Recently I have been busy in a series of workshops to the Pinacoteca Agnelli, in my town Torino. In collaboration with Nital, official Nikon importer for Italy, a reproduction of a painting of Canaletto (1650) has been realized with D800E and 105mm Micro Nikor lens. The final JPG file, 237 MB, 15447 × 11726 pixes, has been printed on a single 4x3 meters sheet of plastic!
That is wonderful Marco, really impressive use of the technology. Can you describe some of the techniques used? Using these super resolution cameras, it will be possible for a workable budget for secondary museums to have faithful reproductions of rare works that would never be available in exchange exhibitions. Was this a demo of the capabilities or was the reproduction itself the main goal? What printing method was used? Stan St Petersburg Russia
The original painting is around 1x1,20 meters. It was necessary to have a great dimensions background for a workshop with theatrical suits of the sixteenth century . In this occasion nine mosaic photos have been performed with a modified D800E with geometric reference nodal grid. Subsequently the photos has been united with a software studied and modified for this particular demand. In the meantime it was necessary for the gallery to have a search on the painting, therefore we have used a D800E modified for seeing in seven bands, three RGB visible - three infrared - one ultraviolet.
For now the experiment has concerned the printing method. It is very difficult to check the entire workflow well, especially for color rendition. The digital printing by UV inks on 400 grs PVC banner mounted on self-tens aluminum structure.
This work is directed by a specialist engineer, Marcello Melis. His site www.profilocolore.com is only in italian. If you need to have more info in english, I can give you his telephone number.
That is really fascinating. Thank you. So with the UV and IR bands, study of the painting's underlayment can be done without the presence of the original, on a larger platform...that is really interesting and of importance to curators all over. I am a frequent visitor to the State Hermitage restoration workshops here in St Petersburg and I have not seen that type of work before, is this an original technique for this project? I know one of the many art restoration experts there, fairly well, we dated for a couple years. Her specialty is Frescos and assisted in the restoration as consultant, with the ceiling restoration of the Sistine Chapel. I will give Marcello's web address to her so she can pass it on to the section that would be interested. That one lab has 275 PhD restoration scientists and hundreds of technicians and craftsmen so I have no idea of who to contact myself. They might be well aware of this.
Is this work going to be publically viewable? I would love to see it. Stan St Petersburg Russia