I began making inkjet negatives and positives in 2004. Enlarged film was made by making test strips and using the variables of film type, developers, additives, agitation, water baths, burning and dodging, flashing, film masks, and toning, among other options, to achieve a beautiful film negatives or positives. This process could easily take an entire day. The most important aspect of creating both film and prints was and still is the practitioner’s eye.
The system I developed uses Quad Tone Rip (QTR), a dedicated set of black and white Piezography inks and Curve Calculator 3 (CC3), an ingenious software program designed by Mark Nelson for crafting digital positives and negatives. The results are beautiful. I was the first to put these components together and have been using this method with no need for major modifications for 13 years. From the QTR program I am able to quickly create film of any density required for any contact print process. After a little practice it takes around 15 minutes to create a film profile for your process. The benefit of crafting a profile as opposed to using canned profiles found on alternative process web sites on the internet or supplied by manufacturers is the incredible control over the quality of the film output. This method works for all contact print processes. It takes into account the photographers equipment, paper, chemistry and environment. Canned profiles can not do this.
If you are frustrated and have been struggling making prints from digital negatives you should probably take a workshop. Freshman I taught at RISD who have 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.
Comprehensive post workshop assistance is readily available.