Digital Printing @ Cone Editions
ConeColor® or Piezography® Black & White Inkjet Prints and Proofs on various archival papers.
You can transfer your images to us to have prints made, or you can request reprints from files we have in our archives. We will never print your images without permission. We do not charge any costs for storing your work on our server.
We have a number of standard Awagami, Hahnemuhle & Canson papers from which you can choose here. The JonCone Studio Type 2 & 5 papers are exclusive to Cone Editions Press. And we have many others we do not list.
For ConeColor prints, we color manage to produce prints that match a properly calibrated display. If you choose a matte paper you can expect the dMax to be about one photographic stop darker than conventional EPSON inks printing, and up to 1 1/2 stop darker than when using Canon ink sets. We routinely achieve a dMax >1.85 on our fine art matte prints.
For Piezography Black and White prints, in addition to matching calibrated displays, we offer a number of standardf different monochromatic tones from which you can choose here. There are actually over a million settings with our software. Consider spending a day with us in collaboration to find the tone that is perfect for you. You can also send us an historical process print for matching. If you are new to Piezography it is a beautiful way to print your photographs. We formulate the darkest Matte Black ink on Earth! So if you thought that glossy prints are darker - think again! We routinely achieve a dMax >1.85 on our matte prints! And our matte prints have a sumptuous surface quality because Piezography prints with about 35% more ink than a traditional Epson printer. The highlights and shadows are filled with detail as a result. The acuity is much higher. Our glossy and baryta prints are also unique in that there is no gloss differential between the inks and the paper. They are as close to a silver print as you will ever get.
These are the costs per image for making these types of prints at one time. A first print price is incurred each time an archived image is re-printed.
Print Prices
| Paper Size (bleed printing not available at these sizes but must be trimmed to from these paper sizes. Paper sizes include at least 1/2" paper white margin around so your image must be smaller. Prices are per print incurred during a single printing session. Discounting available for large projects. | ||||
| 1st print | 2nd Print | 3-9 | 10+ | |
| 8x10 | $75 | $70 | $65 | $60 |
| 8.5 x 11 | $75 | $70 | $65 | $60 |
| 11 x 17 | $85 | $75 | $70 | $65 |
| 13 x 19 | $100 | $85 | $80 | $68 |
| 16 x 20 | $120 | $100 | $80 | $70 |
| 17 x 22 | $150 | $125 | $100 | $75 |
| 18 x 24 | $150 | $125 | $100 | $75 |
| 20 x 24 | $170 | $140 | $115 | $100 |
| 22 x 30 | $185 | $150 | $125 | $110 |
| 24 x 36 | $200 | $175 | $150 | $125 |
| 30 x 40 | $300 | $225 | $195 | $150 |
| 36 x 44 | $350 | $240 | $200 | $165 |
| 40 x 50 | $375 | $325 | $300 | $275 |
| 44 x 60 | $400 | $350 | $315 | $300 |
| 44 x 80 | $500 | $450 | $425 | $400 |
| 44 x 100 | $750 | $650 | $600 | $550 |
| 44 x 120 | $800 | $700 | $650 | $600 |
Piezography Black & White Toning & ICCs
Piezography comes in many different color hues, blends, and splits. These pigment colors are built into the carbon monochrome ink itself and are not added with cyan, magenta, or yellow color dots. This gives the Piezography print a unique depth and feel that is totally un-achievable by normal printing processes. With our new Piezography Pro ink we’ve gone one step further and added two ink sets into one printer. On one side we have a strong warm and on the other side we have a cool neutral. Then we can mathematically mix and match these two inksets on-the-fly when we print. The maintains that legandary look-and-feel of Piezography (no color dots!) while giving us unlimited flexibility to target specific hues into specific parts of the image. The image below shows a Piezographt Pro curve that is cool in the shadows and warm in the highlights. It’s for gloss paper (there is gloss optimizer that prints all the way through the white of the paper shown by the gray line rising on the right).
There are billions of different Piezography hue combinations to choose from and we can make this happen when photographers visit us for production in the studio, but to simplify things we’ve come up with a standard list of toning options to choose from. They are listed below along with ICCs that can be used to preview the ink on your own image in Photoshop using a hardware calibrated display and Soft Proofing.
Available Hues (Piezography Pro Ink):
Ink: Piezography Pro
Name: Full Warm
Hue: 100% Warm
Soft Proof ICC: Download Matte Download Gloss
Ink: Piezography Pro
Name: Neutral
Hue: 100% Neutral
Soft Proof ICC: Download Matte Download Gloss
Ink: Piezography Pro
Name: Cool Neutral
Hue: 100% Cool (matte paper)
Soft Proof ICC: Download Matte Download Gloss
Available Blends (Piezography Pro Ink):
Ink: Piezography Pro
Name: Warm
Hue: 20% Neutral & 80% Warm
Soft Proof ICC: Download Matte Download Gloss
Ink: Piezography Pro
Name: Semi-Warm
Hue: 40% Cool & 60% Warm
Soft Proof ICC: Download Matte Download Gloss
Ink: Piezography Pro
Name: Warm-Neutral
Hue: 80% Neutral & 20% Warm
Soft Proof ICC: Download Matte Download Gloss
Available Splits (Piezography Pro Ink):
Ink: Piezography Pro
Name: Warm Highlights, Cool Shadows
Highlights: 20% Neutral & 80% Warm
Midtones: 50% Cool & 50% Warm
Shadows: 30% Cool & 70% Neutral
Soft Proof ICC: Download Matte Download Gloss
Ink: Piezography Pro
Name: Cool Highlights, Warm Shadows
Highlights: 20% Cool & 80% Neutral
Midtones: 60% Cool & 40% Warm
Shadows: 20% Neutral & 80% Warm
Soft Proof ICC: Download Gloss Download Matte
Available Hues (K7 Legacy Piezography Ink):
Ink: Piezography K7 Carbon (limited to 17x22) this is the least permanent non-fading ink ever produced by any manufacturer. It is made of 100% natural carbon pigment.
Name: Carbon
Soft Proof ICC: Download Matte Download Gloss
Inkjet Papers
The papers that we regularly stock offer a broad range of surface texture, surface gloss, handling characteristics, paper-white, and thickness. Below we describe each paper with a brief review talking about what the paper’s properties are and what type of printing it’s good for. We also explain what paper sizes are available, and what inks are available.
We also have a vast “back catacomb” of papers that we have bought in bulk over the years available for collaborative printing project
Stocked Gloss & Semigloss Papers:
Canson Platine
Paper Notes: Semi-Gloss, 100% Cotton, Natural white with pigmented surface and zero OBAs. This paper is created from the Arches Platine Platinum paper base and is then buffed several thousand times to create a pollution barrier. It’s then coated with a titanium-white pigment and semi-gloss emulsion. This paper has a natural texture and it’s very very very durable. This is a great default paper.
Canson Prestige
Paper Notes: Semi-Gloss, Cotton/Fiber Mix, Natural white with pigmented surface and zero OBAs.This paper is Canson's upgrade to Baryta Photographique. Less curl issues, slightly more texture, thicker, less cutting issues, all-around a better paper! We had a hand in the development of this paper and we kinda love it.
Hahnemuhle Photo Gloss Baryta
Paper Notes: This is a brand-new very glossy Baryta paper brand from Hahnemuhle but the paper itself will be instantly familier to people because it’s still made by Harmen and is a re-make of the old Harmen FB Gloss Baryta Neutral-Tone paper that is the closest match to a traditional silver print ever created. The old paper had quality control issues from batch-to-batch but now that Hahnemuhle is running the show directly at the mill, every roll comes out perfect and we can finally offer this paper as a viable option for artists looking to show digital prints in the same portfolio as silver prints. If you are looking for a print that mimics B&W silver, look no further than Piezography Pro inks on this paper.
Hahnemuhle Photo Rag Baryta
Paper Notes: Glossy, Smooth, Semi-white, 100% cotton + baryta, similar to Photo Rag Pearl but smooth, more glossy, slightly warmer. It has a better resolution due to the baryta layer. This paper has the unique ability to completely hide ink dots and keep the image super sharp at the same time. It works well with all inksets we use at Cone Editions.
JonCone Studio Type 5
Paper Notes: Baryta surface, semi-gloss but the least amount of gloss possible, warm-white non-OBA. Very thick rigid paper. This paper is the perfect fine-art paper for traditional K7 semi-gloss Piezography printing and also works incredibly well for color printing.
Hahnemuhle Photo Rag Pearl
Paper Notes: Semi-Gloss, 100% Cotton, slight texture, Semi-white with minimal amount of OBAs. This paper is very durable and takes a decent amount of gloss ink without bronzing. The first Hahnemuhle Semigloss cotton paper and still one of the best for general photographic printing. It’s a photo-community favorite.
Epson Ultra Premium Luster
Paper Notes: This is Epson’s “Ilford Multigrade.” It’s their base paper for all photo printing and is as durable as Battlestar Gallactica. This paper can take more ink than Epson Glossy and it’s nearly waterproof and “cockle” proof. It’s a great student work paper!
Epson Ultra Premium Semimatte
Paper Notes: The only archival paper that Epson (or really anyone) makes that can be face mounted is Ultra Premium SemiMatte. This paper has the least reflectance and the most smooth surface of any Epson paper. Epson stopped making it for nearly a half decade and recently re-introduced it to the market. If you are looking to face mount a print, use this paper.
Stocked Matte Papers:
Hahnemuhle Photo Rag
Paper Notes: Matte, 100% Cotton, White with minimal amount of OBAs. This paper started the fine-art digital inkjet revolution. It has an incredibly rich tonal range with Piezography ink and a very high color gamut with color ink.
Canson Rag Photographique
Paper Notes: Matte, SMOOOOTH. 100% Cotton, White with pigmented surface and zero OBAs. This paper is a new generation of rag paper created by the legendary Canson paper mill in France.
JonCone Studio Type 2
Paper Notes: Matte. Warm-white, Non-OBA, stiff rigid thick surface, very sharp dot (similar to the original Crane Portfolio Rag but smoother and slightly warmer), this paper is specifically built for Piezography printing and is the most exceptional, most archival paper for the process. It works equally well for color printing.
Hahnemuhle Bamboo
Paper Notes: Smooth, Thick, Matte, Bamboo fiber, Very Warm with zero OBAs. This paper is environmentally and ethically friendly (no cotton!). It is one of the warmest papers on the market and many consider it to be more archival than Hahnemuhle Photo Rag. The paper surface is truly exceptional and professional-grade and surpasses the dMax (how black the black gets) of Hahnemuhle Photo Rag. It’s perfect for portraits too.
Canson BFK Rives
Paper Notes: Matte, 100% Cotton, Natural white and zero OBAs. This paper is similar to Canson Edition Etching but with a warmer and more natural feel and texture. It does not have as much bite as other Canson papers but that is the whole point. It’s soft and alluring.
Hahnemuhle Museum Etching
Paper Notes: Matte-Textured, loose grain, 100% Cotton, mid-white, mould-made felting. Museum Etching has a smooth wide grain and it’s a very thick 350gsm paper. The texture is less present than Torchon. It’s great for extremely large prints that require tough paper that will hold up to a lot of abuse. It doesn’t flake. This paper has incredible longevity and is probably the oldest continuously-made paper in history. We consider in future-proof.
Hahnemuhle Photo Matte Fibre
Paper Notes: Matte-Textured, loose grain, alpha-cellulose proofing paper. This paper is a thinner than Hahnemuhle Photo Rag 308 with slightly less optical brighteners (warm) but retains the same dMax performance of it more expensive sibling while coming in at a very attractive price-point. We offer this paper as the matte option in our “standard portfolio” online print service.