E.S. Curtis Folio 11, Plate 329 Courtesy private collection of Paul Gonneau. Prints available from Image 4.

Some of the work we're most proud of, and is most fulfilling, is the reproduction and display work we perform for museums and museum designers across the United States. The first order Image 4 ever produced, way back in 1987, was for the Manchester Historical Society. We continue to support these organizations today.

Click here for a color catalog of our Fine Art and Museum Reproduction Services

The second area we support our museums is in the exhibition, interpretation and display of collections. For more on our museum displays, please click here.

Reproduction and Duplication

Reproducing fine art, archival images and artifacts is a science all to itself. Image 4 has developed internal practices and a methodology specifically designed to support the needs of high-value and historically significant materials.

Appropriate Storage and Handling

First, Image 4 has constructed a special climate-controlled art storage room, built of fire-resistant materials. There is no sprinkler in this room to eliminate the opportunity for accidental water damage. Art "flats" are set 12" off the floor, and we illuminate with non-UV low-candlepower lights to reduce the affects of fading. This room is also segregated from our chemical storage, mixing and use areas to reduce the opportunity for airborne particulate contact.

ALL of our staff is trained in art-handling techniques. All our staff has formal education with some sort of photographic or art degree involving materials and processes of fine and photographic art. You can be sure we take the appopriate care with your valuable originals - film, plate, flat art, or dimensionals.

Our Client Services manager has years of experience in galleries in the Washington D.C. area, and our owner is the veteran of more museum installations than he cares to count. When our clients require, we call upon the services of two highly experienced local curators as advisors and consultants.

Image Capture

Our copying technique still begins with film! Optical image copying can be superior to direct-digital capture for many types of art. For instance, we can filter out the effect of "silvering" when we use film. Flat bed scanning will only reflect the image into the scanner glass, causing a hot spot in your scan.

Textures can be captured with film in a way not possible with direct scanning. Gouache, heavy oils, multi-layer art can all be photographed rather than scanned, with a wide amount of control.

We use a Forox Optical Printer to capture 35mm positives - slides. We use an extremely accurate Nu Arc Color Seperation Process Camera to capture art up to 20x24", and we use Nikkor Apo-chromatic lenses on our 4x5 and 8x10" studio cameras to capture sheet film for larger, or dimensional items. We have photographed images up to 84" wide.

We process all our own Fujichrome film in-house in a dip and dunk E6 processer, assuring that nothing touches the film but chemicals, water washes and stabilizing rinses. Scratch free and dust free chromes are the key to good scanning!

Film and Art Copying Services

Scanning of Film and Reflective Art

Scanning is accomplished using Imacon and Hell/Scitex scanners. We can scan from 35mm to 8x10" films, and up to 12x18" flat artwork. For sizes larger, smaller, or for dimensional items, we must photograph these first. Whatever your required dpi, our scanners can furnish it!

Scanning Services

Image Reproduction

Duplicate Negatives and Transparencies

Believe it or not, even in this digital world, there are good reasons to use a duplicate film image. First and foremost, it's a true record of color and density. Film cannot be manipulated post-production as can a scan. So, if you need to record and store the EXACT color qualities of a painting or object, film is the way to go.

Second, if you need to communicate these properties to someone else, perhaps across the globe, film provides a visual continuity that a digital file cannot.

Third, almost anyone can obtain a high-quality film scan at a good local pre-press or digital imaging house. In order for the color output to be as accurate as possible, the film positive (chrome/slide) is your visual quality control for the reproduction process.

Fourth, and perhaps most importantly, film is a fileable, cross-reference of the images in your digital archive. If a disc ever is scratched, if a server drive ever crashes, you have something to start with to reconstruct a collection.

LightJet Photographic Prints

The place where digital technology has made a great difference is in photographic printing. We use the highest-quality imager anywhere - the CSI LightJet. The LightJet is the highest resolution, longest tonal scale imager available (406dpi, 3.2u, 36-bit).

This process uses lasers to "burn" the image from a digital file into true photographic paper. To assure the most stable images for you, we use Fuji Crystal Archive papers and chemicals. These materials are proven the most stable, sharpest and most color-accurate photo materials available. See these longevity reports and paper information.

Combined with our Mac G4 workstations, we can apply a level of control that the custom hand-printer could only dream about! For instance, if a red is not printing correclty, we can adjust the individual color level, adjust the contrast, adjust the density, correct the curve, - in short, many fine controls can be applied to correct a problem or challenge.

As an aid to color fidelity and repeatability, our entire facility is color managed with Praxisoft Color Manager. After 5 years of use, we believe this is the most comprehensive color management suite available.

LightJet Fuji Crystal Archive Photographic Image Reproduction
From Print-ready Digital File

Epson Giclee Fine-Art Image Output

One of the services we provide to collections managers and curators is that of reproductions of an original. There are lots of reasons for reprinting an original from your collection. Here's a few we see frequently:

Small-scale or quantity reproductions of favorite images in your collection, for sale in the gift shop, for gifts to patrons, and for advertising display within and without the facility. Ask us about our revenue-sharing reproduction program!

When an orginal is sent out of facility for restoration or conservation, we are often asked to copy and provide a replacement image to hang as a place holder.

Another common use for Giclee prints is as an image to hang in the place of a particularly unstable or fragile original. We have reproduced the Charter map - the basis of all law for our state - for the State of New Hampshire for this purpose.

How We Do It

The New Epson 9600 is the highest resolution, longest tonal scale Giclee printer available! (2880 dpi, 4.1u, 36-bit). This printer is produces prints that are far superior to any other ink-jet and spray-based process. The resulting prints are truly reproduction originals! See www.wilhelm-research.com for a review of this fine machine.

Image 4 has tested and calibrated our output on several substrates.Although there are many other substrates available, Image 4 has standardized on these fine materials. We use Crane Watercolor paper, Somerset Velvet Fine Art paper, Crane Velvet, and William Turner heavy texture watercolor rag paper. We also print onto fine-art canvas.

Epson 9600 Giclee Prints
From Print-ready Digital File

Dimensional Cutting, Wrap Laminating, and Float Mounting

Dimensional Cutting		Float Mounting	Wrap Laminating

Image Finishing

Our largest single department is our print finishing area. We use 2 roll laminators under pressure or heat and pressure to bond your graphics to a substrate board. The widest we can mount is 72", the longest mount board available is ten feet, and we have encapsulated images over 60 feet long!

All our laminates and adhesives contain UV inhibitors to extend the life of your display. All our adhesives are pH Neutral, and have an acid barrier in them. All our mountboards are pH neutral and acid-free.