- What is your turnaround time for printing?
As with our all of our printing services, we aim to turnaround print orders within 48 hours of your order being confirmed by a member of our Client Support Team. Turnaround times may be longer when a test print is required. Please speak to us to confirm turnaround times on large print orders or when working to tight deadlines.
Sending us your files
- How do I send you my files?
We’ve made it as easy as possible to upload your digital files to us and have provided you with several options – simply choose which one suits you best. You have the option to use our upload form, Email us, or send your files by Hightail, or FTP. After you have sent your digital files and details to us you will need to contact us to arrange payment and confirm your order details. We will not proceed until we have been contacted by you.
Of course, if you would rather provide your files on a CD, DVD or memory stick, you can send these to us at:
Unit 1, Hurlingham Business Park,
or drop off your files in person.
- Colour and Digital File Information
We know it can be confusing at times knowing which colour profile and file size, format and at what dpi to use for a certain size print – that’s why we’ve put together this handy guide of colour and digital file size information for photographic prints. Read more…
- Preparing your work for print
Step by step instructions on adding borders in Photoshop and saving your artwork using the optimum settings for print.
Please take a look at our instructions here.
- How do I calibrate my screen?
To produce close results from screen to print, we recommend calibrating your screen using a monitor calibration tool or with the help of a reference picture.
We have put together a guide on how to calibrate your screen. Please take a look at the guide here.
- How do I soft proof my work?
Soft proofing, or on-screen previewing is a way to describe viewing how your image will look when printed on a specific photographic paper, using a specific process.
To soft proof your work, please take a look at our instructions on the process here.
- Can I FTP you my files?
Yes, if you are familiar with using FTP software, simply telephone us on
020 73846200 to request our FTP details.
- Photographic Size Information
We know that some people like to talk in inches, others in millimetres and others in A sizes. So just in case you need a friendly reminder of the measurements of each and how they relate to each other – here you go.
A Sizes Inches Millimetres 6 x 4 152 x 102 7 x 5 178 x 127 8 x 6 203 x 152 A5 8.3 x 5.8 210 x 148 10 x 8 254 x 203 A4 11.7 x 8.3 297 x 210 12 x 10 305 x 254 14 x 11 355 x 279 16 x 12 406 x 305 A3 16.5 x 11.7 420 x 297 20 x 16 508 x 406 A2 23.4 x 16.5 594 x 420 24 x 20 609 x 508 30 x 20 762 x 508 A1 33.1 x 23.4 841 x 594 36 x 24 914 x 609 40 x 30 1016 x 762 A0 47 x 33 1189 x 841 48 x 36 1219 x 914 60 x 40 1524 x 1016 72 x 48 1829 x 1219 84 x 48 2134 x 1219 96 x 48 2438 x 1219
Lambda C-type Printing
- What is the difference between Lambda C-type and Giclée Fine Art Printing?
Both Lambda and Giclée prints are brilliant photographic prints and both are produced by the digital process. Lambda c-type prints have the tactile look and feel of a traditional photograph while our Giclée prints can be produced on a diverse range of tactile coated or uncoated papers.
Our Durst Lambda printer uses lasers (RGB – Red, Green and Blue) to expose photographic material, whereas the Giclée process physically lays ink on paper or canvas. Both our Lambda and Giclée prints are produced on archival quality papers.
The real differences boil down to individual preferences; it’s all about the “look and feel” of the final print and whether it conveys the image as you want it. Unfortunately, the real differences cannot be shown on a website, but our team are happy to explain the process in more detail and show you examples – please contact us to arrange your visit.
- Which papers do you print on?
We only use the highest-grade archival materials to produce your print and carry stock of Fuji Crystal Archive papers in traditional Matte, Gloss, Super Gloss, Transparency film (commonly known as Duratrans or Fujitrans) and Fuji Pearl papers. Each paper offers the tactility of a traditional photograph but with all of the benefits of digital control.
For Giclée printing, we stock a wide selection of archival Hahnemühle and Somerset papers – each provides a different tactility, texture and effect to the final piece, however, we can also print on other papers by request – please contact us for more information.
Of course, with the introduction of our Direct to Media Printing service in 2013, we have the ability to print direct to virtually any substrate – from perspex to concrete, and a whole host of materials in-between. Direct to Media printing is even capable of printing on water.
- What is the maximum print size for Lambda C-type prints?
We can produce Lambda C-type prints in any size up to a maximum of 50 inches in width and, in theory, up to an entire roll in length – which is a massive 1,968 inches.
- What is a Chromogenic Print?
Chromogenic prints, often referred to as ‘c-type’ prints are prints produced using chromogenic materials and processes.
- Which Lambda C-type papers do you print with?
We only use the highest grade archival materials to produce your Lambda C-type print and carry stock of a range of Fujicolour papers and display printing materials.
- What is Giclée Fine Art Printing?
Derived from the French word, ‘gicler’ which literally translates as to ‘squirt’ or ‘spray’ (inspired by the way that the printer nozzle applies the ink pigments to the paper), the term Giclée’ was coined to describe inkjet printing in the early nineties and has remained a description for inkjet printing ever since.
- What's the difference between a 'Pigment' print and a 'Giclée' print?
Both ‘pigment print’ and ‘Giclée print’ terms denote a print made from a digital file directly to paper using an inkjet printer as an output device. Whilst the term is broad, it has come to be associated with prints produced to fine art papers.
- What is the difference between a Lambda print and a Giclée print?
Both Lambda and Giclée prints are brilliant photographic prints and both are produced by the digital process. Lambda c-type prints have the tactile look and feel of a traditional photograph while our Giclée prints can be produced on a diverse range of tactile coated or uncoated papers. Our Durst Lambda printer uses lasers (RGB – Red, Green and Blue) to expose photographic material, whereas the Giclée process physically lays ink on paper or canvas. Both our Lambda and Giclée prints are produced on archival quality papers. The real differences boil down to individual preferences; it’s all about the “look and feel” of the final print and whether it conveys the image as you want it. Unfortunately, the real differences cannot be shown on a website, but our team are happy to explain the process in more detail and show you examples – please contact us to arrange your visit.
- Which Giclée Fine Art Papers do you print with?
We stock a wide selection of archival Hahnemühle and Somerset papers for Giclée Fine Art printing – each paper provides a different tactility, texture and effect to the final print and the papers are available in varying widths. Please call to confirm we can print your image using the papers below at the size you require. We can also print on a variety of other papers by request.
Direct to Media Printing
- Can I print on a substrate that's not listed on your website?
Our Direct to Media printer can print on virtually any flat substrate. Just some of the substrates that we’ve printed on include: wood, rubber, concrete, perspex, aluminium, Dibond, Foamex, PVC, glass, mirror…
If we haven’t printed on something before, that doesn’t mean that we wouldn’t be happy to try – please contact us for more information
- How does Direct to Media printing work?
The ultra-fine droplets of ink are deposited directly on to the printing media which is then almost instantly cured, or dried by UV (ultraviolet) light. The specially developed ink droplets are bonded to the surface of your chosen media – giving you a smooth, stable, abrasion resistant and long-lasting image. For outdoor applications, Direct to Media printing is weather resistant for up to five years.
- How archival is Direct to Media printing?
The UV inks that we use for our direct to media printing are archival for over 70 years. The overall archival stability of each piece is also determined by the substrate chosen to print to, and like any process, how you store your finished piece.
For outdoor use, Direct to Media UV printing is also weather-resistant for up to 5 years.
Because there is a hugely diverse range of substrates you can print to and almost limitless possibilities, please contact us for more information on specific substrates – one of our team would be very happy to talk you through your options.
Terms and Conditions
- What is your turnaround time for mounting?
We aim to turnaround orders for our finishing services within 8 – 10 days.
Large orders are often subject to slightly longer turnaround times, please speak to us to confirm turnaround times prior to placing your order.
Perspex and Glass Face Mounting Services
- What is the difference between Perspex and Glass Face Mounting?
Both Perspex and glass face mounting services provide exceptional finishing for photographs or artwork and use much the same process – the only real difference is the substrate chosen as the top layer of the finished piece.
Glass is less prone to scratching than Perspex although Perspex is a much more lightweight substrate and is available in a greater choice of sizes.
- Is there a difference between Perspex Face Mounting and Reverse Perspex Face Mounting?
No, they are the same mounting process. Perspex Mounting is sometimes referred to as Reverse Perspex Face Mounting due to the process involving the print being put behind the perspex glass (or on the reverse of it).
- Do Perspex Face Mounts need a frame?
They don’t! The c-type print is sandwiched in between the Perspex and a Dibond backing which offers protection for the print – just as the glazing on a traditional frame would. These prints are finished with a subframe for ease of hanging – a contemporary solution to present your photos.
Foamex and Foamboard Mounting Services
- What is the difference between Foamex and Kapa Foamboard Mounting?
Both Foamex and Foamboard are exceptionally lightweight and ideal cost-effective mounting solutions. Foamex generally has a better strength to weight ratio than Foamboard – so it will not be as easily damaged, we generally recommend Foamex where mounted photographs or artwork will be exhibited multiple times.
Mounting and Framing
- I'm not sure which framing service to use - can I talk to someone?
Certainly! We do have an extensive range of framing solutions, in a wide range of finishes and we know that the process of choosing the perfect frame can be quite daunting.
We are very happy to talk you through the framing process and to help you choose the right solution for your photographs or artwork. Book your appointment with our team here.
- How should I clean my framed artwork?
The glass in frames can be gently cleaned using glass polish and a lint free cloth, we recommend spraying glass cleaner on to a cloth rather than directly on to the glass to avoid contact with the frame.
As a general rule, our range of mouldings can be cleaned with a mildly damp, lint free cloth. We recommend that as little water as possible is left on the wood as this can lead to warping.
There is also information on how to display your framed works here.
Our team are happy to talk you through how to care for your individual framed work. Book your appointment with our team here.
- Which types of glazing do you offer for framed works?
We use anti-reflective Artglass as standard for our framed works, which is the best option for reflective-free and neutral viewing. This incorporates a 70% UV filter to protect your valuable artwork from fading. In addition to traditional glazing, we also offer durable and lightweight Perspex – perfect for larger frames.
- Is the wood used in your framing from sustainable sources?
Yes. We care about the environment, which is why the wooden mouldings we use for our framing are from sustainable sources that are managed to meet environmental, social and economic needs for the present and future, as certified by the FSC (Forest Stewardship Council) scheme.
- What is a passé partout and why does my framed print need one?
A passé partout, or window mount is a mount produced using archival grade mount board with a cutout, which is placed over your print and under the glass in a picture frame.
This not only offers aesthetic benefits but also adds protection for photographs or artwork (by providing separation between the artwork and glass to prevent damage from any condensation).
- Is the board you use for your Passé Partout Window Mounts archival?
When in comes to Passé-Partout’s, or Window Mounts, we only use the finest 8-ply acid-free and neutral PH museum conservation-quality board, which is certified by The Fine Art Trade Guild and offers exceptional preservation qualities that conform to the highest conservation standards.
Vinyl Printing and Installation
- Do you provide artworking services?
We do! Our skilled team have the capabilities to handle projects from inception right through to printing and installation, please contact us to discuss your requirements.
- Do you provide vinyl installation services?
Yes, we do. We have a team that are highly skilled in installing vinyl in galleries and commercial premises and pride ourselves on personable and efficient installation services. Please contact us to discuss your project and we can offer an accurate quote based on your requirements.
- Will vinyl damage my wall?
This depends on many factors such as the permanence of the vinyl chosen (we offer temporary and permanent vinyl solutions), the condition of where the vinyl is being applied (whether it is sealed with a suitable coating).
Damage is likely to occur if a wall already has some damage to it – e.g. blown plaster. If the wall has been painted recently and well, no damage should occur.
- Can I sit with your retouching team while my file is prepared?
Of course. We find that often the best way to ensure your retouching is to your exact specifications is to come and talk to one of our team and we often have our clients visit us while work is prepared.
- Can you scan my original artwork?
Yes, we are able to scan original artwork on our flatbed scanner. This will accommodate artwork up to 17 x 12″ (or just over A3 in size). We are able to scan larger artwork in sections and digitally put these together to form one image.
Although we can scan textured artwork such as oil paintings, best results are achieved when flat artwork is scanned and we suggest that better results can be achieved by photographing artwork that is three dimensional.
- How can I send my negatives, transparencies or artwork to you?
You can either drop your negatives, transparencies or artwork in to us, or send these via post.
We recommend that negatives, transparencies or artwork is sent via a trackable, signed for service with the relevant insurance, for your peace of mind.
Delivery and Installation
- Do you offer delivery outside of the UK?
We do! We ship work to our clients all across the globe and can provide appropriate packaging – including bespoke crating – to protect your work and ensure it arrives at its destination in perfect condition. Please contact us and we will give you an accurate quote based on your requirements.
Typically used for photographic printing papers and Giclée inks to signify the long-life of the materials. Archival prints will generally last a very long time without fading or discolouring.
The C-41 process (often abbreviated to just C41) is a photographic processing system for developing colour negative film.
Chromogenic prints, often referred to as ‘c-type’ prints are prints produced using chromogenic materials and processes.
- Colour Profile
A colour profile is a set of data that characterizes a colour input or output device. They are used to ensure consistent colour throughout the digital printing process.
CMYK is short for Cyan, Magenta, Yellow, and Key (black) and describes the inks and the general process used by commercial lithographic printers to produce colour printed work on a printing press, like magazines and brochures. Photographic printing uses RGB instead of CMYK.
- Digital Media
A storage device used for digital files. This could be a camera card, CD, data DVD or external hard disk.
Dots per inch (DPI) is a measure of the amount of visual information that can be represented in one square inch. If you have a digital image that is A4 in size at 72dpi it is considered low resolution whilst a high resolution image will be 300 dpi or more.
Duratrans is short for Durable Transparency and is commonly known as a backlit display print. They can be found in many places from fast-food restaurant menus to corporate receptions and advertising hoardings.
The E-6 process (often abbreviated to just E6) is a photographic processing system for developing colour reversal or slide film.
FTP is an acronym for File Transfer Protocol and is simply a method of transferring digital files to or from your computer to a web server. It is as easy as copying a file from one folder to another.
Ultra high quality inkjet prints printed on special archival quality papers. Pronounced “gee-clay” the word derives from the French verb “to spray” and refers to the ink being sprayed onto the paper.
The Durst Lambda printer is a digital laser imager capable of producing large format images with the same quality, or even better, than conventional photo printing. Images can be combined with high quality graphics and text and printed onto a range of photographic materials.
- LZW Compression
A method of image compression used when saving files as a tiff in photoshop. Its use significantly reduces file size without any loss of image quality.
The process of attaching a photographic image to a thick base material to both keep it flat and provide a platform for easy display.
- RAW files
A raw image file contains minimally processed data from the image sensor of a digital camera or image scanner. Raw files are so named because they are not yet processed or ready to be printed. Precise adjustments can be made from raw files before conversion to a file format such as TIFF or JPEG for storage, printing, or further manipulation.
A preview of a digital file on your computer screen used to simulate how the final photographic print will look.
A traditional film format resulting from E6 processing. In their 35mm format, transparencies, trannies or trannys are commonly known as slides. They come in a variety of sizes up to 10×8″.