Colour Photography vs Electronic Digital Imaging as a System for Recording Works of Art^*

* This article is based on a paper titled “Electronic Digital Imaging Systems and Art History; Advantages and desirability” presented at the Symposium on Colour Imaging Systems held by the Royal Photographic Society from 22nd-26th September, 1986 at Clare College, Cambridge. It has not been possible to reproduce the illustrations to that paper in this article.

Abstract

This paper indicates the various limitations of conventional colour photography as a medium in which to either record or reproduce works of art and architecture in general, and painting in particular. Spectral response of emulsions, problems of processing and lack of stability make the use of conventional colour photography as either an archival record or a system of reproducing works of art and architecture problematic, even under optimum conditions. The advantages of electronic digital imaging are discussed with reference to the ability to control all stages of image production, storage and retrieval. Higher quality images of greater resolution and colour fidelity to the original are theoretically possible. Such images would be stable, permanent and above all far more accessible than conventional photography permits.

Notes

* This article is based on a paper titled “Electronic Digital Imaging Systems and Art History; Advantages and desirability” presented at the Symposium on Colour Imaging Systems held by the Royal Photographic Society from 22nd-26th September, 1986 at Clare College, Cambridge. It has not been possible to reproduce the illustrations to that paper in this article.