blackprint is specialising 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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