Brian's original negatives have been scanned by David Myers of Digital Masters Australasia at the highest possible resolution with a full 48bit tonal range revealing image detail right down to the film grain and into the shadows. The 'global' contrast and tonality of the images was then adjusted to interpret Brian's memory of the mood and and conceptualisation of the original shot.

High powered imaging systems then allowed the images to be broken down into multiple 'layered' subject components. This allowed density and contrast manipulation of the subject matter at microscopic levels. Like the 'burning' and 'dodging' of past darkroom techniques Important scene elements have been optimised, hidden detail revealed and any distractions sudued. The procedure is directed by Brian personally and is part of the creative process that models the composition into a 'Digital Master'. Unlike chemical based darkroom technology each Digital Master produces a consistent fine art print exactly as Brian interpreted with no quality variations.

The high resolution 'Digital Master' images are able to produce highly detailed fine art prints at very large sizes. These archival, *giclée prints are produced on a 44 inch, 2,800dpi digital printer which utilises wide-gamut, fade free, pigment on musem standard media. Brian has selected a fine 'lustre' photographic gallery paper with a subdued sheen that produces rich blacks, vibrant tones and bright whites. Archival, Acid free coated matt and unbleached rag papers can also be used as well as premium art canvas for decor.

*The French word. 'giclée' means a spray or a spurt of liquid.