Adds husband Pat: "We were getting a faithful 5000 degrees Kelvin reproduction, but that's not what the camera actually saw. The snow looked dull and blue, and so everything appeared dark and gloomy. Here we were doing a book on Antarctica and, as any publisher or printer knows, whites and neutral grays are some of the most dangerous tones you can print."
Their solution was to dust off an old Kodak Carousel slide projector. The original 35mm slides were projected on a screen in a darkened room, right beside an Apple Macintosh displaying the slide's scan in Photoshop.
"We had the image on the monitor with [Hemlock's] technician at the computer, and we had 3' x 2' slides projected," Rosemarie says. "Pat and I are sitting there with laser pointers, saying, 'Okay, that has to be glowing brightly against the aquamarine blue of the ice, you have to get that shade of blue, and this contrast needs to be fixed.' We pointed out what was critical about each image, and color-corrected the scans on the computer monitor. Then we produced six to 12 hard-copy Fuji Pictro proofs, one by one."
There Rosemarie and Pat Keough, lovers of photography, art, print, and each other, sat for 16 weeks with Evin Dosdall and Peter Madliger of Hemlock Printing (and the Keough's eight-year-old son, Glen, playing nearby), retouching each of the 345 scans until they were just right.
That is to say, perfect. Once the proofs were perfected, it was on to reproduction. To reproduce the scans with unerring detail, the Keoughs took a chance on a completely new screening technology, at the urging of Dick Kouwenhoven, president of Hemlock Printing.
The screening technology was still under development by Creo Inc. at the time, and was being beta tested by Hemlock. It would eventually be launched as Staccato. In fact, the Keough's title would be the first art book in the world printed using Creo's breakthrough 10-micron stochastic process.