Printing Techniques and Framing

Printing Techniques and Framing

Visiting our website you can acquire unique copies of photographs and you determine how the artwork will look like. This can be a C-Print, a chromogenic print, or you can opt for a photographic print with passe-partout and a wooden frame or select an Aludibond. Here a real photographic print adheres to an aluminum plate and protected with acrylic glass, for example, having a thickness of 3 mm against UV light. You can order an Aludibond with and without a frame. Without framing it is particularly suitable for modern, cool furnished apartments and houses. There are no limits to your ideas.

Photo prints are created as Lambda prints, which are widely used today for images in gallery and museum quality. Digital files are imaged via laser on classic photo paper, so-called silver halide paper, and then chemically processed. So a high color density is obtained which has a high brilliance. We advise against inkjet printing in any case because the color quality and the tonal values are not comparable with a classic photographic print. In addition, chemically processed prints are considerably longer durable.

The noble baryte print

A print on canvas is an alternative because the image may overlap a wooden frame and thus has no outer boundary. The baryte print is a very precious way to produce a black and white photograph. Here the picture is exposed on a paper which still consists of traditional fibers and is not made of polyethylene (PE), like most photo papers today. It has a light-sensitive layer of barium and strontium sulfate and an extremely thin layer of gelatin to protect it like PE photographic papers. The great advantage of baryta paper is that it gives the photograph a noble, warm tonality.


Josef Jindřich Šechtl, Lake Jordan
Josef Jindřich Šechtl, Lake Jordan, Tábor, Czech Republic, Bromoil print, 1920s


Few specialists today still master old printing processes, such as the elaborate Bromoil Process. First, a proof emerges on swellable silver bromide paper and a gelatin coating on the paper expands in various degrees to produce a light relief. Ink is then applied, which remains in the depressions but not in the places which have been saturated with water. This produces prints with great expressiveness.

Gum bichromate – a print like a graphic


Hugo Henneberg, At the channel
Hugo Henneberg, At the channel, 1899, Gum bichromate print


Gum bichromate is a 19th-century process which achieved its height at the turn of the 20th century. It is quite complicated – potassium dichromate or ammonium dichromate is mixed with colloids to make them light sensitive. Colloids are glue-like substances such as gum arabic, fish glue or gelatin. Gum arabic comes from the juice of the acacia plant. A very thin coat of chromate salts, gum arabic and color pigments is then applied to the paper and the negative laid directly on it to create a contact print. As 19th-century photographers worked with large cameras, the negatives were also very large, and over time became richer in detail. This resolution does not reproduce a gum bichromate, however; it has more to do with an artistic technique, which is reminiscent of graphics.

There are countless other printing techniques such as photogravure, pigment print, or Kallitype, which produce fine images. We will gladly assist you in the use of old techniques, to blur the lines between graphics, painting and photography in creating a unique work of art.

The C-Print is a chromogenic print: This is a process of photographic film development in which silver halides activate precursors of chemical dyes that form the final image while the silver is removed. So this term derives from the days of analogue photography. Modern C-Prints are often Lambda-Prints, which we offer as well.

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