Commercial options for having a digital file printed in "true" black and white?

[GregY]

In Western Canada Royce Howland in Calgary is the man. I just picked up some prints today, from a scan made off a Kodachrome slide. Beautiful BW prints. Royce uses Jon Cone inks for BW printing. While I was there I saw some original silver gelatin 16x20" prints by Paul Stack and their matched equivalents. The highest quality commercial prints i've seen since Wm Clifts exhibition in Santa Fe at the New Mexico Museum of Art, which had both sillver gelatin and a few fine digital prints from large format negatives.

 

[dokko]

That's what I'm explicitly referring to.

Scans have nothing to do with this, sorry.

Interesting. I don‘t have any Lightjet prints here atm, but I just checked some frontier prints from digital images with an 8x loupe and can‘t see any pixel pattern.
I’ll check some large Lightjet prints when later, curious how they look under a loupe.

 

[koraks]

I can imagine how the pixels don't show on a Frontier that's that's slightly out of focus. They'll blend in that case.

 

[nikos79]

In Western Canada Royce Howland in Calgary is the man. I just picked up some prints today, from a scan made off a Kodachrome slide. Beautiful BW prints. Royce uses Jon Cone inks for BW printing. While I was there I saw some original silver gelatin 16x20" prints by Paul Stack and their matched equivalents. The highest quality commercial prints i've seen since Wm Clifts exhibition in Santa Fe at the New Mexico Museum of Art, which had both sillver gelatin and a few fine digital prints.

Checked it online looks pretty cool. I wish they did international orders or books too

 

[dokko]

I can imagine how the pixels don't show on a Frontier that's that's slightly out of focus. They'll blend in that case.

The image and grain pattern looks very sharp under the loupe. actually sharper than on analog prints but somewhat less natural (oversharpened and somewhat noisy).

I‘d suspect that the light rays scatter a bit inside of the emulsion, melting pixels together.

 

[calebarchie]

I'm sure I have posted this before, but if you are interested in pixel peeping prints have a look at Jurgens work.

links – the eye

the-eye.nl

 

[koraks]

I‘d suspect that the light rays scatter a bit inside of the emulsion, melting pixels together.

This is definitely an effect in color RA4 papers - and on other papers as well. The cyan dye (pink on RIP Endura) on Fuji paper in part serves to combat this issue. It's kind of difficult to avoid altogether.

I'm sure I have posted this before, but if you are interested in pixel peeping prints have a look at Jurgens work.

links – the eye

the-eye.nl

Thanks for linking this; note that several of the color chromogenic digital prints show the phenomenon I mentioned. Some quite strongly, some more subtly. In some, the effect is entirely invisible or at least easily overlooked.
Note that in none of the prints I've seen/handled myself, it's a practical concern since the pixelation is never visible to the naked eye.

 

[Pieter12]

I'm sure I have posted this before, but if you are interested in pixel peeping prints have a look at Jurgens work.

links – the eye

the-eye.nl

The Cone Piezography prints looks the best to me for black and white, at least there is a feeling like grain and no tint.

 

[Taylor Nankervis]

The image you supply would be scanned as a monochrome .tif file and profiled according to the media selected; the choices are quite large and you'd ideally be talking about the result you want with the printing tech. Baryta paper (e.g. Ilford's Galerie gold fibre baryta media in pearl, matt or gloss) gives a very darkroom print-like appearance (either to colour or B&W). There are many more types of media available to giclée output than Pegasus/Lambda (laser exposure) printers; giclée also has a considerably wider gamut than traditional RA4 printers, which are considered today as dinosaurs at the end of their operating life (no spare parts are available).

Ideally once your job is prepped, get tiny A5 proof prints done on various media and 'sit on these' in thought for a few days to make informed and confident judgement on preference.

When I was involved in printing Ilfochrome Classic prints (traditional darkroom practice), a lot of fine art minimalist-oeuvre works were printed to standard IC media in B&W. The result was quite stark and beautiful at the same time — bold, brassy and richly toned — almost a shock to uncover the raw print from its wrapping, as one would expect from the result of printing this way.

 

[RalphLambrecht]

I practice photography in the analog domain and do my own darkroom development and printing. I know very little about printing digital BW files and hope to get a few pointers from those crossing the domain line.

I have a digital BW file which I would like to print. I'd like it to be archival and true monochrome, as close to a B&W fiber based print as possible (not an inkjet print composed of colors that tries to resemble grey scale nor a BW print on color RC paper).

I'd like to send it out to a professional service, but struggle for a vocabulary to describe my requirements.

What service should I search for? what process or technology is common today for printing pure greyscale photographs from digital files?

Any recommended companies that will do above? (I am in the EU)

Thanks.

I suggest giving White Wall a try. They do an excellent job. They expose true FB paper and develop chemically!

 

[RalphLambrecht]

The Cone Piezography prints looks the best to me for black and white, at least there is a feeling like grain and no tint.

View attachment 407318

don't be coned!