blackprint specializes in the highest-quality black and white carbon-based pigment ink printing process, the Piezography® Pro.

We print on a wide range of sin­gu­lar paper coat­ed and uncoat­ed. Last but not least we offer an exclu­sive safe­ty lam­i­nat­ed glass process for your print.

Only black pigment inks

We use an exclu­sive black and white inkjet sys­tem with pig­ment­ed car­bon-based ink. The Piezog­ra­phy® Pro­fes­sion­al which offers new pos­si­bil­i­ties for the black and white print. No col­or is added to cre­ate our grey and black shades. We use exclu­sive­ly black ink, com­bines in two ink sets, warm and cold blacks. The result is a very width and detailed mod­u­la­tion of the grey shades with a very strong den­si­ty of black (dMax) thanks to a new Ultra HD mat­te black ink .

This high-qual­i­ty mono­chrome dig­i­tal print­ing sys­tem allows us to cre­ate one mil­lion pos­si­ble com­bi­na­tions of dif­fer­ent tones and to blend or split-tone with the black warm and black cool inks. It includes a new­ly invent­ed gloss opti­miz­er, that sur­rounds each pig­ment par­ti­cle. There is no gloss dif­fer­en­tial between the white of the paper and the print­ed image.

Come vis­it us and see the qual­i­ty yourself.

Paper from all over the world

We have test­ed and exper­i­ment­ed a lot. Today we print on all kinds of paper. From the world’s thinnest paper of 1.6 gr/m2 from Japan to the hand­made art paper of 500 gr/m2, beau­ti­ful Japan­ese awaga­mi washi , his­tor­i­cal Arch­es Velin BFK Rives, best archival cot­ton rag and unique bary­ta glossy paper.

We also print the clas­sic dig­i­tal fine-art print­ing inkjet papers such as Can­son Infin­i­ty Bary­ta, Hah­nemüh­le Fin­eArt, Moab Entra­da Rag, Museo Sil­ver Rag.

We are con­stant­ly look­ing for new, rare and excep­tion­al papers, made by crafts­men with pre­cious know-how, some of which are liv­ing Japan­ese nation­al trea­sures (国宝 (kokuhō), as we at black­print believe that the char­ac­ter and his­to­ry of a paper brings a unique iden­ti­ty to the print­ed work of an artist and photographer.

Each paper is test­ed and cal­i­brat­ed by our stu­dio to under­stand what its fibre struc­ture brings to the grain of the pho­to print and what inten­si­ty of grey and black val­ue it pro­vides. This also allows you to bring us the paper of your choice to our black­print stu­dio too.

Dis­cov­er some exam­ples of our papers on our insta­gram account or in our black­print edi­tion store.

Laminated glass process

We offer an exclu­sive safe­ty glass process, where the Piezog­ra­phy® print and the safe­ty glass bond ther­mic. We use HY-TECH-GLASS non-reflec­tive, extra-white glass and extra-clear glass, which show the paper and print in a very accu­rate visu­al man­ner with­out a dis­tor­tion nor a reflection.

The print is put into a glass sand­wich with two plies of glass (min­i­mum 2mm each) and an inter­lay­er inbe­tween. This object then goes in vac­u­um into a spe­cial oven dur­ing min­i­mum 5 hours, in con­trast to the plex­i­glass ver­sion, where the print is glued.

Dur­ing this process the heat­ed inter­lay­er turns trans­par­ent and links the paper to the glass, turn­ing them into one piece. The inter­lay­er increas­es the pow­er of resis­tance and firm­ness of the glass and blocks the UV-light transmission.

At last the cor­ners of the glass get pol­ished. The pho­to­graph object then can be sus­pend­ed or posi­tioned on the floor with a spe­cial mount.

Dis­cov­er an overview of our black­print edi­tions made with this glass lam­i­na­tion technique.

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