The image,
through to the print.
I photograph in infrared to rediscover familiar places. A print keeps this way of looking close by: a reason to return to the image and take time with it.
Looking differently, taking time.
I work in infrared because this light changes familiar places. It encourages a more attentive look and reveals what is not always visible at first glance.
A print lets you live with an image every day. On a wall, it gives you time to return to a landscape, see its details and slow down. Every copy belongs to a limited edition. It is numbered, signed and accompanied by a certificate of authenticity.
Preparing every print.
Before printing, the file is prepared for the chosen format. Afterwards, I check the blacks, colours, details and overall rendering of the image.
This work is done in Lavigny, Vaud, Switzerland, with Polygraphic. The company is run by my father and I work there 40% of my time. This proximity makes it easy to follow every print, from the file through to the final check.
Choosing the right support.
The works are printed on Hahnemühle FineArt Pearl paper. Its lightly textured surface and subtle sheen add depth to the image while keeping details visible.
All prints can be mounted on an aluminium support. In that case, the image is printed edge to edge. For a paper print, a white border is kept for framing in the frame chosen by the client. Available supports and prices are shown on every artwork page.
Checking, signing, preparing.
After the check, every print is numbered and signed. The certificate of authenticity is then prepared, before the complete work is made ready for collection in Lavigny or shipping. Polygraphic is a printing partner, but also part of my family history. The goal remains simple: prepare every print with care before it reaches you.
To discover the workshop beyond these prints, visit Polygraphic.
