Professional photographers’ preferred choice for exhibitions, C-type or chromogenic colour prints are actual full-colour, professional photographic prints.
Produced from digital images, colour negatives or slides, these prints are made by exposing specialised, light-sensitive, photographic paper to light. The paper is then developed and washed using traditional photographic techniques to produce an actual colour photographic print and not an ink-on-paper/photo-quality print. In addition to full-colour photographic prints, we’re proud to offer a highly specialised service: the running of true black and white prints, using fibre-based black and white paper, on our LightJet printer.
Using archival media, prints are guaranteed to last between 80–100 years, with the exception of direct sunlight, storage and most importantly, the way the prints are handled.
2 – 3 working days
Fujicolor Crystal Archive Matte DP Type II
- Approx. 250 gsm.
- Max. print size: 1200 x 2800 mm.
- Vivid reproduction of beautiful colours from subtle shades of green to more vivid blues, deeper reds and clearer yellows.
- More natural skin tones.
- Lifelike texture and sharpness.
- Brilliant whites with improved highlight details.
- Long-lasting with excellent resistance to light fade and long-term dark storage.
- Available in matte and gloss.
- Traditional, graded, black & white photographic paper.
- Approx. 300 gsm.
- Max. print size: 1200 x 1200 mm.
- Rich blacks, brilliant whites and excellent tonal presentation.
- Will not yellow with prolonged washing.
- Excellent choice for archival prints for museums, collections and exhibitions.
Our maximum 300 dpi C-type print sizes are:
- Colour: 1200 x 2800 mm (can be colour or black and white images)
- Fibre Black & White: 1200 x 1200 mm
We also offer:
- A4 (297 x 210 mm)
- A3 (420 x 297 mm)
- A2 (594 x 420 mm)
- A1 (841 x 594 mm)
- A0 (1189 x 841 mm)
- 200 x 200 mm
- 300 x 300 mm
- 400 x 400 mm
- 500 x 500 mm
- 600 x 600 mm
- 700 x 700 mm
- 800 x 800 mm
- 900 x 900 mm
- 1000 x 1000 mm
Plus any custom size in between!
|Size||Matt||Ilford Fibre-based Black & White|
|A5 (148 X 105 mm)||R60||N/A|
|A4 (297 x 210 mm)||R174||R621|
|A3 (420 x 297 mm)||R396||R966|
|A2 (594 x 420 mm)||R504||R1656|
|A1 (841 x 594 mm)||R840||R3036|
|A0 (1189 x 841 mm)||R1560||R4554|
|200 x 200 mm||R84||R552|
|300 x 300 mm||R228||R690|
|400 x 400 mm||R336||R1104|
|500 x 500 mm||R480||R1656|
|600 x 600 mm||R660||R2484|
|700 x 700 mm||R840||R3036|
|800 x 800 mm||R1056||R3450|
|900 x 900 mm||R1320||R3864|
|1000 x 1000 mm||R1680||R4554|
Q&A with Vincent van Graan
- Head of Fine Art Printing
What printer do you use?
The LightJet 430 – no other process (optical or digital) can match its sharpness, colour quality and image control, offering huge, stunning prints.
How does the LightJet 430 work?
The LightJet mirrors traditional darkroom development techniques – think of it as two machines: a printer and a processor (just like an enlarger and processor in a traditional darkroom), with all the benefits of digital imaging and none of the limitations inherent in the optical enlargement process, or the issues when using an inkjet printer (like banding or grainy dot patterns). For the techies: I temporarily fix unexposed silver-halide photographic paper onto an internal drum. The internal drum imaging provides:
- better image sharpness.
- a more uniform image quality across the entire width of the print.
- the highest geometric accuracy.
- the highest density.
- excellent colour uniformity.
Three digitally controlled lasers – red, green and blue laser light – simultaneously expose the photosensitive emulsion on the paper or transparency.
- The amount of light from each laser varies to provide specific colour and density values for each pixel imaged on the print.
- The imaging technology ensures a constant pixel size, shape, and intensity over the entire image.
- The light-path includes a spinning surface-coated mirror mounted on an air-bearing that travels along the axis of the internal drum, which reflects the laser light at 90° to provide a dimensionally consistent, round, imaging dot across the entire area of the photographic paper. The purpose of this round imaging dot is to maintain edge-to-edge sharpness on the final print.
The print is then processed using traditional photochemical techniques (usually RA4). The result is a true, continuous-tone photographic print.
What is continuous tone?
Each colour in the image is reproduced as a single tone or true colour, and not as halftones, which looks like the intended colour but are actually made up of combinations of halftones of colours.
What resolution do you print at?
I print at 300 dpi (continuous tone). In comparison, inkjet printers (which simulate photo quality with half-tone dot patterns) would need to image at 4000 dpi to replicate the same crispness, highlights and shadow detail as a LightJet printer.
What is the durability of the LightJet prints?
Excellent! Over 100 years in long-term dark storage and 60 years behind framed glass.
What colour profile do you use?
I have created custom Adobe RGB profiles for each type of photographic paper we stock, taking the laser outputs and the chemistry into account. So, for optimum results, please provide your files using the Adobe RGB colour space format.
What format must my files be in?
Uncompressed TIFF files are best, but I can work with anything I can open in Photoshop like JPEGs, PDFs and PSDs.
How do I submit my files for printing?
First prize is to bring in your files on a USB so I can check your image and make sure the quality is good enough. But if that’s not an option for you, you can email your files – at their original size – to me (firstname.lastname@example.org), or send them using any online file transfer programme like Dropbox, WeTransfer, Hightail (previously YouSendIt) or FileGooi.
Can you print black & white photographs on the LightJet?
Absolutely! In fact, Orms Print Room is one of very few labs worldwide that can print digital images straight onto traditional fibre-based black & white paper. Unfortunately however, I cannot print from inter negatives (a second negative of an image made from the original negative).
How does black & white LightJet printing work?
1. The Paper: I use Ilford Gallerie Fibre-based Digital, a silver, gelatin paper designed to be more sensitive than traditional fibre paper so that it can be exposed using red light. This means the whole process happens in complete darkness with no safe light. The texture and thickness of the paper is the same as traditional fibre-based papers. 2. Image Manipulation & Darkroom Techniques: I use Photoshop to reproduce darkroom techniques like burning and dodging, which actually gives me more control over the feel of your final print. 3. The LightJet: I only use the LightJet to expose the paper, much in the same way an enlarger would have been used in the old days. 4. Processing: Once the paper has been exposed, I process the paper by hand in a darkroom, which is kept at a precise temperature:
- The chemistry is made up in troughs and the paper rolled through to accommodate our maximum print size of 1200 x 1200 mm.
- I start with an Ilford Multigrade Developer to maximise development.
- I transfer the prints to the stop bath, then into the rapid fixer.
- I also use hypo eliminator (or speed wash) to ensure the prints are archival.
- Prints are then washed and rolled in running water for at least 1–2 hours before being hung up to dry.
- Once fully dry, I press them flat.
- To further preserve the prints, I can also apply Selenium toning.
5. Print Consistency: I run a control strip (step wedge) with every sheet of prints and read it in via a densitometer to ensure consistency. This means once a print is sold or on exhibit I can ensure duplicate copies (editions) that will match the original print closer than a hand print would.