Are my prints archival?
Yes, but standards for archivability are shifting. For a good primer on what one means by “archival” we suggest reading this excellent article by our friend Bill Kennedy of K2 Press. You can read it here.
How should I store my prints?
Make sure that your prints are lined with acid free paper. Light Impressions Renaissance Tissue is the best; Glassine is our second favorite. We recommend Talas for all your Glassine needs. Keep the prints away from light, humidity, air pollution, and all types of acid. Make sure your prints are not in the same flat-file as your silver prints as silver prints that weren’t washed properly can off-gas and cause yellowing.
What is your turn-around time?
Give us seven days. We may very well get it done much faster depending upon our current job queue. We suggest calling a week in advance of a proofing visit and job-start because we sometimes get booked solid with jobs.
What is “Print Setup Labor” and when do I get charged more than the free setup included in the print cost?
Print setup labor means the time spent to load an image, ensure that it is ready to proof, proof the image, and run the final print. Some very minor adjustments may be done at print time and be included in this free setup. Multiple prints and multiple adjustments beyond that first proof and test strip are all billed at $75.00 per hour. We are conscious of the fact that sometimes work stops to make way for good conversation, non-art communication, coffee, and the like. We bill accordingly.
If I re-print my image, will it look the same as my first print?
We are an editions print studio. That means that our system is set up to print your image exactly the same, a week, or three years, down the road. We try to linearize our ink/paper/profile combos every month. This keeps everything in-tune and running exactly the same even with different paper and ink batches and as the printers age. We are also implementing device-match profiling technology that lets one icc-profile simulate the ink gamut of a previous printer model or ink-type. We are also experimenting with direct LAB tuned input profiles to match legacy silver or Piezography hues directly in a CMYK printer.
Can you keep my files for me? It makes it easier for re-printing.
We can host your files, and we will back them up too, but we do not guarantee our hard-drives won’t fail. We suggest any final drum scans and print files be transferred to the client as well as stored at Black Point Editions. The only people authorized to request the files are the individuals owning copyright on those files: the clients. Any employee or owner of Black Point Editions cannot legally move the files outside of Black Point Editions without explicit permission of the client given directly to an owner of Black Point Editions.
Are these prints accepted and valued by galleries and collectors?
Yes and yes. We’ve printed for many galleries, museums, and collections/collectors all over the world. In many cases, ink-on-paper prints are more desirable and archival than c-prints.
What should I call this form of print?
In 2004 we started using the term “Pigment Prints” to define these objects. While Pigment Print has generally referred to non-digital print processes, we recognized early on that it really doesn’t matter what process is used but what materials are in front of your eyes. Since we originated the association of inkjet printing with Pigment Prints, that name has caught on throughout the industry. Many people say “Archival Inkjet Print” but that is the equivalent of saying “Archival Enlarger Print” when talking about darkroom work. We describe the material used, not how it was applied. Some use the term “Archival Pigment Print” today. We prefer to not use the word archival even though our prints are built to exceed the current standards of archivability. Only a full test of time will tell if black-box coated cotton rag papers will hold up in a world sliding into climactic change at a speed and scale never seen in human history. We suggest coating every matte cotton rag print in Premier Art Shield (or some other equivalent sealer) as a precaution. 
Can you send me an ICC profile so I can soft-proof my image?
Yes and no. Many people believe that soft-proofing with ICC profiles is somehow a silver bullet that lets them avoid print proofing all together. The problem is that there are too many other variables beyond the soft-proof at play. Client monitor calibration, Photoshop version, workspace illumination, eyesight problems, and on and on. If we have a large job in the city with a client who has a well calibrated work-space, we will give them an ICC to soft-proof against. Otherwise, that process creates false assumptions that drag the art down.