Photography Printing and Framing
The Hackney Emporium offers quality darkroom prints in a selection of prices and formats. Black-and-white silver gelatin prints are produced by hand from vintage negatives through Getty Images’ in-house darkroom, while color prints are produced in cooperation with leading London print labs. Limited edition prints are hand-stamped and numbered by the official Getty archive; all artworks are carefully packed and shipped with a Certificate of Authenticity.
Resin coated silver gelatin prints are exposed by hand and machine processed. Resin prints have a plastic emulsion coating therefore not offering the same flexibility as fibre prints. Resin paper is still considered to be one of the best in the market and is used as a more cost effective option for larger projects. Their plastic emulsion surface coating is durable and curl resistant. Resin prints are the preferred choice for large scale or public facing projects. Resin prints are also hand retouched using specialised inks.
The traditional process for fine art photography, silver gelatin fibre prints are exhibition quality archival prints hand printed and processed in Getty’s darkroom from original negatives. Fibre prints offer the best quality both in tonal range and longevity. Our darkroom specialists expertly choose emulsion that will best compliment the negative to be printed. This flexibility ensures that the final print will always have the most exquisite depth and superb contrast the market can offer. Fibre prints are limited to an edition run of 300 and are hand retouched using specialised inks.
C-type prints are notable for their continuous tone and vibrant colours. The first widely used colour print process, modern c-type prints are printed from high resolution digital files produced from drum-scanned negatives or transparencies. C-type prints use dye-based photographic papers and should not be confused with inkjet, or giclée prints.
A modern technique, the face of a Perspex print is adhered directly to a piece of acrylic (also known as plexiglass, Perspex or Lucite) with a clear, pH neutral adhesive. The verso is mounted to an aluminium composite backed with a wood or metal cleat. The mounted prints are well protected and are notable for their deep and brilliant colours. Face mounting is considered a permanent process; prints cannot be safely separated from the acrylic surface once mounted.
All of our frames are archivally sound and meant to maintain the beauty and longevity of your print. Our framing partners are Carters Framing, a family-owned and family-run operation based in Surrey. We offer traditional wooden framing with off-white mount in white, black, or brown.