Fine Art Prints from digital Files


There are new technologies available now to get perfect digital fine art prints. The quality of those images is so impressive that even the most demanding professional photographer will be pleased.

At the moment the following technologies can be recommended to get the best quality photographs from digital files:.

1. The Fuji Crystal Archive Matte Paper can be exposed on the Durst Lamda or the Cymbolic Sciences Lightjet to achieve the best results in black and white and color. Good Labs will make prints that can compete with traditional silver gelatin prints and these prints are very long lasting.

2. A very popular technology is now the making of black and white prints with professional Epson Inkjet Printers like the Epson 4000 and the QTR RIP Software using Epson Ultrachrome inks .
These prints are almost undistinguished from Platinum prints and extremely long lasting

Color prints require a rather expensive RIP (Raster Image Processor) and a careful calibrated color management.

Several different papers, particularly archival rag papers can be used, but the proper selection of the right paper is very critical. Hahnemühle Photo Rag Paper for fine art prints and Epson Enhanced Matte Paper (formerly Archival Matte) for proofing is highly recommended and are most popular among fine art photographers.

This new technology enables an artist to get very luxurious looking prints for portfolios, exhibitions or even books in small editions when double-sided paper is used.

Award winning photographer Peter Gasser is using now Epson Ultrachrome and Photo Rag Paper exclusively for his magnificent black and white prints.

"It seems to me to be the most beautiful printing of photography I have seen. The colour on the paper is almost physical. The surface of the paper itself is beautiful." - David Hockney

"Never before have I found a medium which offered such remarkable integrity in the interpretation of my work. I can finally make prints which exactly capture what my mind's eye was seeing at the moment of exposure. No longer do I feel artistically limited by technical compromise or constraint -- I've been waiting for this all my life. These prints are the fruit of my lifetime's association with great painters and thirty years work as a photographer searching for the perfect print medium. In 1979 I studied very briefly under Ansel Adams who, as a young man trained as a classical pianist, maintained, 'If the exposure on film is the score, the final print is the performance.' I feel that at last I am making truly beautiful music." --
Peter Gasser

View Portfolios of Peter Gasser