m away driving past on the road, but looks just as good when viewed up close, as it will be while reading the printed narrative we plan on including in the print.
As you can probably imagine, enlarging from 1.2 x 1.6m to 8 x 9.5 while satisfying these two criteria requires a serious camera. So we got on the blower to Tony Nathan, co founder of IMAGELAB, a multi-disciplinary creative studio and production house specialising in art enlargement using a Hasselblad HS-50MS, one of only four in Australia, and the only one in WA.
As stated by IMAGELAB, ‘The HS-50MS is capable of producing international standard art documentation with a depth of field and colour second to none. This system is the new international benchmark in digitization and used by prominent art institutions including the Tate Gallery in London and the Metropolitan Museum in New York.’
Tony has been busy getting our artwork photographed over the last week, and we are seriously looking forward to seeing what the HS-50MS is capable of. We’ve seen a low res jpeg (9mb!) of the Munday Wall artwork, and the colours are astonishing. We’ll be getting the artwork and hi res image back shortly, so watch this space.