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straight edge. Smaller objects such as seeds can be placed on a microscope slide and secured using small adhesive labels. Another, more involved technique is to remove the lid and turn the scanner upside down, then move the scanner rather than the subject. This allows the imaging of extremely flexible objects as well as objects such as small plants which cannot be turned upside down. A variation of this method was used in a patented system which involved mechanically moving an inverted scanner to generate multiple views to produce 3D lenticular artwork. This was marketed briefly as a "lenticular starter kit." The product has since been discontinued but the inventor continues to use it to produce his own artwork.
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sensor to cover the entire width of the bed, while keeping the bed physically shallow. This also gives better than expected depth of field, and introduces a certain amount of parallax when the same object appears at different positions on the bed. This allows the generation of stereo pairs, much like the "shift" technique where a single camera is shifted to produce right and left views of a still life scene.
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294:. As long as the subject can be placed on the scanner bed, the scanner is excellent for capturing very high resolution images, within its limitations. This also has a very practical application, as it can be used to make images of items being sold on auction sites such as eBay which are too small to be easily photographed with consumer level digital cameras.
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This technique probably goes back to the earliest days of flatbed scanners and was mentioned on the photo-3D mail list by Bob Wier on
December 14, 1995, though he makes vague reference to earlier experiments by others. Though it could be described as a trivial application of a centuries-old technique
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Since the subjects are often placed in contact with the scanner, there is a high potential for damage to the scanner from objects scratching or cracking the surface of the bed, or from liquids that might seep from the subject into the interior of the scanner. These risks can be mitigated by placing a
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Flatbed scanners typically have a hinged cover that covers the bed, and reflects light back into the scan head. This cover is usually removed or propped open when scanning 3-D objects, to prevent damage or compression of the subject. Removal of the cover also allows the artist to use additional light
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of objects. The objects are arranged by the artist on the scanner bed, and then captured. Since the artist is working from the back of the image, it can be difficult to get the desired arrangement. Scanning software with the ability to generate a low resolution preview scan can help in obtaining the
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There are only two standard flatbed scanner sizes: "document" (slightly larger than a sheet of letterhead size paper and "large format" approximately the size of two sheets of paper side-by-side. Many scanners advertise two resolutions, an optical resolution and a higher resolution that is achieved
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Never manipulating the scan, from 2003 artist Brian Miller pioneered movement, lighting, and background in scanner photo capture while maintaining classical subjects like figures and fruit; work available at
Pierogi Gallery, NY. Exhibited 2005 to 2009 Madrid, New York, East Hampton. Published 2005
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The high resolution of consumer level flatbed scanners allows taking stereoscopic images of objects that would otherwise be possible only through a stereo microscope, with similar limitations involving depth of field. The scanner, of course, does not feature adjustable focus, so the sharpest focus
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Images generated this way can be edited with stereo imaging software and viewed as traditional stereo pairs or can be converted to any of a number of formats, including anaglyphs, which are viewed using common bicolor 3D glasses, such as those often used with 3D TV and printed materials. Anaglyphs
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to a new device, the concept is not widely known, even among stereo photography enthusiasts. This may be due to the common misconception that the typical flatbed scanner uses an imager that spans the width of the bed, thus leading to the assumption that shifting objects would not produce parallax.
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between the scanning and the printing process provides the artist with a greater level of control, allowing, at a minimum, the ability to "clean" the image by removing specks and other imperfections in the capture. With the increased availability and affordability of flatbed color scanners in the
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A variation of macrophotography involves using the scanner to produce stereoscopic or "3D" images of small objects. This is made possible because of the optical system of a typical scanner, which uses prisms to put the sensor at an optical distance from the glass of 3 to 4 feet, allowing a small
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of most scanners is very limited, usually no more than half an inch (12 mm), but the built-in light source provides excellent sharpness, color saturation, and unique shadow effects. The time it takes the scanning head to traverse the bed means that scanners can only be used to capture still
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Capturing a moving subject with the scanner can be viewed as a problem, or as an opportunity for artistic effect. As the subject moves during the scan, distortions are caused along the axis of the scan head's movement, as it captures different periods of the subject's movement line by line in a
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The most basic version of this technique involves simply placing the object upside down on the scanner and moving it by hand, but this leads to irregularities between the two images. Better results can be obtained by placing the object in a glass front display box and sliding the box against a
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was one of the first to exploit this ability in 1968, altering the variables of the photocopying process to produce artwork rather than mere copies. Though the physical process of arranging objects on a glass platen to capture a photogram is shared by both "Xerox" artists and "scanographers",
139:
1990s, photoartists could now purchase a scanner rather than rent this equipment and the technician necessary to operate it, as Darryl Curran did in the early 1990s. Renting studio time at Nash
Editions, Curran captured "scannograms" of objects from 1993-97. Harold Feinstein's
525:, just as a digital photograph does, further manipulation of the captured image is possible as well. This may be as simple as flattening the background to enhance the "floating" effect provided by the scanner to complete reworking of the image/photograph.
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barrier to protect the bed. Alternatively, picture frame glass cut a few inches larger than the scanner housing will protect the platen and the device from weeping botanical specimens, paints, melting ice, burning leaves or whatever the challenge.
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regarding image quality- scanner photography has more in common with large format photography. The process records extremely fine detail with a rather shallow depth of field and produces a digital file (or "digital negative") for printmaking.
260:. A higher optical resolution is desirable, since that captures more data, while interpolation can actually result in reduced quality. The higher the resolution (meaning the number of pixels per inch, "ppi"), the larger the print size.
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array capturing device. Fine art scanography differs from traditional document scanning by using atypical objects, often three-dimensional, as well as from photography, due to the nature of the scanner's operation.
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Using a flatbed scanner to scan items other than paper documents exceeds the original purpose of the scanner, so special care must be taken with the process. The bed of the scanner is typically made of
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layer of transparent protective material, such as clear plastic film, onto the scanner bed. Another approach is to invert the scanner, so the bed is above the subject and not quite in contact with it.
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Scanners can also be modified to provide additional capture abilities. For example, the scanner, with the illumination removed or disabled, can be used as a giant CCD replacement, producing a
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A piece of amber imaged with this technique. Looking at such an image on a high resolution screen or printout allows studying fine details in a way not otherwise possible. Anaglyph, Red left.
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The process of creating art with a scanner can be as simple as arranging objects on the scanner and capturing the resulting image; in fact, some early artists in the field worked with
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of a flatbed scanner can exceed 5000 pixels per inch (200 pixels per mm). Even at a relatively low resolution of 1200 pixels per inch (47 p/mm) a
202:"Self portrait with scanner" shows the effects of the focused lighting and limited depth of field when using a scanner to capture a 3-D object.
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318:. The artist can use this by aligning the direction of the scan head's movement to deliberately cause the desired distortion.
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The simplest use of the scanner, which also most closely matches its use for document capture, is as a specialized tool for
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drew eight artists from across the United States whose subjects ranged from scanned and digitally manipulated historic
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series contained scanned images side by side with traditional large format photography. Joseph Scheer scanned moths in
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sources positioned above the bed, which can be used to enhance the depth captured by the scanner.
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objects, and common items used are flowers, leaves, and other suitable "still life" subjects.
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Book published by Lola group, in conjunction with Carmen de la Guerra gallery exhibition.
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A wide variety of objects have been stereographed in this fashion, including figurines,
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Brian Miller's
Spatial Distortion Pictures available at Pierogi Gallery, Brooklyn, NY.
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An external light source and a moving subject produce different effects in this image.
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Meehan (2006), Chapter 6, "Using the scanner as a close-up camera", by Ruth Adams
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This article is about the graphic arts medium. For medical scannography, see
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desired arrangement before the final, high resolution scan is made.
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photographs and drawings to birds and insects found by the artist.
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to capture and print in a single step, resulting in the field of
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at a fraction of the cost of professional large format systems.
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Library listing for "La
Sexualidad Es Tan Fragil Como el Amor"
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can be printed with normal printers and used as 3D posters.
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Digital Art
Workflow: Or how to Avoid Immeasurable Progress
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Propping the cover open and adding an external light source
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While the result of a scanner capture provides a work of
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Articles about
Spatial Distortion Picture exhibitions
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done on a scanner by French artist
Christian Staebler
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Miller's art featured in Color
Elefante art journal
721:Artist Brian Miller's Spatial Distortion Pictures.
297:A common artistic use of the scanner is to capture
1027:contains examples and information about techniques
81:of objects for the purpose of creating printable
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174:A 2008 exhibition titled "Scanner as Camera" at
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501:, fossils, mineral specimens seeds, and coins.
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790:""Scanner as Camera" Opens at Staniar Gallery"
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463:Favosites fossil imaged using this technique.
218:sized image would be 134 megapixels in size.
155:in La Sexualidad Es Tan Fragil Como el Amor,
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638:"Joseph Scheer: Confessions of a Moth Man"
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572:The Magic of Digital Photography: Close-up
149:Night Visions: The Secret Designs of Moths
50:discs placed at an angle to the bed show
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697:Harold Feinstein (September 22, 2005).
636:James A. Cotter (July–September 2003).
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615:"Photocopy Art: Who Were the Pioneers"
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494:will always be closest to the glass.
574:. Sterling Publishing Company, Inc.
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206:Scanners differ significantly from
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871:Samuel W. Kochansky (March 2004).
672:Harold Feinstein (March 1, 2000).
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898:"The Scanner Photography Project"
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176:Washington and Lee University
911:Christmas bear (aka 3D bear)
613:David Liss (December 1995).
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1025:http://www.scannography.org
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163:, and 2007 Color Elefante,
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210:in many areas. First, the
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114:, artist in residence at
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124:Art Institute of Chicago
1041:Photographic techniques
875:. Xlibris. p. 39.
653:Cite journal requires
570:Joseph Meehan (2006).
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364:Right frame
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1020:at Wikimedia Commons
699:One Hundred Seashells
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338:Left frame
322:Stereoscopic scanning
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312:slit-scan photography
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806:West Coast Imaging.
505:Further manipulation
112:Sonia Landy Sheridan
30:"Bryone-dioique", a
1046:Digital photography
858:"My Current Camera"
808:"Dale Hoopingarner"
674:One Hundred Flowers
545:Digital photography
272:digital camera back
180:Lexington, Virginia
118:and founder of the
75:scanner photography
16:Graphic arts medium
988:stereoscopic seeds
896:Mike Golembewski.
856:Mike Golembewski.
841:Mike Golembewski.
600:East Coast Artisan
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310:manner similar to
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212:optical resolution
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145:One Hundred Flower
120:Generative Systems
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1016:Media related to
933:Kamac's anaglyphs
708:978-0-8212-6206-1
683:978-0-8212-2665-0
619:Artfocus Magazine
596:"Ellen Hoverkamp"
581:978-1-57990-652-8
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1051:Digital art
1018:Scanography
977:Mineral kit
535:Digital art
519:digital art
67:Scanography
60:diffraction
1035:Categories
999:Honest Abe
966:3D fossils
551:References
499:fulgurites
278:Techniques
56:refraction
52:reflection
32:still life
944:Amaranth
523:media art
230:Equipment
184:ambrotype
169:1698-9295
110:. Artist
108:Xerox art
529:See also
299:collages
132:computer
130:Using a
241:plastic
188:tintype
98:History
89:with a
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216:letter
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134:and a
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221:The
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