For photographers specifically, this is often the first fork in the road — and it's a genuinely different physical process on each side, not a quality tier.
Ink on paper vs. light on chemistry
A giclée print is built by an inkjet printer depositing microscopic droplets of pigment ink onto the surface of paper or canvas — a purely digital, additive process with no chemical development step.
A C-print (chromogenic print, sometimes called a "photographic print" or "lambda print" depending on the exposure method) is created by exposing light-sensitive photographic paper — coated with silver-halide emulsion layers — to a digital or analog image, then developing it chemically, the same fundamental chemistry that's produced photographic prints since color photography began.
What each looks and feels like in person
C-prints have a distinctive photographic surface — typically a smooth, continuous-tone glossy or luster finish that many photographers associate with the traditional "look" of a photograph, since the process is a direct descendant of analog color printing.
Giclée prints, especially on fine art paper, offer a much wider range of surface options — from photo-smooth luster to heavily textured cotton rag — giving more control over how the final object feels, at the cost of the specific, familiar photographic surface quality some photographers and clients specifically want.
Which one to actually choose
Modern C-prints on archival photographic paper (such as Fujiflex or Kodak Endura) are also rated for long display life, though historically photographic chemistry was less stable than today's pigment inks — this gap has narrowed significantly with modern papers, but pigment giclée still generally holds a longevity edge.
C-prints are often the preferred choice for photographers who want the traditional photographic surface and are printing at sizes and quantities where photographic labs are cost-competitive. Giclée is generally preferred when working with fine art papers, larger formats, mixed media, or reproducing paintings and drawings, where the inkjet process's surface flexibility is a genuine advantage.
Why this distinction confuses so many buyers
The word "photographic print" gets used loosely by both processes' marketers, and both can produce excellent, professional results — which is exactly why the confusion persists. Neither is objectively superior; they're different manufacturing processes suited to different materials and aesthetic goals.
The most useful question isn't "which is better" but "which surface and process fits this specific image, this specific paper preference, and this specific display context." A photographer shooting documentary black-and-white work on cotton rag paper and a photographer shooting glossy commercial color work are often reasonably choosing different processes for good reasons.
Is one process more 'authentic' for photography than the other?
No — both are legitimate, widely used professional processes. C-prints have a longer direct lineage to traditional darkroom photography; giclée offers broader material and surface flexibility.
Can I get the same image printed both ways to compare?
Yes, and this is a genuinely useful exercise if you're undecided — ordering a small proof of the same file as both a C-print and a giclée on your preferred paper is the most reliable way to judge which look you actually prefer.
Which is generally more expensive?
It varies by size and lab, but giclée on premium cotton rag papers is often more expensive per square inch than standard C-print output, largely due to substrate cost — though this flips at some sizes and paper choices.