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1. What specifications exist with regard to data format, file size, DPI, color/RGM/CMYK?
2. How large does my image file have to be?
3. In the WhiteWall PhotoLab I can have large prints made from relatively small picture data files – how is that possible?
4. A properly set monitor is halfway towards a good print – why is this and how do I ensure this?
5. I don't have a copy of my work in digital form. How can I digitalize by work?
6. RGB, CMYK, ICC-Profiles – what are these?
7. In the WhiteWall member area, the menu point "My Motifs/Items" contains files with ICC profiles – why?
8. How does Online Proofing work?
9. What techniques & materials for prints are available at WhiteWall?
10. What techniques for presentation of the prints and what frames and mounts are available at WhiteWall?
11. What do prints and frames/mounts cost in the WhiteWall PhotoLab?
What specifications exist with regard to data format, file size, DPI, color/RGM/CMYK?
Data Format & Compression
The WhiteWall PhotoLab is only able to process the data formats JPG and TIFF. It cannot process RAW files or other formats.
For files in JPG format, files compressed between 90 and 100 percent are still okay. Compressions below 90 percent may well lead to pixel distortion and color errors.
Most digital cameras allow you to set the extent of compression. It would be important here to always set the camera to "high resolution".
File Size & DPI
With regard to file size, it's the pixels that matter!
Not the size of the file in MB (megabyte) or in DPI (dots per inch) is important, but the number of pixels. The more pixels, the larger the print. For digital cameras this means: The more pixels the camera has, the larger the maximum format can be. The differences in quality among cameras of the same mega-pixel size should, however, also be taken into account.
A file with 3000 x 2000 pixels can be printed in larger formats than one with 1500 x 1000 pixels. There is therefore no upper limit.
Why are MB and DPI not so important?
The MB of an image is a measure of the complexity of the image. A colorful detailed still has more MB than a monochrome graphic motif of the same size. Increasing MB, therefore, doesn't necessarily mean improving picture quality. It is important here to note: A (often loss-free) compressed file can have fewer MB but the same number of pixels as the original.
DPI is important in the printing of magazine and newspapers – for perfect large format WhiteWall prints, we require files with the resolution of our system (e.g. 200dpi for Lambda). Acceptable quality is, however, provided by lower resolutions.
Important: WhiteWall does not permit you to define a section of your image – for this reason, please determine the section of any particular image and its page relation BEFORE uploading.
In WhiteWall PhotoLab, you can determine the size of your print right down to the very centimeter on the basis of the pixel number of your file. There are no size categories or restrictions.
Of course your image will include its individual page relation. An overview with many examples can be found here.
Color space / RGB / CMYK
Your file may be configured using either RGB or CMYK. Please note here though, that CMYK files are immediately converted into RGB files as part of the production process, they are thus not further used. CMYK therefore provides no advantage; on the contrary, the larger data size often a disadvantage on uploading. Where no color profile is appended to your image, we will assume that your data are provided in sRGB-color profile. Note for professionals: The WhiteWall PhotoLab works best with 8-bit RGB images – this saves time when uploading.
^ back to the top
How large does my image file have to be?
For instance: For a Lambda print with format 60 x 80 cm, a data file containing 1900 x 2540 pixels is required. Important here is to note that these are minimum requirements – the more pixels your data files contain the better!
^ back to the top
In the WhiteWall PhotoLab I can have large prints made from relatively small picture data files – how is that possible?
As the overview with examples on pixel values and maximal format shows, relatively few pixels are sufficient for substantially sized prints. The overview also shows that with larger formats resolution (DPI) decreases.
Why?
In the calculation of the maximal print size on the basis of the pixels in your data file, we also take account of the probable distance of the observer from the image. This increases with increasing picture size – the larger the picture, the further the observer will position himself/herself away from the image in order to view it.
On increased distance from the picture, resolution can be reduced. This has the result that smaller pictures require more pixels per cm than larger ones.
^ back to the top
A properly set monitor is halfway towards a good print – why is this and how do I ensure this?
The data file that you upload on WhiteWall may come into existence in various ways: As photo from a digital camera, as scan of an analogue photo or as computer generated image created through design software.
This data file will be used in different way to produce prints: Lambda illumination, Inkjet print or UV art print.
Each tool used as part of this process "sees" and "shows" color differently – detailed information in this regard can be found here.
In order to see how the print will turn out after production from your data, we have developed the online proofing procedure, which we describe here.
The online proofing PDF that you see on your monitor shows the colors of your image as they will appear on the print.
In order for you to view the colors on your monitor correctly, settings must be adjusted accordingly. Your monitor should be able to show the colors as they are represented in the online proofing PDF – this is what is meant by "monitor calibration".
^ back to the top
I don't have a copy of my work in digital form. How can I digitalize by work?
Where your work is not available in digital form, you should first have your work scanned by a specialist service company – scanning the work on a home scanner generally doesn't produce the necessary quality. Using a search machine and entering the words "specialist laboratory" + "scan" + "your city" generally provides useful results. The data file returned from the scan laboratory should then be modified to fit the requirements set down above.
^ back to the top
RGB, CMYK, ICC-Profiles – what are these?
Color models, printing technologies and data format really are a science unto themselves. For those who are interested though, we would like to explain a few of the terms here.
RGB / CMYK / ICC
RGB and CMYK are color models (also called color spaces), that is, they provide a way of mixing colors from a few primary colors.
RGB is used whenever images are created using light, for instance using our Lambda technology on photographic paper or even when representing images on a monitor screen. The primary colors red, green and blue are used.
CMYK is used for printing, for example for Fine Art Inkjet prints or for the printing of magazines. The primary colors are cyan, magenta, yellow, key (black).
Every output device thus has an appropriate color model and theoretically must be "fed" with an individually tailored data file – quite a problem with respect to the many and various output devices used by us. And exactly here ICC comes into play.
ICC is a standard for color space transformations capable of solving exactly this type of problem. This system of color profiles allows color spaces to be converted mathematically between different systems e.g. from RGB into CMYK. The WhiteWall PhotoLab consistently uses ICC color management and is thus able to offer the following advantages:
- WhiteWall users can provide both RGB as well as CMYK files (recommendation for reasons of data size: RGB)
- users can use different RGB standards, e.g. sRGB (output color space of almost all digital cameras), ECI RGB, AdobeRGB
- Whatever the choice, all output devices are supplied with a file in the correct color model
- CMYK output procedures, as for instance Fine Art Inkjet procedures, can be simulated and can be shown on the monitor thanks to
the online proofing procedure (PDF).
^ back to the top
In the WhiteWall member area, the menu point "My Motifs/Items" contains files with ICC profiles – why?
As described above, ICC is a standard for color space transformations. For each separate technology used in the production, there is also an ICC profile saved in a data file.
Using the ICC profile files made available, professionals can check even before uploading their image, what the result on printing will be. For this purpose, an image editing program can be used to incorporate the profile into the original data file which can then be displayed on an appropriately calibrated monitor.
Whether the ICC profile is used or not has no effect on the quality of the prints produced – using the profile may, however, enable the image to be optimized before uploading.
^ back to the top
How does Online Proofing work?
The picture file uploaded on to WhiteWall is the basis for the print which is later to be produced. Nevertheless, the data file must be prepared for each printing technology.
In order that you can see online how prints produced using your digital data and your selected printing technology will look, a simulation of your print is compiled in our PhotoLab. In the second step, four varieties are worked out, each of which varying in color and contrast. The simulation and the four options are then made available for viewing in the menu point "My Motifs/Items" in the "Proofing" section as PDF.
Using the PDF, you can decide which variant you want to use for your print and indicate this for production. If your monitor's color settings are correct, you can see exactly using the PDF how later prints will look. More information on monitor color settings can be found here.
Online Proofing and ICC Color Management
Online Proofing is built upon ICC color management, which in turn is based on two color spaces:
1. The color space of your picture file, that is, the digital camera or scanner profile. In most cases, a profile is missing – we assume then that the file has a standard sRGB profile.
2. The color space of the desired output device (Lambda printer, InkJet printer, etc)
Both color spaces are converted into its counterpart in accordance with the ICC standard. Where your picture files only contain colors which also appear in the output color space, no difference will be ascertainable in the Proofing PDF. Should, on the other hand, your picture file contain more color as in the output color space, with the help of the Proofing PDF, you will be able to see how losses effect the picture, alternatively how input and output color space can be adjusted to become ICC compatible. You can also select a variant of your picture file, which, in relation to color and contrast, best fits your ideas.
We have chosen PDF format as the PDF Acrobat Reader is the only program compatible with ICC color management, which most internet users have.
Important: Our PDF Proofing Procedure is not based on a certain color space. The golden rule thus applies: Please, where possible, do not change the color space or your images!
^ back to the top
What techniques & materials for prints are available at WhiteWall?
Whitewall offers a total of four different technologies and corresponding materials. These are described below.
Each technology can be used in combination with others for presentation – the selection of technology for the prints thus defines the possible presentation techniques.
Some tips on the selection of printing technology and materials for your work have been put together in the FAQ for Artists / Gallery Owners / Right Holders.
Lambda Print & Fuji Crystal Archive Paper matt / gloss
Lambda Prints offer the ideal combination of advantages from digital picture compilation and the use of classic photographic materials.
Fujicolor Crystal Archive photographic paper is precisely illuminated using Lambda lasers and then traditionally developed. The result is detailed photographs with homogenous, seamless surfaces with exceptional picture clarity, fullness of color and brilliance. The prints are available in gloss or matt versions, maximum size: 122 x 180 cm.
Fuji Crystal Archive Paper, matt or glossy, is real photographic paper using traditional silver halogenides. It has been developed specially for optimal results in conjunction with Lambda laser technology. The result is a brilliant image and maximal durability. The excellent color representation, sharpness of image without over over-exposure and high "D max values" for deep, full black tones ensure photo prints with rich gradations over the entire color and tone spectrum – from light to dark. The improved picture white values ensure pure white tones resistant to yellowing and more brilliant, clearer prints.
Independent tests conducted by Wilhelm Imaging Research in the USA have confirmed complete color stability for at least 40 years at a light intensity of 500 Lux (full room brightness). Extraordinary durability is thus guaranteed. Fuji Crystal Archive Paper – real state of the art photography
Fine Art Inkjet Print & Photographic Paper matt / gloss
Fine Art Inkjet Prints are prepared on Inkjet papers in optimal quality. Professional printers ensure full colors and good contrast with quality ink. Fine Art Inkjet Prints are available in both matt and gloss versions; maximum format 110 x 140 cm
The extremely matt and pure white photographic paper at a weight of 190g/m² is preferred by many professional photographers on account of its large printable color space and the excellent light and depth qualities. This paper contains optical brighteners and is not completely acid free.
The glossy hard coated photographic paper (RC: resin coated) with a weight of 200g/m² has a glossy non-wavey polished surface and is thus an excellent medium for advanced amateurs, professional photographers and graphic designers. This paper is particularly well suited to images which require a balance between picture and presentation.
Premium Art K3 Pigment Print & Hahnemühle Paper matt / glossy
The optimum in digital printing is Premium Art K3 Pigment Print. State of the art pigment print technology (Epson 9800) is combined with the best Hahnemühle paper.
In order to ensure best results, the print is completed at extremely high resolution; the fine points able to preserve the smallest of details. Expressive colors are ensured through the use of pigmented Epson Ultrachromo K3 inks. Fine color gradations lead to an extraordinary wealth of tones thus allowing the representation of an extended color space. For the first time, black and white prints are possible in neutrally balanced grey shades. The particular color durability of the Epson Ultrachrome K3 inks - more than 50 years under normal conditions - has been confirmed by independent tests conducted by Wilhelm Imaging Research in the USA.
Prints are available on Premium Pearl Hahnemühle Paper (glossy) or mould-made paper by Hahnemühle (matt); maximum format 110 x 140 cm
Hahnemühle mould made paper "William Turner", matt, is specially coated to ensure excellent sharpness and optimal color gamut.
Fine Art Pearl photographic paper, glossy, is coated with a shiny special emulsion. This reinforces light and depth qualities and ensures brilliance in the presentation of the motif with an impressive color gamut.
UV Art Print & Canvas or Polytarp
The UV Art Print uses special inks which are dried using UV light directly after the printing process. This procedure is perfect for printing on to textiles and for larger formats. It also provides optimal light and weather resistance. The optimized pigment inks have no smell, are environmentally friendly (solvent free / without ACCs) and are particularly durable. Prints are available on canvas and polytarp; maximum format 120 x 180 cm
Painting canvas for quality art productions and advertising. The durable material is natural-white and offers brilliant color reproduction.
Polytarp consists of a finely structured polyester material with matt surface coating. Polytarp impresses with exceptional fullness and intensity of color. This material is extremely light though at the same time very robust and is particular suitable for large format prints.
UV Art Large Format Print & Canvas, glossy or Polytarp
The UV Art Large Format Prints are available up to a size of 250 x 600 cm. Printing is completed with the Durst Rho 350R UV Inkjet printer which applies special inks to be dried under UV light. The procedure provides optimum light and weather resistance for use both inside and out.
The optimized pigment inks have no smell, are environmentally friendly and are solvent free. Prints are available on canvas, glossy or on polytarp.
Canvas, glossy (similar to lorry tarpaulin) consists of an extremely resistant polyester fabric. The smooth and glossy surface coating allows brilliance of color for prints suitable for use both indoors and out.
^ back to the top
What techniques for presentation of the prints and what frames and mounts are available at WhiteWall?
At WhiteWall you can choose from various presentation techniques in many varieties, independent of your choice of printing technology.
Some tips for the selection of techniques and materials for your work can be found in the FAQ for Artists/Gallery Owners/Right Holders.
The mounting process LUMABOND places the photograph on an aluminium plate (Dibond). The photograph is affixed to the plate using a special adhesive. In order to protect the work from UV radiation and damage, a UV protective film is used. The finished mount can then be placed directly on the wall using the hooks and distance fixers on the reverse.
The LUMASEC procedure involves mounting the photograph on an aluminium plate and covering it with an acrylic glass plate. The acrylic glass plate is affixed using permanently elastic silicon and is the defining feature of this patented mount. It also protects the work from damage. An aluminium profile frame is also affixed to works with motif surface upwards of 1.2 m². The finished mount can then be placed directly on the wall using the hooks and distance fixers on the reverse.
Profile varieties
LUMASEC framed in Aluminium ArtBox
This presentation technique is offered exclusively by WhiteWall: The photograph is first mounted on to an aluminium plate and sealed with acrylic glass to protect from tears, bubbles and other damage (LUMASEC). The photograph is then set into a Halbe aluminium frame – a modern presentation where the photograph appears to be under glass with aluminium edge.
The aluminium frame is available in matt and untreated versions..
^ back to the top
What do prints and frames/mounts cost in the WhiteWall PhotoLab?
With respect to the indication of rates for the WhiteWall PhotoLab for prints, frames and mounts, the following should be noted:
PhotoLab rates – referred to by WhiteWall as "base rates" – are calculated for an artist wishing to have his/her own work produced for his/her own use.
The base price corresponds to laboratory costs and is independent of the format of the print (motif format without white edge, e.g. 40 x 60 cm) and the chosen technique (e.g. Lambda print) or presentation technique (e.g. passe-partout frame).
The rates calculated for a work on the WhiteWall Art Market or on the WhiteWall Artist of Gallery Pages are higher than this base rate.
Why is that fair?
The difference between base rate and sale price on the Art Market/ Artist of Gallery Pages reflects the added value of the artist and the artistic value of the work as assessed by the Jury. It therefore reflects, as usual on the Art Market, the difference between the simple material value and the artistic or subjective value of the work.
The base rate corresponds to the material value; the sale price includes the added value of the artist.
The following table contains a number of examples – the price for your work is shown automatically as part of the order process. All prices shown are subject to change.
^ back to the top
FAQs on the WhiteWall PhotoLab and WhiteWall products
1. What specifications exist with regard to data format, file size, DPI, color/RGM/CMYK?
2. How large does my image file have to be?
3. In the WhiteWall PhotoLab I can have large prints made from relatively small picture data files – how is that possible?
4. A properly set monitor is halfway towards a good print – why is this and how do I ensure this?
5. I don't have a copy of my work in digital form. How can I digitalize by work?
6. RGB, CMYK, ICC-Profiles – what are these?
7. In the WhiteWall member area, the menu point "My Motifs/Items" contains files with ICC profiles – why?
8. How does Online Proofing work?
9. What techniques & materials for prints are available at WhiteWall?
10. What techniques for presentation of the prints and what frames and mounts are available at WhiteWall?
11. What do prints and frames/mounts cost in the WhiteWall PhotoLab?
What specifications exist with regard to data format, file size, DPI, color/RGM/CMYK?
Data Format & Compression
The WhiteWall PhotoLab is only able to process the data formats JPG and TIFF. It cannot process RAW files or other formats.
For files in JPG format, files compressed between 90 and 100 percent are still okay. Compressions below 90 percent may well lead to pixel distortion and color errors.
Most digital cameras allow you to set the extent of compression. It would be important here to always set the camera to "high resolution".
File Size & DPI
With regard to file size, it's the pixels that matter!
Not the size of the file in MB (megabyte) or in DPI (dots per inch) is important, but the number of pixels. The more pixels, the larger the print. For digital cameras this means: The more pixels the camera has, the larger the maximum format can be. The differences in quality among cameras of the same mega-pixel size should, however, also be taken into account.
A file with 3000 x 2000 pixels can be printed in larger formats than one with 1500 x 1000 pixels. There is therefore no upper limit.
Why are MB and DPI not so important?
The MB of an image is a measure of the complexity of the image. A colorful detailed still has more MB than a monochrome graphic motif of the same size. Increasing MB, therefore, doesn't necessarily mean improving picture quality. It is important here to note: A (often loss-free) compressed file can have fewer MB but the same number of pixels as the original.
DPI is important in the printing of magazine and newspapers – for perfect large format WhiteWall prints, we require files with the resolution of our system (e.g. 200dpi for Lambda). Acceptable quality is, however, provided by lower resolutions.
Important: WhiteWall does not permit you to define a section of your image – for this reason, please determine the section of any particular image and its page relation BEFORE uploading.
In WhiteWall PhotoLab, you can determine the size of your print right down to the very centimeter on the basis of the pixel number of your file. There are no size categories or restrictions.
Of course your image will include its individual page relation. An overview with many examples can be found here.
Color space / RGB / CMYK
Your file may be configured using either RGB or CMYK. Please note here though, that CMYK files are immediately converted into RGB files as part of the production process, they are thus not further used. CMYK therefore provides no advantage; on the contrary, the larger data size often a disadvantage on uploading. Where no color profile is appended to your image, we will assume that your data are provided in sRGB-color profile. Note for professionals: The WhiteWall PhotoLab works best with 8-bit RGB images – this saves time when uploading.
^ back to the top
How large does my image file have to be?
For instance: For a Lambda print with format 60 x 80 cm, a data file containing 1900 x 2540 pixels is required. Important here is to note that these are minimum requirements – the more pixels your data files contain the better!
^ back to the top
In the WhiteWall PhotoLab I can have large prints made from relatively small picture data files – how is that possible?
As the overview with examples on pixel values and maximal format shows, relatively few pixels are sufficient for substantially sized prints. The overview also shows that with larger formats resolution (DPI) decreases.
Why?
In the calculation of the maximal print size on the basis of the pixels in your data file, we also take account of the probable distance of the observer from the image. This increases with increasing picture size – the larger the picture, the further the observer will position himself/herself away from the image in order to view it.
On increased distance from the picture, resolution can be reduced. This has the result that smaller pictures require more pixels per cm than larger ones.
^ back to the top
A properly set monitor is halfway towards a good print – why is this and how do I ensure this?
The data file that you upload on WhiteWall may come into existence in various ways: As photo from a digital camera, as scan of an analogue photo or as computer generated image created through design software.
This data file will be used in different way to produce prints: Lambda illumination, Inkjet print or UV art print.
Each tool used as part of this process "sees" and "shows" color differently – detailed information in this regard can be found here.
In order to see how the print will turn out after production from your data, we have developed the online proofing procedure, which we describe here.
The online proofing PDF that you see on your monitor shows the colors of your image as they will appear on the print.
In order for you to view the colors on your monitor correctly, settings must be adjusted accordingly. Your monitor should be able to show the colors as they are represented in the online proofing PDF – this is what is meant by "monitor calibration".
^ back to the top
I don't have a copy of my work in digital form. How can I digitalize by work?
Where your work is not available in digital form, you should first have your work scanned by a specialist service company – scanning the work on a home scanner generally doesn't produce the necessary quality. Using a search machine and entering the words "specialist laboratory" + "scan" + "your city" generally provides useful results. The data file returned from the scan laboratory should then be modified to fit the requirements set down above.
^ back to the top
RGB, CMYK, ICC-Profiles – what are these?
Color models, printing technologies and data format really are a science unto themselves. For those who are interested though, we would like to explain a few of the terms here.
RGB / CMYK / ICC
RGB and CMYK are color models (also called color spaces), that is, they provide a way of mixing colors from a few primary colors.
RGB is used whenever images are created using light, for instance using our Lambda technology on photographic paper or even when representing images on a monitor screen. The primary colors red, green and blue are used.
CMYK is used for printing, for example for Fine Art Inkjet prints or for the printing of magazines. The primary colors are cyan, magenta, yellow, key (black).
Every output device thus has an appropriate color model and theoretically must be "fed" with an individually tailored data file – quite a problem with respect to the many and various output devices used by us. And exactly here ICC comes into play.
ICC is a standard for color space transformations capable of solving exactly this type of problem. This system of color profiles allows color spaces to be converted mathematically between different systems e.g. from RGB into CMYK. The WhiteWall PhotoLab consistently uses ICC color management and is thus able to offer the following advantages:
- WhiteWall users can provide both RGB as well as CMYK files (recommendation for reasons of data size: RGB)
- users can use different RGB standards, e.g. sRGB (output color space of almost all digital cameras), ECI RGB, AdobeRGB
- Whatever the choice, all output devices are supplied with a file in the correct color model
- CMYK output procedures, as for instance Fine Art Inkjet procedures, can be simulated and can be shown on the monitor thanks to
the online proofing procedure (PDF).
^ back to the top
In the WhiteWall member area, the menu point "My Motifs/Items" contains files with ICC profiles – why?
As described above, ICC is a standard for color space transformations. For each separate technology used in the production, there is also an ICC profile saved in a data file.
Using the ICC profile files made available, professionals can check even before uploading their image, what the result on printing will be. For this purpose, an image editing program can be used to incorporate the profile into the original data file which can then be displayed on an appropriately calibrated monitor.
Whether the ICC profile is used or not has no effect on the quality of the prints produced – using the profile may, however, enable the image to be optimized before uploading.
^ back to the top
How does Online Proofing work?
The picture file uploaded on to WhiteWall is the basis for the print which is later to be produced. Nevertheless, the data file must be prepared for each printing technology.
In order that you can see online how prints produced using your digital data and your selected printing technology will look, a simulation of your print is compiled in our PhotoLab. In the second step, four varieties are worked out, each of which varying in color and contrast. The simulation and the four options are then made available for viewing in the menu point "My Motifs/Items" in the "Proofing" section as PDF.
Using the PDF, you can decide which variant you want to use for your print and indicate this for production. If your monitor's color settings are correct, you can see exactly using the PDF how later prints will look. More information on monitor color settings can be found here.
Online Proofing and ICC Color Management
Online Proofing is built upon ICC color management, which in turn is based on two color spaces:
1. The color space of your picture file, that is, the digital camera or scanner profile. In most cases, a profile is missing – we assume then that the file has a standard sRGB profile.
2. The color space of the desired output device (Lambda printer, InkJet printer, etc)
Both color spaces are converted into its counterpart in accordance with the ICC standard. Where your picture files only contain colors which also appear in the output color space, no difference will be ascertainable in the Proofing PDF. Should, on the other hand, your picture file contain more color as in the output color space, with the help of the Proofing PDF, you will be able to see how losses effect the picture, alternatively how input and output color space can be adjusted to become ICC compatible. You can also select a variant of your picture file, which, in relation to color and contrast, best fits your ideas.
We have chosen PDF format as the PDF Acrobat Reader is the only program compatible with ICC color management, which most internet users have.
Important: Our PDF Proofing Procedure is not based on a certain color space. The golden rule thus applies: Please, where possible, do not change the color space or your images!
^ back to the top
What techniques & materials for prints are available at WhiteWall?
Whitewall offers a total of four different technologies and corresponding materials. These are described below.
Each technology can be used in combination with others for presentation – the selection of technology for the prints thus defines the possible presentation techniques.
Some tips on the selection of printing technology and materials for your work have been put together in the FAQ for Artists / Gallery Owners / Right Holders.
Lambda Print & Fuji Crystal Archive Paper matt / gloss
Lambda Prints offer the ideal combination of advantages from digital picture compilation and the use of classic photographic materials.
Fujicolor Crystal Archive photographic paper is precisely illuminated using Lambda lasers and then traditionally developed. The result is detailed photographs with homogenous, seamless surfaces with exceptional picture clarity, fullness of color and brilliance. The prints are available in gloss or matt versions, maximum size: 122 x 180 cm.
Fuji Crystal Archive Paper, matt or glossy, is real photographic paper using traditional silver halogenides. It has been developed specially for optimal results in conjunction with Lambda laser technology. The result is a brilliant image and maximal durability. The excellent color representation, sharpness of image without over over-exposure and high "D max values" for deep, full black tones ensure photo prints with rich gradations over the entire color and tone spectrum – from light to dark. The improved picture white values ensure pure white tones resistant to yellowing and more brilliant, clearer prints.
Independent tests conducted by Wilhelm Imaging Research in the USA have confirmed complete color stability for at least 40 years at a light intensity of 500 Lux (full room brightness). Extraordinary durability is thus guaranteed. Fuji Crystal Archive Paper – real state of the art photography
Fine Art Inkjet Print & Photographic Paper matt / gloss
Fine Art Inkjet Prints are prepared on Inkjet papers in optimal quality. Professional printers ensure full colors and good contrast with quality ink. Fine Art Inkjet Prints are available in both matt and gloss versions; maximum format 110 x 140 cm
The extremely matt and pure white photographic paper at a weight of 190g/m² is preferred by many professional photographers on account of its large printable color space and the excellent light and depth qualities. This paper contains optical brighteners and is not completely acid free.
The glossy hard coated photographic paper (RC: resin coated) with a weight of 200g/m² has a glossy non-wavey polished surface and is thus an excellent medium for advanced amateurs, professional photographers and graphic designers. This paper is particularly well suited to images which require a balance between picture and presentation.
Premium Art K3 Pigment Print & Hahnemühle Paper matt / glossy
The optimum in digital printing is Premium Art K3 Pigment Print. State of the art pigment print technology (Epson 9800) is combined with the best Hahnemühle paper.
In order to ensure best results, the print is completed at extremely high resolution; the fine points able to preserve the smallest of details. Expressive colors are ensured through the use of pigmented Epson Ultrachromo K3 inks. Fine color gradations lead to an extraordinary wealth of tones thus allowing the representation of an extended color space. For the first time, black and white prints are possible in neutrally balanced grey shades. The particular color durability of the Epson Ultrachrome K3 inks - more than 50 years under normal conditions - has been confirmed by independent tests conducted by Wilhelm Imaging Research in the USA.
Prints are available on Premium Pearl Hahnemühle Paper (glossy) or mould-made paper by Hahnemühle (matt); maximum format 110 x 140 cm
Hahnemühle mould made paper "William Turner", matt, is specially coated to ensure excellent sharpness and optimal color gamut.
Fine Art Pearl photographic paper, glossy, is coated with a shiny special emulsion. This reinforces light and depth qualities and ensures brilliance in the presentation of the motif with an impressive color gamut.
UV Art Print & Canvas or Polytarp
The UV Art Print uses special inks which are dried using UV light directly after the printing process. This procedure is perfect for printing on to textiles and for larger formats. It also provides optimal light and weather resistance. The optimized pigment inks have no smell, are environmentally friendly (solvent free / without ACCs) and are particularly durable. Prints are available on canvas and polytarp; maximum format 120 x 180 cm
Painting canvas for quality art productions and advertising. The durable material is natural-white and offers brilliant color reproduction.
Polytarp consists of a finely structured polyester material with matt surface coating. Polytarp impresses with exceptional fullness and intensity of color. This material is extremely light though at the same time very robust and is particular suitable for large format prints.
UV Art Large Format Print & Canvas, glossy or Polytarp
The UV Art Large Format Prints are available up to a size of 250 x 600 cm. Printing is completed with the Durst Rho 350R UV Inkjet printer which applies special inks to be dried under UV light. The procedure provides optimum light and weather resistance for use both inside and out.
The optimized pigment inks have no smell, are environmentally friendly and are solvent free. Prints are available on canvas, glossy or on polytarp.
Canvas, glossy (similar to lorry tarpaulin) consists of an extremely resistant polyester fabric. The smooth and glossy surface coating allows brilliance of color for prints suitable for use both indoors and out.
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What techniques for presentation of the prints and what frames and mounts are available at WhiteWall?
At WhiteWall you can choose from various presentation techniques in many varieties, independent of your choice of printing technology.
Some tips for the selection of techniques and materials for your work can be found in the FAQ for Artists/Gallery Owners/Right Holders.
The mounting process LUMABOND places the photograph on an aluminium plate (Dibond). The photograph is affixed to the plate using a special adhesive. In order to protect the work from UV radiation and damage, a UV protective film is used. The finished mount can then be placed directly on the wall using the hooks and distance fixers on the reverse.
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Example: LUMABOND glossy |
The LUMASEC procedure involves mounting the photograph on an aluminium plate and covering it with an acrylic glass plate. The acrylic glass plate is affixed using permanently elastic silicon and is the defining feature of this patented mount. It also protects the work from damage. An aluminium profile frame is also affixed to works with motif surface upwards of 1.2 m². The finished mount can then be placed directly on the wall using the hooks and distance fixers on the reverse.
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Example: LUMASEC glossy |
| Passe-partout frames Quality wood ensures the stability of this frame. Finished with real wood inlay, this "classic" is available in various colors and sizes. The passe-partout is set perfectly against the motif using bevel cut and consists of acid-free, extremely light resistant Hahnemühle card. Four passe-partout colors are available. Four glass varieties are available for the frame: Float Glass (matt and gloss), Plexi Glass and Mirogard Museum Glass. |
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| Shadow Gap Frames |
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| An exceptional frame without glass lending particular weight to the piece itself. The photograph is first mounted on to a special plastic and sealed with a protective film. The piece is then set into a real wood frame. The peculiarity: between the mounted photograph and the frame there's a 7mm wide gap (shadow gap) – the effect is to give the impression that the photograph hovers mid-frame. |  |
Profile varieties
15 mm shadow gap frame with quality real wood inlay; the gap between image and frame is 7mm |
31 mm Shadow gap frame; the gap between image and frame is 7mm |
LUMASEC framed with shadow gap frame The combination of LUMASEC and the shadow gap frame: The photograph is first mounted onto an aluminium plate and sealed with acrylic glass to protect from tears, bubbles and other damage. The photograph is then set into a solid wood frame with a 7mm gap. The result is a photograph that appears to be under glass, hovering mid-frame. |
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LUMASEC framed in Aluminium ArtBox
This presentation technique is offered exclusively by WhiteWall: The photograph is first mounted on to an aluminium plate and sealed with acrylic glass to protect from tears, bubbles and other damage (LUMASEC). The photograph is then set into a Halbe aluminium frame – a modern presentation where the photograph appears to be under glass with aluminium edge.
The aluminium frame is available in matt and untreated versions..
Aluminium ArtBox 2.5 mm manifest width, 40mm depth, pure  |
Aluminium ArtBox 2 mm manifest width, 30mm depth, matt |
| LUMASEC with passe-partout frame Classical meets contemporary: The presentation technique LUMASEC is combined with a passe-partout frame. The photograph is first mounted onto an aluminium plate and sealed with an acrylic glass plate to protect the photograph from tears, bubbles and other damage (LUMASEC). In the second step, the photograph is then set onto a passe-partout frame. |
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| Stretcher frame (for canvas) The solid and quality processing is what defines this stretcher frame. The solid wood frame is repeatedly glued so as to remove the risk of shape distortion. The image is then sealed with a light protective coating. |
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| Aluminium ArtBox (for polytarp) An innovation by Halbe Rahmen is the aluminium ArtBox, produced exclusively for WhiteWall. The work is printed on to polytarp and laced with special silicon before being placed into an aluminium frame. The combination of light polytarp and aluminium makes the Art Box particularly suitable for works of larger format. The frame is available in both matt and untreated alternatives. |
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| Eyelets (for canvas, glossy) The special resistance of the polyester material makes this choice particularly suitable for prints for use either inside or outside. The metal eyelets worked into the edge of the material offer various possibilities for hanging: Either with hooks, nails or directly on to the wall - as you see fit. Delivery is made excluding hooks, nails etc. |
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| Hemstitch (for polytarp) The presentation technique for large art banners: The upper and lower edge of the work is folded and stitched. The result is to create an empty hem through which a metal bar or stretch rope can be passed. Delivery is made exclusive of metal bar, rope etc. |
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What do prints and frames/mounts cost in the WhiteWall PhotoLab?
With respect to the indication of rates for the WhiteWall PhotoLab for prints, frames and mounts, the following should be noted:
PhotoLab rates – referred to by WhiteWall as "base rates" – are calculated for an artist wishing to have his/her own work produced for his/her own use.
The base price corresponds to laboratory costs and is independent of the format of the print (motif format without white edge, e.g. 40 x 60 cm) and the chosen technique (e.g. Lambda print) or presentation technique (e.g. passe-partout frame).
The rates calculated for a work on the WhiteWall Art Market or on the WhiteWall Artist of Gallery Pages are higher than this base rate.
Why is that fair?
The difference between base rate and sale price on the Art Market/ Artist of Gallery Pages reflects the added value of the artist and the artistic value of the work as assessed by the Jury. It therefore reflects, as usual on the Art Market, the difference between the simple material value and the artistic or subjective value of the work.
The base rate corresponds to the material value; the sale price includes the added value of the artist.
The following table contains a number of examples – the price for your work is shown automatically as part of the order process. All prices shown are subject to change.
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FAQ