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When I attempt to make a great photographic print, what do I look for? What process do I go through to make the image as perfect as possible? I have spent 40 years making my exhibition-quality Cibachrome prints and I’d like to explain what goes into making a superlative photographic print.
The fine print is much more than a mere reproduction of an image. It is the culmination of the inspiration and vision of the photographer. It is the clearest, most direct and powerful form of the image, and has the ability to move beyond words, ideas and concepts to touch and move the viewer in the most direct and immediate way.
The proper lighting of a color photograph is something we often think about only after we place a photograph on the wall and find that it doesn’t look quite as good as we thought it would. Even the best print cannot overcome the limitations imposed by the incorrect color or intensity of light.
Our method of limiting the quantities of prints is my attempt to have a balanced and fair method to address everyone’s concerns and seems to be acceptable to most people.
Why do we double mat? What materials do we use?
Under changing humidity conditions, sometimes Cibachrome prints will exhibit a waviness which can be disturbing. This problem can be solved by pressure mounting the print. We have found that we need to pressure mount only about 1% of the prints we sell — but it’s an important option for the times that it’s needed.