Special processes
Some images ask for more than a good print: a different material, an unexpected surface, something that makes the object itself part of the work.
Paper is never just a support
Over the years the studio has learned that the paper is part of the image, not the thing it sits on. Which is why it likes to work outside the standard range:
Japanese washi — Awagami and others, for their living texture and the particular way they hold light.
Unusual papers — rough, heavily textured, or in tones no catalogue carries.
Gold leaf — for prints meant to become precious objects.
Emulsions on unconventional supports, where the image finds a home away from paper altogether.
How a special project works
There is no fixed recipe. You bring the idea, or we find it together looking at the image: we try, compare, and choose the material and the finish that give the photograph the strength it needs. It takes longer than an ordinary print, and it is meant to.
Intimus — an example
Intimus is a project by the French photographer Jacques Pion, photographed in the beech forest of the Melogno Pass. For a set of unique prints, a section of the image is reproduced as a true silver negative — shot on Kodak T-MAX 100 — with gold leaf placed between the pigment print and the negative, so the gold catches the light when the work is shown. Printed on Hahnemühle cotton paper.
The work has been shown in Milan, at MIA Photo Fair and at Lab 1930.
That is what this work is for: finding, for each project, a form that did not exist yet.
If you have something in mind
Write, or come by the studio. Bring the idea even when it is not finished — often it is not, and that is where the interesting projects start.