DIFOART produces facsimile prints and artwork reproductions for museums, archives, libraries and private collections at its studio in Istanbul. A facsimile is a one-to-one reproduction of an original at its true size, colour and surface texture; what separates it from an ordinary reproduction is that fidelity is measured, not judged by eye. DIFOART handles the whole chain in one place: high-resolution scanning of the original, colour management, a physical proof print, production on archival paper, framing, and on-site installation. Continuing a photographic laboratory tradition that began with REFO in 1969, DIFOART has been a Hahnemühle Certified Studio Gold since 2013.

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What we reproduce

Object types DIFOART produces facsimiles from:

- Glass plate negatives — fragile archival material requiring specialist handling
- Historical photographs — prints, negatives, slides, albumen and gelatin silver
- Maps and plans — oversized, creased or faded originals
- Manuscripts and documents — page by page, at original size and paper tone
- Posters and ephemera — exhibition posters, notices, tickets, brochures
- Paintings, engravings and prints — brushwork and paper surface preserved

DIFOART has produced work in all of these categories for institutional archives.

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Scanning and digitisation

The quality of a facsimile is decided at the scanning stage, not at the printer. DIFOART digitises originals on a Fuji Finescan high-resolution scanner. Glass plate negatives, film, transmissive and reflective originals are all captured on this system, and the resulting file serves both the facsimile production and the institution's own digital archive. Scanning is planned around the physical condition of the object — fragile or restored material follows a separate protocol.

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How colour accuracy is achieved

DIFOART builds colour fidelity in four layers:

1. Spectrophotometer measurement — colour is verified numerically, not visually
2. Hardware-calibrated high-end monitors — what is on screen is what will print
3. Custom ICC profiles built in-house for every paper and ink combination
4. A physical proof print — approval comes from a print in hand, never a screen

This is the difference from studios that use generic profiles: the profile is built for the paper, rather than the paper being forced to fit the profile.

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Printing infrastructure

DIFOART uses two technologies side by side for facsimile work:

- Durst Lambda — chromogenic (C-print) laser exposure onto true photographic paper, 127 cm print width. For historical photograph facsimiles this is the only method that preserves the photographic character of the original.
- Canon imagePROGRAF PRO-6100 — archival pigment (giclée) printing, 150 cm print width. Used for art papers, manuscript and map facsimiles.

Which technology is used is decided before production, based on the object itself.

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Papers and archival permanence

DIFOART has been a Hahnemühle Certified Studio Gold since 2013 and works with the full range of Hahnemühle museum-grade art papers, including Museum Etching, German Etching, Albrecht Dürer, Photo Rag and William Turner. These papers are 100% cotton or alpha-cellulose, acid-free and free of optical brightening agents. For pigment prints on these papers Hahnemühle states a lifespan of over 200 years, based on accelerated light-fastness testing by Wilhelm Imaging Research and LNE.

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Process

1. Object assessment — type, condition, dimensions and intended use
2. Scanning — high-resolution digitisation on the Fuji Finescan
3. Digital work — removal of stains, scratches and deterioration, without altering character
4. Colour matching — spectrophotometer measurement and custom profile build
5. Proof print — side-by-side comparison with the original, then approval
6. Production — final printing with the approved profile
7. Framing and display — mounting and on-site installation on request

Where originals must be brought to the studio, DIFOART also handles transport and placement.

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Frequently asked questions

What is the difference between a facsimile and a reproduction?
A reproduction copies an original at any scale. A facsimile preserves the original size, colour and surface texture one to one, with fidelity verified by measurement. Exhibition, archive and publication work calls for a facsimile.

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Can a facsimile be made from a glass plate negative?
Yes. DIFOART scans glass plate negatives on the Fuji Finescan and converts them to positive for printing. Because of their fragility, glass plates follow a separate handling protocol.

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Can you work without the original coming to the studio?
Yes, if the institution supplies its own high-resolution file. But colour fidelity can only be measured against the original — in that case DIFOART produces from the file, and the fidelity achievable is limited by the quality of that file.

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How is colour accuracy guaranteed?
Through spectrophotometer measurement, hardware-calibrated monitors, ICC profiles built in-house for each paper, and a physical proof print. Approval is always taken from the printed proof.

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What is the largest size you can produce?
Up to 127 cm wide in chromogenic (C-print) and 150 cm wide in pigment printing; length is limited by roll size. Larger objects are produced as joined panels.

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How long does a facsimile last?
For Hahnemühle museum-grade paper with archival pigment inks the manufacturer states over 200 years. For chromogenic prints, lifespan depends on the paper type and display conditions.

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Planning facsimile work from your archive?

Tell us the object type and approximate quantity, and we will define the method and proofing process with you.

+90 212 278 78 47 · info@difoart.net