Traditionally, a photogravure involved working with copper plates, acids and delicate tissues. Today, we use a contemporary, environmentally friendlier alternative, the photopolymer plate. Unlike copper plates, these plates washout (develop) in plain water, are much easier to work with and are quicker to process.

Similar to the other historical processes, photogravure requires film that is the same size as the final image, except it has to be a postive, not a negative. The plate is exposed to uv light in contact with an aquatint screen, which is a stochastic (or random) pattern, and having a similar effect as a halftone. The screen is removed and the plate exposed a second time, this time with the film positive.

After removing the film, the plate is immersed in water and gently brushed with a soft sponge or brush for several minutes during which time the areas that were not exposed - the shadows - wash away. Those that were struck by light - the clear areas on the film - harden and become the highlights. The plate is then dried and re-exposed to uv light to cure it.

The plate is inked with thick etching ink and the raised highlight areas gently wiped clean by hand using soft cheescloth, or tarlatan. The finished plate is then placed on the bed of an intaglio press, covered with damp etching paper and run through the press. The ink is squeezed out of the deep grooves and onto the paper to form the image.