Recommended
More Related Content
Recently uploaded
Recently uploaded (20)
Featured
Featured (20)
Mcn2010 s farnand_re_examining our objective
- 1. Image Quality in Fine Art Reproduction Susan Farnand Franziska Frey Chris Jiang Rochester Institute of Technology
- 3. Project Objective Understand the optimal reproduction processes presently available Develop a framework to serve as a guideline for museums to follow when reproducing fine art
- 5. Heidelberg Sheetmaster at Print Applications Laboratory at RIT
- 6. Psychophysical Testing: Hard copy experimental set up
- 7. Psychophysical Testing Two experiments involving hard copy comparisons following a rank order protocol With the original ‘artwork’ present Order the prints from best to worst rendition Observers were asked which was the best reproduction or representation of the original Without the original present Observers were asked which print they preferred
- 8. Psychophysical Testing Observers had wide range of experience with fine art reproduction Curators Fine art photographers Art historians Conservators Librarians RIT students and staff 24 in experiment with original, 10 repeated the test 2 months later without the original and 4 in experiment without original
- 10. Results for Aquatint 0 5 10 15 20 25 0 10 20 30 Mean Rank - Original MeanRank-NoOriginal
- 11. Results for Mountain 0 5 10 15 20 0 10 20 30 40 Mean Rank - Original MeanRank-NoOriginal
- 12. Experiment III: Original v No Original Image Corr. Coef Adj. CC Mean 0.73 0.86 Aquatint 0.47 0.73 Bridge 0.71 0.85 Daisies 0.71 0.89 Firelight 0.87 0.92 Mountain 0.94 0.98 Photo 0.67 0.78
- 14. “When you look at the cap long enough…you see that he has not really painted it white, but blue, and violet, and yellow.” “But it’s a white cap, you said” “Yes, that’s what is so strange. It’s painted many colors, but when you look at it, you think it’s white.” -Girl with a Pearl Earring Tracy Chevalier
- 15. “The pitcher and basin became the most complicated – they became yellow, and, brown, and green, and blue. They reflected the pattern of the rug, the girl’s bodice, the blue cloth draped over the chair-everything but their true silver color. And yet they looked as they should, like a pitcher and a basin.” -Girl with a Pearl Earring Tracy Chevalier
- 17. A special thanks to the Andrew W. Mellon Foundation for supporting this work farnand@cis.rit.edu fsfpph@rit.edu
Editor's Notes
- “When you look at the cap long enough…you see that he has not really painted it white, but blue, and violet, and yellow.” “But it’s a white cap, you said” “Yes, that’s what is so strange. It’s painted many colors, but when you look at it, you think it’s white.” “The pitcher and basin became the most complicated – they became yellow, and, brown, and green, and blue. They reflected the pattern of the rug, the girl’s bodice, the blue cloth draped over the chair-everything but their true silver color. And yet they looked as they should, like a pitcher and a basin.”
- “When you look at the cap long enough…you see that he has not really painted it white, but blue, and violet, and yellow.” “But it’s a white cap, you said” “Yes, that’s what is so strange. It’s painted many colors, but when you look at it, you think it’s white.” “The pitcher and basin became the most complicated – they became yellow, and, brown, and green, and blue. They reflected the pattern of the rug, the girl’s bodice, the blue cloth draped over the chair-everything but their true silver color. And yet they looked as they should, like a pitcher and a basin.”
- “…chrysanthemums: autumnal bursts of saffron, fushcia, and yellow…they deserve more than photography’s bleak palette of mourning”