DSI Digitals Silver Prints® Fiber are processed in liquid photo chemistry, archivally washed, then air dried on specially made racks. The dry prints are then flattened in a heat press allowed to cool and trimmed down to the finish size. Unfortunately this process takes time and many skilled hands to complete, but the results are beautiful.
This video gives an overview of the Value Print online ordering application. The video includes basic ordering, adding borders, Print Sample Promotion, adding framing and/or mounting to your print, and more including questions from the webinar participants.
The maximum file size for our Custom Upload is 400 MB. If your image file is larger than 400 MB we suggest you use a free FTP service from WeTransfer.com or another FTP service. Please include your phone and your contact information so we can contact you to complete your order.
Start with a calibrated monitor! Calibrating your computer monitor is essential because it gives you a much more accurate rendition of how your file will print. Calibration insures that both you and Digital Silver Imaging are looking at an image that will appear the same on your monitor and ours in the lab.
File Format We prefer .TIFF but a .JPEG saved at maximum resolution is also acceptable. We can print from almost any file type including RAW or .PSD. However, unless you have a specific reason for using a RAW or .PSD this file type slows down file transfers and increases printing times. There is no quality gain from using a RAW file instead of a .TIFF. Our online Value Print Service (ROES Web) currently only accepts .JPEG files.
File Size The sweet spot for our DSI Digital Silver Prints® and Museum quality inkjet prints is 300 ppi/dpi at 100% size. In other words, if you want an 11×14″ print the file should be 11×14″, 300 dpi/ppi at 100%.
How do I export files from Adobe Lightroom? We have a short tutorial on how to export your files for print from Lightroom. Follow this link to view the tutorial.
Exporting files from Adobe Lightroom for printing is not always an intuitive process. We have put together this tutorial to show our customers how to export files to create the best prints possible using our services. You can read our post on the full procedure here
All orders within the US ship via UPS Ground or United States Postal Service (USPS). We happily ship orders all over the globe. International shipping quoted on a per order basis. Shipping charges are determined by package size/weight. All prints, up to 20″ x 30″, are shipped flat, unless otherwise requested.
Estimated Shipping Charges – Although we try to be as accurate as possible, shipping estimates are subject to change. Because every order is different, and we package orders to best protect your images, it is often impossible to predict exactly what the final charge will be. Simply put an estimate is not exact and may vary.
Using Your Own Shipping Account – If you have an account with FedEx, UPS or a freight carrier we are happy to ship using your personal/commercial shipping account. Please note that we will add a handling fee to cover our costs of packaging and order entry.
Custom Shipping Crates and Overseas Shipping – Yes we can do all that. Every project and shipping destination is different so please let us know when placing your order and we will create an estimate for you.
Damaged Shipments – We have developed packing methods to best protect your prints in transit. However at times damage does occur. It is important that you follow these steps so that a damage claim can be filed. Failure to do so may result in the loss of a refund on your order. If the carrier is present, always review and note exterior damage with the delivery person.
1. Photograph the EXTERIOR of your package. Making several photographs from different angles is important.
2. Keep ALL packaging
3. Call Digital Silver Imaging (617) 489-0035 immediately and email your photos to us at info@digitalsilverimaging.com
Digital Silver Imaging’s liability is limited to the replacement of the product that we have produced. We are not responsible for loss incurred as the result of an order that was damaged in shipping. If the customer request that we use their shipping account to make a shipment, the customer must file all damage/loss claims against the shipper. Digital Silver Imaging will not replace prints, frames, mats or any other product damaged or lost when using the customer’s shipper.
In this FAQ you will find a quick overview of the archival life of our products. For an in depth report on how Digital Silver Imaging’s prints compare to other print options follow this link.
DSI Digital Silver Fiber Prints® are made on black & white, light sensitive, silver gelatin, Ilford Gallerie paper. This is a heavy weight, baryta paper with a proven history of archival quality, light fastness, and durability. Henry Wilhelm, of Wilhelm Imaging Research called our prints “the gold standard” in black and white print longevity.
DSI Digital Silver RC Prints® are made on black & white, light sensitive, silver gelatin, Ilford Resin Coated paper.RC paper is sealed between layers of polythene with the emulsion and a ‘super-coating’ on top. This makes them a typically more robust paper that is easier to handle. This is a medium weight paper comes on a bright white resin coated base. It has excellent lightfastness, it can be rolled, and is ideal for commercial applications.
DSI Museum Quality Inkjet Prints are made on Canon Prograf printers using the latest Lucia Pro pigment inks. Not all inks are created equal, and Canon Lucia pro inks meet the highest archival standards. When printing on a quality paper with no OBAs (optical brightening agents), like Hahnemühle Photo Rag, these prints will last over 200* years framed under UV glass, and 300* years in dark storage. Digital C prints can’t compare, making our prints the best choice for quality and price.
Standard Inkjet Prints are made on Canon Prograf printers using the latest Lucia Pro pigment inks. Not all inks are created equal, and Canon Lucia pro inks meet the highest archival standards. These prints differ from our DSI Museum Quality Prints in that they are made on quality papers that may not meet the highest standards set by preservationists.
*Based on Wilhelm Imaging Research’s paper “Canon image PROGRAF iPF6100 and Canon LUCIA Pigment Inks“, 6/15/09
Over the past six years, Janet Jarman has immersed herself in covering topics related to human rights and healthcare in Mexico. She is currently producing a book and a feature length documentary about this topic with the assistance of a MacArthur Foundation grant.
Through deeply personal stories, “Birth Wars” explores conflicting visions between midwives and medical professionals about how to provide a safe and dignified childbirth experience to women. Many claim that midwives can play a central role in achieving these goals, if only their work could be formally recognized by Mexico’s medical establishment. For the book and film, Jarman follows the experiences of traditional and professional midwives who are trying to make a difference, and of some innovative health officials who are trying to reduce the antagonism between doctors and midwives.
Artist Bio
Janet Jarman is a photojournalist and documentary filmmaker. Since 2003, she has been based in Mexico where she focuses on topics such as the country’s ongoing security issues, immigration, access to healthcare, and water resource challenges.
Jarman has worked for The New York Times, The Wall Street Journal, GEO, Smithsonian Magazine, nationalgeographic.com, Stern, Der Spiegel, amongst others. She has also worked for numerous international foundations and NGOs. Her photographs have been featured at Visa Pour l’Image, Perpignan and have received awards in Pictures of the Year International, American Photography, PDN Photography Annual, POY Latam, Latin American Fotografia, Communication Arts, and Best of Photojournalism.
In addition to working on editorial assignments, Jarman has produced various long-term photo and multimedia projects, including Marisol and the American Dream, a two-decade story that chronicles the life of one Mexican immigrant girl; Aguas Negras, which analyzes Mexico’s many water related challenges; and Chaos and Corruption, which focuses on the burgeoning movements throughout Mexican society to force authorities to become more transparent. Jarman began her career in South Florida after graduating from The University of North Carolina at Chapel Hill. She worked as a staff photographer at The Miami Herald, and later obtained a master’s degree in environmental issues at the University of London.
