There is likely to be a difference between our reproduction and the photograph of an original masterpiece you might see in an art book or on the Internet.
Do not assume that an image on the World Wide Web or in an art book has been diligently compared to the original work and then color corrected. That is very unlikely and usually whatever comes out of the scanner is what the publisher or webmaster uses.
Photos of the same masterpiece painting always look different from one art book to another and even from one page to another page in the same art book.
Frequently the color of photographs distributed by the actual owner of a painting such as a museum are intentionally inaccurate because they don't want the painting reproduced accurately.
We have found that photos we shoot ourselves are usually much better than a museum's or gallery's photos — even when we are not permitted to use a flash or a tripod.
Sometimes we are shocked at how incorrect “official” photos can be.
However, photos of paintings to be auctioned that have been shot by famous auction houses for their catalog are often quite good as are many art prints (although we have been very unimpressed by the quality of prints from the Art Renewal Center.)
No matter how many photographs, prints, or posters of a particular painting we have, no two ever look exactly the same (even in the same book).
And when we photograph original paintings ourselves, the prints that come back from the photo lab also vary.
So we have our staff carefully analyze all the large, clear, color photos of the original art work that we have in our archives, in addtion to our own original-size prints, in order to get the most accurate and true color possible and as much detail as possible.
In many cases, two different photos of the original work are used for master images by the painter and the staff preparing the full-size, color-corrected prints used by the artist and quality control inspectors.
The two photos of the same painting are usually signficantly different and we use the best aspects of each. That means some subjective decisions need to be made by us if you have not specified any preferences.
We also ask our painters to use their experience painting other works by an old master. We also ask them to tap into their deep knowledge of the colors and techniques used by the original artist during the year or period the painting was done. They are forbidden to add their own “interpretation”.
We will make a painting any way you want. Your satisfaction is the only thing that matters to us.
When you commission your painting, please send us the photo of the original work that you want used if you do NOT want us to use our own expertise and experience to choose the best.
The image on our web site is usually the best image we have. Because our site is old, some of the images are also very old and we may have acquired newer, better photos since the web page was created.
We will strive to make it closely resemble the photo of the original work that you send to us, regardless of own opinion about the accuracy of the color scheme.
Other factors that will substantially affect the perceived color of a painting is the lighting source (if artificial light fluorescent, incandescent , halogen or flash photography is used) and weather (time of day and climate if natural light is used).
Tropical sunlight and temperate sunlight differ greatly.
Morning light and afternoon differ greatly. Winter and summer light differ greatly, even in tropical Thailand.
In winter months, we've noticed that the light in Bangkok tends to give the paintings a yellow hue that does not accurately reflect the actual color tones.
Sunny and overcast conditions produce drastically different colors.
And still photos shot using our video camera (Panasonic) differ greately from those shot with our digital camera (Canon). Video camera stills seem to often have a cyan cast (The canvas is white. If it's not white in the photos, that tells you how much you need to compensate.)
And every change of the settings on the digital camera also impacts on the accuracy of the colors.
We find one obscure manual setting (macro with forced flash from a certain distance) is the ONLY setting that accurately captures colors similar to what we can see with the naked eye.
All these things make it hard work to judge a painting that isn't right in front of you and even more difficult to judge an original work in one location with a reproduction in another with neither of them in your presence.
If you have any preferences about master images and/or color schemes, please state them prior to work starting. Thank you.