While we take every precaution for the safekeeping and handling of all print, film, digital file, negative, transparency and artwork, submitting these materials for processing, printing, mounting, laminating, or other handling constitutes an AGREEMENT by you that any damage or loss by our company, subsidiary, or agents due to unpredictable defects in materials, or even though due to the negligence or other fault of our company, subsidiary, or agents, will entitle you only to replacement with a like amount of unexposed film and processing, or, in the case of mounting, another print, when possible, and only when initially produced by us. Except for such replacement, the acceptance by our company, subsidiary, and/or agents of the film, print, slide, negative, transparency or artwork is without other warranty or liability, and recovery for any incidental or consequential damages is excluded. Should any material submitted involve high value the onus is upon the client to appropriately insure it. We will not accept originals without a signed release stating the above.
The client must pick up his/her originals upon completion of work; it is the responsibility of the client to verify the receipt of their original art work. We are not responsible for work left in house for more than 30 days after job completion.

For each project a work order will be prepared. It will account for the cost of the work requested. The work order will anticipate variable factors such as imaging, retouching and proofing as may be required. The final invoice may vary from the work order, but the client will be advised when these variances occur. A deposit of half the amount of the work order is required prior to beginning production. Upon completion of the project, the invoice balance must be paid in full is prior to pick up, delivery, or shipping. Payment can be made by check drawn on a U.S. bank, money order, Visa, Mastercard or American Express. Net 30 terms on previously approved corporate or institutional purchases only. 1.5% finance charges will apply monthly to overdue accounts.
Our basic prices are subject to change by us without notice and are non-negotiable. However, projects involving large quantities or editions qualify for discount pricing.

Works may be shipped from our facility if the client provides their FedEx account number or credit card number (with expiration date). Local messenger service is also available.

The client must bear responsibility to schedule their work sufficiently ahead of their required completion date. The timetables we supply are non-negotiable.

A project begins with the raw resource, such as selected frames of film, digital files, or loose prints. Then, the client must have a clear vision of the desired outcome of our services and be able to express that. Then, the client arranges a meeting with a project manager. During the meeting, we will propose a workflow, flag potential difficulties, hear concerns, propose solutions, and produce a time and cost estimate. After an agreement on these matters is reached, a deposit on the project is collected, and a project is begun.

Some services can be done in one day. It is not unreasonable to estimate that a straightforward, average-sized exhibition can be printed in two to four weeks, mounted in two weeks, and framed in two more.
The exact turnaround of any given project is dependent on several factors, including: the size of the project, the need for special or diverse services, the productivity of the relationship between client and the master printer, the availability of the client to review work and give feedback, as well as the total quantity of work present in house at any given time.

The best way to ensure that you meet your time requirements is to begin your project as soon as possible, with all originals ready for work, and with clear objectives and instructions. When exploration is sometimes necessary, please understand that it requires more time.

In any case, our staff will provide you the shortest possible turnaround. Moreover, we will be sensitive and responsive to each client’s individual needs.

All the materials we use are of the highest archival standard. Moreover, all of our practices follow state of the art conservation procedures.
Illord guarantees Cibachrome prints to be light-fast for 200 years in illuminated display. Wilhelm Imaging Research states that Pigment prints are light-fast well over one hundred years and that chromogenic prints are light-fast for over sixty years. In dark storage, the aforementioned prints will resist change much longer.

1. No liquids of any kind must touch the prints.
2. The surfaces of prints are fragile and may never be touched; prints may only be cleaned by spraying them with clean, dry, compressed air

3. Glazings of frames must be cleaned only with materials specifically made for that particular material, such as plexiglas cleaner for plexiglas and denglas cleaner for denglas. Frame mouldings must be cleaned only with a soft cloth.

4. Only acid-free, archival materials must ever touch the prints.

5. Prints must never be allowed to rub against each other during storage; instead, archival, clean, non-abrasive slip-sheeting or bags must separate and contain prints.

6. If the prints are to be displayed, they must be framed. Handling of the physical substrate of the print should be avoided. If print substrates must be handled, then the handler must first be sure that he/she is using correct technique.

7. Prevent exposure of prints to prolonged, unfiltered florescent light or daylight. During exhibition, the level of illumination should not exceed five to eight foot candles. An exhibition should not exceed three months during any calendar year.

8. Maintain a temperature of between 68° and 72°F and a humidity between 45-55% in the works’ environment.

If your starting point is film, we strongly encourage that you scan your originals with a high-end drum scanner. The image capture may be the most significant step in the imaging process. This service is available at Laumont. If your printing is to be done by Laumont, scanning at Laumont affords several conveniences, mainly having state of the art equipment available and having the onus for color management between the scan and the print taken on by our master staff.
If you are working with a digital camera or other digital source and are performing your own digital work, it would be best to ensure consistent color by having a proper working setup. You must use a professional grade monitor; and you should calibrate it properly using the best commercially available hardware/software packages. Then you must follow proper practices while working on your files, such as having minimum and consistent ambient light in the work space and using a D50 spectrum light (such as is available from GTI or Just Normlicht) to review prints from a local printer or from our devices. Then you must identify your working space, most easily by embedding your files with the working space the files were created in. Where possible, a reliable hard copy proof can also assist the technician to see what you see.

In terms of file size, images you print should have been captured and developed at the final output size and at the output devices ideal pixel resolution. For example, a 40×50 Lambda print should have a image size of 40×50 at 200ppi. Each output device has its own ideal output resolution, and you should consult your project manager as to the appropriate resolution for your printing medium.