Service Spotlight: Lith Prints from Digital File

 

Brendan Meadows

Image courtesy – Brendan Meadows

 

Now for something entirely different.

This image is a manipulated digital image, the file has been outputted to Ilford Ortho Film Using our Durst Lambda we inverted the file, flipped horizontal and imaged to 16 x 21 inches on the film using a combination of Red, Green and Blue laser light.

The film was then processed in the dark room in super oversized trays using HC110 developer, then stop then fix and wash as normal. The film is real film like that you would put in ones camera, except its the size of the final print. This film is then placed on silver gelatin paper and with a large sheet of glass a contact exposure is made and using the Lith Process the resulting image is obtained after the full Ilford Archival process and Selenium toning.

This process opens many doors for photographers who do not have the space or expertise to operate an enlarger, and or may have never made a film negative in years. This process will work with any digital file and is exceptionally perfect for silver contact print

 

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Service Spotlight: Lith Prints from Negative

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Image courtesy – Cory Wilyman

I have been making lith prints on silver gelatin paper for clients since the mid 90’s. I was introduced to Star Trax a book by Anton Corjbin. The images in this book were all printed by Mike Spry and were jaw droppingly beautiful to me.

Over the years I have used many papers and as chemicals died off have pretty much stayed with Fotospeed LD20 as the developer. In this process we use the emergence time in the developer to determine pull time, certain papers require different Snatch Points and each paper will exhibit a different tonal effect.

In all cases Lith prints are processed after developer exactly like any silver gelatin print and can be toned as well to create further variations.

These prints are highly desirable as they will outlast modern day prints and thus are coveted by collectors and galleries.

Almost any type of negative, colour or black and white will work with this process and one needs to be careful trying to match prints for editions as it is almost impossible to do so.

Therefore I refer to any Lith Print as a unique print

Service Spotlight: Inkjet

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Courtesy Rita Leistner / Stephen Bulger Gallery

I have been making colour prints now my whole career, in my past jobs before I opened my own shop, I worked  in many capacities as a colour corrector, colour printer and photo comp specialist. One of my past specialty’s was making mural prints from 8×10 colour film. Thirty years later, we are seeing the same quality from the new Phase Back systems.
For me making colour prints is magical and even though we have state of art white balance capabilities, thanks to technology advances, the fine print always need collaboration with the artist and printer. Subtle colour balances, or contrast changes are required to produce work that is outstanding.
For many of my clients I work very closely balancing a body of work so that it can hang cohesively together, this is not a simple task. As well striking the right balance requires testing and then final print.
Today I use a Canon 12 ink printer and my maximum size (to date) is the image above which is 60 x 77 inches. I like inkjet for the different papers that we can use, as well with good profiling the consistency assured print to print. Inkjet prints can be hung within box frames, can be mounted to dibond mounts for displays, using spacers within frames or aluminum mounting systems to hang on walls.

Service Spotlight: Lambda Silver

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Robertson Davies –  by Nigel Dickson

Lambda Silver Gelatin prints are prints made from any type of digital file, either scanned from film as in this case or from current state of the art digital cameras.
In our lab we expose the file on a Durst Lambda 76 and then take the paper downstairs and process as we would an enlarger based print. We have one of Canada’s largest commercial fibre base darkrooms and can handle prints up to 30 x 72 inches .
The paper is Ilford Galerie grade 4 and the contrast and tonal adjustments are controlled in Photoshop, Capture One or Lightroom. Or these adjustments can be tweaked at time of printing on the imaging device.
These prints are the ultimate in reproduction and exhibit the traditional silver gelatin look: deep blacks, silvery midtones and brilliant highlights.
As with all silver gelatin prints, the image resides in the emulsion and to the viewer the image glows from within.
These prints follow the same Ilford archival process sequence and can be further enhanced with toning, selenium or split sepia or a combination of both.
Silver prints are the museum and top gallery standard for exhibiting and collecting and are designed for the very best images for long term storage or display.

Service Spotlight: Press & Go

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Press & Go Canvas

How does the press and go service work? 

Press and Go is exactly what is sounds like: we load up the paper of choice, send your file to the printer and hit the print button.

It is important for the client to be able to set up a canvas, which is easily learned. Once this minimal paper usage canvas is set up you can send it to us many ways, Hightail or direct stick. Make sure to create a canvas size that fits your paper choice: most of our papers are 44″ wide, a few are 42″. Length of the canvas depends on your needs.

For paper selection we are offering Matt, Rag, Glossy and Semi Matt for Press and Go, these selections pretty much cover huge territory, but if you have specific paper need then obviously there will be some back and forth communication with us to set something up.

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Service Spotlight: Lambda

 

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What does the Lambda do and why is this service so exciting for photographers? 

We just set back up our Durst Lambda to operational status, but at the same time threw out the wet colour RA4 process. For us the gamut and options for inkjet printing far out step dye coupler prints. We use the lambda to produce direct silver gelatin prints from any source digital or film. In fact little known fact is that my company was the first company world wide to produce digital silver gelatin prints in 2002 four years before the big 5 labs in the world started offering the service.

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Service Spotlight: Contemporary Printing

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What does the contemporary photo world look like right now? 

Inkjet technology is king right now, we see this process everywhere and at our lab we use the Canon line of printers with unprecedented 12 ink pigment sets, that actually have a colour palette beyond a typical RA4 print we would see with our lambda, or others chromira printing devices.

We are seeing people push the envelope with capture devices (Iphone) and these mirrorless digital capture devices that amaze me each time I open up a file to make a print.

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