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Jul 14, 2015
As a 40-year veteran of commercial photography and lab services, Bob Bergeron knows the tools of the trade, and for Fine Art Reproduction, the best tool is not a conventional camera. Hint: Art + Cruse = Profit
Bob rappelling while shooting for Ranger Rick magazine
Bob started his photography career in 1970, leaving the U.S. Air Force, and putting in time at schools like the Rhode Island School of Photography, Rhode Island School of Design, Brown University and the Winona School of Photography, where he studied, taught, and shot alongside some of the best photographers of our time- names like Ray Cicero, Bob Gilka and Dean Collins. As a student he was hired to shoot the 1980 Lake Placid Olympics, and went on, in 1984, to start Tri-Color photo lab to serve commercial and professional photographers. He’s seen, and done it all, and he understands moving along with the times. He’s discovered the secret of getting the best Fine Art reproduction possible, and he’s sharing his secrets here: It’s not, as most photographers would have you believe, a high-end digital camera.
When it started, Tri-Color was a completely equipped commercial lab, with a full “wet line,” along with the latest digital technologies as they emerged. He’s had equipment like the Durst Theta 51, a machine only operated by a handful of the best labs in the country. He has Creo and Durst Sigma scanners, Frontier and inkjet printers, and still hand processes traditional B&W film.
For Fine Art Reproduction, however, he doesn’t use any of it. He uses the Cruse Synchro CS220-110.
“From a business perspective, I could capture large artwork by setting up a dedicated room, lighting, and using a top-end digital camera, but the Cruse system’s lighting is really what makes or breaks the deal. When you use a conventional digital camera and lighting to reproduce a painting, you always have sheen, specular highlights, and other flaws from the lights. You always need to spend time tweaking and adjusting the results. With the Cruse system the images need minimal adjustment or correction, it’s usually a few minor changes and you get a good first print. It’s really about efficiency and profitability.”
In the case of delicate and irreplaceable work, it’s also about handling the artwork as little as possible in the least destructive way. “We scanned a large map that was literally crumbling in our hands. With the Cruse, we just laid it gently on the table, and didn’t have to touch it again.”
Bob has seen the results of the years of constant refinement and expertise on the system.
“We’ve seen it all here, and constantly have to work with client-supplied files of poorly captured artwork. The Cruse system and the Synchron lighting set a standard that nothing else can reach, and that’s the secret to our reputation for reproducing Fine Art: Start with the best capture, and that is The Cruse Synchron CS220-110."
Bob posing with gallery wrap prints for a hotel chain
We specialize in providing oversize scans for the Reprographic, Fine Art Reproduction, Photo, Architectural, Cartography, Graphic Design, Educational, Military and Exhibit markets, producing the highest quality scans from original materials up to 48″ x 72″ in one pass, even larger with multi-pass scanning and stitching technology.
We’ve scanned everything from delicate, irreplaceable textiles to pinball tables and more.
The Cruse surpasses any oversized capture technology available, and in particular, surpasses traditional copy photography techniques.
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Our fine art printing process uses pigment based inks. Pigment printing processes have been utilized since the middle of the 19th century. The image stability of pigment printing is superior to that of any other method of printing. Pigment inks excel in permanence. A dye is molecularly soluble in its vehicle, but pigment is not. Pigment particles tend to be large enough to embed into the receiving substrate making them water-resistant. The particle nature of pigment inks ensures their archival superiority. A particle of pigment is less susceptible to destructive environmental elements than a dye molecule.
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