Tree Rings and Coffee Stains: I can only group my paintings and drawings into relative periods. Much of this current work dates from when I drew at coffeehouses, so I am able to identify these pieces by which coffeehouse I frequented at the time they were created.
Light in cafe environments is poor at best, and as my eyesight has deteriorated over the years, my ability to pursue a course of drawing outside my studio has decreased.
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Scanning versus Photography: For works on paper, and even for my smallest paintings, I have found scanning this artwork to be better than photographing. My Epson V500 scanner is in no way superior to either my full frame Sony A7iii or my Sony ZV-E10ii (vlogging) cameras, or even my earlier Cybershot Sony RX 100ii. All these cameras have more pixels (in dimension) than what my Epson scanbed affords—but not by much where the latter two cameras are concerned. Moreover, the scanner, when new, costed a fraction of what these cameras cost.
Size-wise, the tif images are larger when taken with a camera. And there is no upper limit on the size of the drawing. That means you do not have to scan the drawing in sections, which I have to do when the drawing is too large to fit on my scan bed. I end up needing to stitch together the final image. This is a pain. However, the image is more troublesome to crop coming from a camera—you end up lopping off a lot of those extra unused pixels!
Lighting is hard enough with paintings. Time is required to minimize glare and achieve an even scattering of light across the painted surface. Unfortunately, these problems are many times worse where lamps never quite concentrate enough light on a piece of paper. Light from my scanner is not only bright clean LED light, uniform in every direction, but the paper is pressed flat against glass to capture every detail without the risk of shadow or glare. Colorwise, camera and scanner are equal, but the image is just brighter and truer with the scanner.
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