Despite the dark threats that have been posed to the printed media, neither the telegraph, the radio, the television, nor the Internet have finished with it. The digital revolution and the Internet may have brought the end of printed newspapers, but ink still runs through in books, which are in very good health. Although the vast majority of photographs produced by citizens today are digital and rarely go through a printer, printed artefacts such as the photobook have recently flourished in certain areas of contemporary photography, largely helped by the Internet. At the same time, the print, the traditional physical form of the photograph, also maintains its presence at fairs, museums and collections. Today, printed matter coexists with screens and devices that offer intangible and immersive images, and 3D printers and projections that bring photography closer to sculpture and installation art. In this new hybridized scenario, the printed medium has lost its predominant position but at the same time it has acquired a new status—new connotations have been added to those previously proposed. That is why we ask ourselves:
What image deserves to be printed …
… taking into account its environmental impact?
… from the fetishistic perspective of the material?
… so that its message is also present in the physical world?
… by its historical value?
… to allow an intimate and deliberate reading in contrast with the immediate consumption of the online image?
… for its political value?
… to stop the constant evolution of the digital image?
… to demonstrate the formal and aesthetic qualities of print?
… for its economic value?
…so that it lasts over time?