Renaissance Press Photogravure

Digital Negatives

For those of us that have struggled or are struggling to match prints to a monitor I have information that might be a surprise and a relief.  It is impossible.  If you were to carry your monitor with you it would not match itself under slightly varying room light.  Most calibrated viewing boxes do not remotely resemble gallery, museum, home, or any other type of real world lighting.   No two hand crafted prints are the same.  Lay two prints next to each other in average room light that you believe are identical.  Switch their positions.  They will not look the same.   A photographer might want to approximate what is seen on the monitor.  The only thing that really matters is the final print.  What I do not want to do is to compare my print to my monitor or an inkjet proof and try to squeeze my prints into the parameters of a medium of which they are not. There is no best practice, best way, best paper, best conditions or best method of generating film and prints.   There is a large host of variables. The materials and techniques that work for you is what is most important.    

I began using the inkjet film system I cobbed together over twelve years ago.  The system incorporates Quad Tone Rip (QTR), a dedicated set of black and white Piezography inks, a measuring device and Curve Calculator 3 (CC3) or an i1 Profiler.  I did not invent anything.  I simply put what I thought was the best of what was available at the time together and have been using it ever since.  This past spring (2018) my assistant Svava Tergesen and I worked for four weeks and tested a variety of recent calculators, equipment and methods of making film for contact printing in an attempt to simplify and enhance our work.  We used densitometers, an i1 spectrophotometer, an old Kodak Model 1 ($40.00 on ebay) densitometer and a very simple gray scale visual comparator.  The results are conclusive.  There are a lot of ways to get great results.  The method you choose will depend on you,    It will never be as simple as edit an image, push a button and generate film.     

If you are frustrated and have been struggling with making prints from digital negatives you might consider taking a workshop.  Freshman I taught at RISD who had never made a print learned this process quickly.

Renaissance Press Workshops comprehensively cover the technique of making beautiful inkjet negatives and positives. The information is delivered clearly and concisely.  Detailed handouts accompany all workshops.  Pivate workshops are available through out the year.

Comprehensive post workshop assistance is readily available.  




Contact Information

Paul Taylor
Ashuelot, NH 03441
tel. (603) 239-9990