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Photonica

One photograph, many prints

A darkroom does not stop at the film. Choose the paper a negative is printed on, or print the photograph in a process of its own: lith, cyanotype or risograph.

Print processes

Each process prints your finished photograph: the film and edits you chose stay in the print. Included with Pro.

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The white vase and its window light printed at the base settings: creamy light on the wall and a deep shadow

Lith print

Creamy highlights, dense midtones and a sudden gritty black, on five paper colours.

A white vase and its dried branches in window light, printed in cyanotype at the base settings: the wall deep blue, the window bare paper and the vase pale

Cyanotype

Prussian blue in the paper, paper-white lights, four papers and four toners.

The same white vase and its window light printed on a risograph in federal blue and fluorescent pink: a blue wall, the lit patch pink and the vase bare paper

Risograph

One or two spot inks that overprint, a halftone screen and a second colour slightly off register.

Photo: NGSOFT IT / Pexels.

Papers

The paper sets a colour negative’s final colour and contrast: the same Portra 400 negative on Portra Endura, Ultra Endura and Kodak 2383.

See the print materials
A woman with freckles in hard sun, Portra 400 printed on Portra Endura
Portra Endura A neutral portrait paper.
A woman with freckles in hard sun, Portra 400 printed on Ultra Endura
Ultra Endura A vivid paper: richer colour and stronger contrast.
A woman with freckles in hard sun, Portra 400 printed on Kodak 2383
Kodak 2383 A cinema print film: muted colour and deeper shadows.

Photo: Saul Joseph / Pexels.