Darkroom
From the shot to the final print, with no middleman.
I don't just take photographs: I develop every roll of film myself and make every print myself, in my own darkroom. No step is outsourced to an outside lab.
Why I keep control of every step
Handing development or printing to an outside lab introduces a step I don't control: standardised settings, imposed deadlines, results that can vary from one print to the next. By keeping the whole process in-house, I can guarantee a consistent result that is faithful to what I intended at the moment of the shoot.
It is also a matter of security for your images: your negatives never pass through a third-party lab.
The shoot
Every portrait session, every reportage and every memorial research project is prepared with the same care: choice of film, light and framing, based on the intended use of the images.
Developing the negatives
Films are developed in my darkroom, following traditional processes: preparing the solutions, developing, stop bath, fixing, washing and drying. The resulting negative is the original archive of your photographs, kept with the same care as an important document.
Printing
I also make the prints in the darkroom, on photographic paper. The choice of paper, contrast, exposure times, dodging and burning, and toning receives the same attention as the shoot itself: a print is not a simple reproduction of the negative, but its fulfilment.
A tradition still relevant today
Between 1889 and 1906, Charles Fabre gathered the technical knowledge of his time in his Traité encyclopédique de la photographie. More than a century later, these principles — understanding light, mastering the process, giving each image the time it deserves — remain the foundation of my work, including on your projects.
What this means for you
You deal with a single point of contact, responsible for your images from start to finish. Timelines and the final result are given with full knowledge of the process, without depending on the constraints of an outside lab.