We’re really excited to add our Digital Fabric Print Service to our mainline services. After doing some exciting custom pieces, we’re ready to take the leap to the creative new opportunities they offer as part of our standard services.
With a gorgeous range of fibres – from pure silks and cottons, to heavier linen and bamboo, it’s opening the way to creating innovative and beautiful results in your artwork. We can’t wait to see how you will be using it!
Find out more about it here to ask any questions!
There are over 20,000 professional photographers in the UK. Of these, 1,000 occupy a niche at the top end of the market, who may invest in high quality image production with the use of large format film and extremely high definition digital equipment. This is a key market for the company as these formats make the best use of their technological expertise and knowledge, and gives them the opportunity to shine against other providers.
The next 4,500 are high-end and the remainder form a spectrum between medium and high- end. Many of these are semi-professionals who may work as freelance photographers and submit their images to larger photographic archives and libraries such as Alamy, Getty and other subject specific organisations.
Increasingly, due to decreasing image quality requirements many photographers in this sector turn to medium-to-high end digital equipment, moving away from traditional film formats. However at Iconclast Images, we adapt our services to retain this sector in our customer base, by creating unique services for digitally produced images.
At Iconoclast Images we analyse and dissect using spectral analysis – atomising the artwork a process, which can take days to months
We then rebuild by depositing the essence of the artwork layer by layer on a media of choice again a process which can take days to months.
All in the name of fine art!
I’d like to explain a little about what art means to us, when we work with artists and photographers.
You could draw a similarity between music and visual art – we see them both as being part of a shared experience. When you go to a concert, only the people inside the hall will experience fully what the musicians are conveying.
But when you make a recording, you give a wider audience the opportunity to share and enjoy that experience – to feel what the musicians were portraying in that brief moment.
In the same way – when we look at visual art – we want to recreate the feel and experience somebody experiences in a gallery, and what the artist is thinking and observing when they create something – we’re recreating the artist thoughts and mind set and his view as an observer of the artwork – which is a work of art in itself, not a print.
We provide our clients with consistently high-quality colour management solutions:
• State-of-the-art drum scanning services, with exact reproduction of transparencies, negatives, and prints within the tolerance of the scanner. (Please note that negatives are matched to a photographic contact print.)
• Exceptional archival fine art and photo prints.
• Calibration services for exact characterization of scanners, monitors and printers for both RGB and CMYK workflows from inkjet to press.
• Customized colour management software solutions tailored to individual requirements.
• Web design and asset management.
Our Software Research & Development team is second to none, and have worked extensively in a broad range of fields to develop cutting edge technological solutions. With a core background in Information Technology, Mathematics and Physics, we take a unique approach to problem solving and have completed successful projects for clients across the world.
Our latest project has involved 12 years of development work, resulting an outstanding level of imaging and art technology. This result is set to transform the imaging industry upon its release, and with the industry being one of the fastest growing sectors in the world.
Currently in the arts sectors, the use of digital imaging is widespread in a range of applications, from publishing and advertising usage through picture libraries specialising in well known art images, to the production of mass-produced artwork reproductions, often known as ‘Giclée prints’. The wide prevalence and increased affordability of desktop publishing and print solutions has meant that the market has become oversaturated in low to medium end reproduction work, and art organisations have looked for alternatives to distinguish and add value to their collections.
At Iconoclast Images, we work to provide a niche service in the areas of high-end artwork archiving for reproduction, analysis and conservation purposes.
State-of-the-art drum scanning with 100% reproduction of transparencies and negative and photographic prints.
Our drum scanning service provides the highest standard of quality for the most demanding professional archives, to ensure that your images are preserved forever. We can reproduce any transparency from any brand of film. We use the ICG range of drum scanners, renowned to be the best drum scanner on the market. At Iconoclast Images our drum scans ensure 100% precision and accuracy, extracting the maximum amount of colour information from any original, to give you an exact reproduction of the original image within the tolerance of the scanner.
The key to understanding the Maestro suite is a process known as ICC Profiling, a relatively young feature of digital colour management. ICC stands for International Color Consortium. ICC Profiles map the behaviour of devices (scanners, digital cameras, computer monitors, printers) used in the pre-press and publishing world. A computer’s colour management system then uses the profiles to moderate the transmission of digital data between devices and to produce consistency and predictability across the board.
ICC Profiling is slowly gaining acceptance among professionals, but is hampered by complexity. ICC-compliant applications currently on the market take a theoretical approach to colour that is alien to the wit and understanding of traditional practitioners of the industry for which is was designed.
In a typical colour workflow system, input devices range from digital cameras to scanners, output devices from four-colour process proofers and printing presses to the worldwide web and the Internet. In between sits a computer with its monitor display, operating system and software applications. Once all these displays and devices have been profiled, digital colour management is transparent and automatic to all users, wherever they may be in the colour publishing process.
In the background, the processes are complicated by other standards. For example, the output of scanners and the display of a colour monitor conform to the RGB Colour Space model (Red, Green, Blue). Printers and proofers utilise a four-colour process, which uses another Colour Space called CMYK corresponding to the ink colours – Cyan, Magenta, Yellow and Black. These standards can vary from manufacturer to manufacturer.
Iconoclast Images is committed to researching and developing with artists and major institutions to analyse and recognise Art as Art – to look at how we can make art more accessible, shareable and enjoyable as works of Art – not as prints but as works of Art in themselves.
We believe only as an artist can you view art through the mind set of an artist and we are passionate about it.