Conservators, galleries, auction houses, and collectors have long since referred to these as chromogenic prints, which they are, but we call them C's. While the majority of what we print today is on matte paper, glossy is still available. Compared to inkjet prints, the surface of a C print is much more tolerant of handling although the paper base itself is more easily crimped. There are no cut sheet papers of acceptable quality remaining today, so we cut everything from large master rolls of either Fuji Super Type C or Kodak Premier, depending on the artist, imagery, and magnification.
B&W prints (RC)
“RC” stands for resin-coated. The base of these papers is similar to the base of a C print. We have always used Ilford's RC papers, and they remain steady, reliable, and available. Their pearl surface has been refined over time and is now sublime. We also offer glossy; their warmtone variants are also beautiful, especially when used for large and ultra-large format contact sheets.
B&W prints (fiber-based)
Often referred to as gelatin silver prints, these remain the most beautiful, commercially viable analog prints available. We use both Ilford and Bergger papers. Bergger's warmtone VCCB is a breathtakingly beautiful paper. (Those old enough to remember Agfa's lamented Portriga-Rapid won't agree but VCCB is hard to surpass.) Properly processed fiber based prints are tough and persistent, without the worry of fading or discoloration.