There are vintage automobiles, vintage fashion, vintage wines and even vintage prints. Vintage primarily includes items from industrial production since the 1920s. Although the term “vintage print” only became relevant in the field of photography late and with much discussion as part of an expanding photographic art market, it is considered the king of prints. It was always the favorite object of knowledgeable collectors. Today the first prints, which were made by the photographer himself at the approximate time of the photo, sometimes reach unaffordable prices. But what differentiates one deduction from the other? What makes the vintage print so special? Are there objective differences or is it more the feeling of the photographer or the connoisseur that counts? Advancing digitalization combined with the dwindling production of black and white materials has decimated the creation of vintage prints while increasing their attention and appreciation. This book explains the term in the context of photography and its not-so-easy translation into print. – Four different specialists have their say: the collector Manfred Heiting, the photo restorer Martin Jürgens, the printer and publisher Gerhard Steidl and the photographer Timm Rautert.