For more than 40 years Ilfochrome has been the premier medium for optical (analog darkroom) photographic reproduction and is considered by many authorities to represent the state-of-the-art for fine art photographic prints.
I printed Ilfochrome exclusively until 2008. After experiencing severe difficulties, surprises and delays obtaining Ilfochrome media and chemistry during three consecutive years (2005 – 2007), and concerned about future availability, I began producing digital Archival Pigment Prints. I had spent 30 years learning and perfecting the art of Ilfochrome printing, so this recent endeavor was begun, albeit out of necessity, with some trepidation. Results have exceeded my highest expectations.
The high gloss, mirror surface of Ilfochrome has never been replicated by any other medium, and Ilfochrome exhibits a radiance and depth which is unique. But in the case of most of my images I would judge the Pigment Prints to be equally, or more, aesthetically pleasing compared to the Ilfochromes. Digital imaging simply affords more control than could ever be achieved in analog, optical darkroom printing.
The digital process, if done with good technique, can usually yield a more accurate rendition of the original photograph and the scene as it was viewed by eye.
While I have not printed Ilfochrome since 2007, limited inventories of most of my images are still available and will be increasingly of interest to collectors. Whether I print Ilfochrome again in the future depends on availability (see paragraphs below about the future on Ilfochrome).
The sharpness (resolution) of the pigments prints is slightly superior compared to Ilfochrome, which has by far the best resolution of any traditional optical printing medium. Color saturation and hue rendition I would judge to be comparable, and the archival longevity, or resistance to fading, of both media is excellent (see details below). Of course, no art, even oil paintings, should ever be displayed in direct sunlight.
The following provides information about printing methodology and the characteristics of these two different print media.
ARCHIVAL PIGMENT PRINTS
Archival Pigment Prints are produced by the photographer on Epson Exhibition Fiber Paper using Epson Professional Series large format printers. This premium paper, made in the U.K and introduced in November 2007, exhibits superior color saturation and brilliance, cleaner whites and a wider color gamut compared to other fine art ink jet media. UltraChrome K3 inks (with Vivid Magenta) provide archival display permanence (no noticeable fading or change in color balance) for an estimated 90 years* if framed with conventional glass, more than 150 years* if framed with UV (Ultraviolet) filtration glass and more than 200 years* in dark storage. Heidelberg Primescan drum scans of the original film transparencies (250 or 300 MB from 35 mm or larger from 6x7 cm medium format) are Photoshop adjusted for printing and printed by the photographer. Adjustments to convert such a scan file into a high quality 16” x 20” print file typically require 30 to 50 hours of Photoshop work.
Ilfochrome prints (called Cibachrome 1963 – 1991) are exclusively Ilfochrome Classic Deluxe Super Glossy – normal contrast (CPS.1K) and medium contrast (CLM.1K) and are optically hand printed by the photographer from the original film transparencies – utilizing a Durst Laborator 1200 4" x 5" enlarger and Rodenstock APO enlarging lenses.
Ilfochrome’s unique utilization of pure, highly stable azo-metallic dyes provides unsurpassed brilliant, saturated color and excellent resistance to color change or fading. It features sharpness, or resolution of fine detail, greater than that of any other analog (optical) photographic print medium. It's also noted for its superior color separation and hue rendition. Ilfochrome is widely regarded to be notoriously difficult (by far the most difficult color print process to master), and materials costs are several times greater than those of any other color medium. Therefore its use is generally limited to a sector of the fine art market. This material's rich color, sharpness, and archival permanence make it the first choice of galleries and museums.
Before that firm ceased to exist in 2005 Ilford guaranteed the permanence of Ilfochrome Classic for 200+ years under normal display illumination, if properly processed and with some qualifications**. Other estimates of Ilfochrome Classic’s archival longevity (no detectable change) vary considerably depending on the source and testing methodology – ranging from approximately 30 to 60 years. It should be noted that the methods employed in these accelerated tests are controversial, and, unlike digital prints, Ilfochrome Classic has a proven track record. In dark storage, or if looked at for only a few hours each year, there is consensus that Ilfochrome is virtually permanent – being rated at 500+ years (the highest possible rating).
I have sold thousands of Ilfochrome prints since 1993 and as of early 2009 have not received a single complaint or negative comment about fading or color shifting. Ilfochromes that have been framed and displayed in my home since I printed them in 1978 are still indistinguishable from recently made prints of the same images.
A document I wrote in May 2004 provides some further information about Ilfochrome.
Please click
Ilfochrome.
**Please see comments at the end of the above link for more information about
Ilford’s archival guarantee.
THE FUTURE of ILFOCHROME
Every year since 1993, when I began selling Ilfochrome prints, I have heard rumors about discontinuation of this medium. It is still available but no longer conveniently or without considerable expense. The “digital revolution” continues to wreak havoc within the traditional photographic industry.
Ilford, a U.K. based firm in business since 1897, went into receivership in 2005 and was subsequently liquidated. The Ilford Imaging Ilfochrome production facilities in Freiberg, Switzerland were purchased by Oji Paper of Japan. Ilford’s other facilities in Mobberley (U.K ), mainly for black & white films and printing papers, were acquired by U.K. based Harman Technology, which can still use the Ilford brand name and logo under license to Oji for previously existing products.
Currently my best option for obtaining the chemistry is to drive to New York City, a 12 hour round trip, to pick it up. Since 2006 the only remaining type of Ilford’s dedicated chemistry is classified as HAZMAT (hazardous material). The New York source will not ship the product. The chemistry and the Ilfochrome Classic media I use are now all special order items with varying lead times. Shipping HAZMAT from the West Coast by common carrier is prohibitively expensive. Also since 2006 the price of the chemistry, not including shipping, has increased by 300% to 600% depending on the vendor. Previously the chemistry amounted to about half of the materials cost of each print.
During the last four years of printing Ilfochrome (2004 – 2007) I experienced a 10% reject rate (loss) due to material defects (small dimples) in the material’s polyester base – resulting in waste of expensive media and chemistry as well as approximately one hour of tedious labor for each lost print. These defects were only detectable after processing. Efforts to resolve these issues with Ilford were not successful.
By early 2007 there were still approximately 20 custom color labs (my estimate) still printing Ilfochrome in the U.S.A. – compared to dozens during the late 1990’s. As of late 2007 only about ten or twelve of those color labs were still providing this service.
Getting information has been almost as difficult as obtaining the materials. There now seems to be no effective, or even detectable, marketing presence in the U.S.A.
If I do resume printing Ilfochrome in the future, prices will be substantially higher than those currently listed.
