Scanning
Digitising film is not a mechanical step. It is the moment that decides how much of the negative will still be there by the time it reaches the print. It gets the same attention as the printing.
Large format and reflective originals — in the studio
The studio’s Scitex EverSmart Supreme II is one of the finest flatbed scanners ever built. Its XY Stitch technology handles large-format negatives and reflective originals at a maximum optical resolution of 5,600 ppi — not interpolated.
Colour management is done here, on the original in front of us, not applied afterwards from a preset. Scans are delivered cleaned, with colour correction based on the original.
Above ten units, the work is quoted.
Archives
Batch scanning for larger bodies of work: negatives, positives including mounted slides, reflective originals, prints, glass plates. This is the work that suits someone with an archive to digitise — a studio, a foundation, the estate of a photographer — rather than a single original to look at.
For this kind of project the material is seen first, then quoted.
Digital contact sheets
One file per 135 roll, 6,000 px on the long side: enough to archive the roll and to choose which frames deserve a print. The contact sheet can also be printed, at 50 × 60 cm.
35 mm, 120 and up to 18 × 24
For small and medium format the studio works with labs it has used for years, which have the right machine for those transparencies. Every original goes where it performs best — not a fallback, but the reason the result holds up.
On these formats scanning is offered alongside printing and within a project, not as a stand-alone service for single negatives.
Alongside conventional scanning, negatives can also be reproduced with a high-resolution digital camera: on many originals this gives excellent results for detail, colour and tonal range.
Scanning and printing together
The two combine well: fine-art portfolios made from film, or small working prints at 10 × 15 cm for editing.
Price list
On request.