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Platinum-palladium prints
The platinum-palladium process is a contact printing technique that has both visual and tactile qualities.   A platinum-palladium print has the look and the feel of an engraving. The warm, nuanced and mat rendering of the image (which is embedded in the paper itself) gives it a unique and timeless character. The papers used for this process are composed of natural fibers (linen, cotton, mulberry, hemp...), with no colorants or additives. In terms of longevity, the platinum-palladium process is the most stable photographic printing technique that currently exists.

Pure cotton, linen, kozo, gampi and other papers, from 3.6 to 310 g/m2, all formats up to 1.10x2.10m.

Lavage d'un contact platine-palladium 46x60 cm
Washing of a platinum-palladium print, 46 x 60 cm
  Contact platine-palladium 46x60 cm sur papier pur coton - Pour André Villers et Gagosian Gallery
Platinum-palladium prints on pure cotton paper, 46x60cm
For André Villers and Gagosian Gallery
Contact platine-palladium 36x47 - 74x47 - 31x47 cm sur papier coton Pour Pascal Convert et Galerie Eric Dupont
Platinum-palladium prints on cotton paper, 36x47cm, 74x47cm, 31x47cm
For Pascal Convert and Galerie Eric Dupont
Cyanotype sur platine-palladium 50x75 cm Pour Régis Guichard
Cyanotype on platinum-palladium, 50x75cm
For Régis Guichard

The cyanotype and argyrotype contact print processes are equally practiced at the laboratory according to the same qualitative criteria as for the platinum-palladium process.

The cyanotype process has the particularity of creating Prussian Blue (blue-cyan) prints whereas images obtained through the argyrotype process are brown in color.

The overlaying of two contact print techniques is possible in order to create a blue cast on a platinum-palladium print.

Laurent Lafolie
Digital negatives
The contact of the future platinum-palladium print can be made either
from an analog negative that suits
the process or from a digital negative.
  The digital negative can be made from a scanned analog negative or directly from a digital file: the image is processed on a retouch software (dusting, interpretation and application of transfer curve) and then printed as a negative on high-definition transparency film.
The quality of a digital negative (definition, nuances...) made with Piezography® inks is equivalent to the quality of a print on paper. This process also allows to interpret the image before making the contact print that will retain all these characteristics.

Printing on high-definition and high-density transparency film, with or without margins, all formats up to 1.10m wide

Film transparent pour l'impression de négatif jet d'encre

Transparent film for printing digital negatives

  Négatifs jet d'encre 60x75 cm pour contacts platine-palladium  - Pour Ivan Terestchenko

Digital negatives for platinum-palladium prints, 60x75cm
For Ivan Terestchenko

Laurent Lafolie
If you wish to make platinum-palladium prints, the digital tools used to create the negative on inkjet transparent film offer multiple possibilities of retouching and interpretation.   This is a real godsend for old negatives that are often deteriorated or whose processing and exposure weren’t always as precise as nowadays.

The images hereinafter are part of an assignment from the Diputación Provincial de Huesca, for the exhibition dedicated to the work of the Aragonese photographer Ricardo Compairé Escartin (1883-1965). Most of the original turn-of-the-century glass plates were damaged. The workshop scanned, retouched and interpreted them before making the inkjet negative transparencies to create the final palladium prints on cotton paper.

Tirages palladium 35x48 cm sur papier pur coton - Pour La Diputación de Huesca
Palladium prints on pure cotton paper, 35x48cm
For La Diputación de Huesca (Spain)
  Tirages palladium 35x48 cm sur papier pur coton - Pour La Diputación de Huesca
Palladium prints on pure cotton paper, 35x48cm
For La Diputación de Huesca (Spain)
Laurent Lafolie
Types of paper
Papers of different origins can be
used for the contact printing processes.
Some are specifically designed for these techniques whilst others need to be prepared.

Arches Platine 305g
Arches Platine, 305g

Papiers kozo   Papiers 100% coton
Kozo paper
Cotton paper
  Hahnemühle Platinum Rag - Weight: 300g/m² - 100% cotton
Natural white paper, one side smooth and the other textured, resistant, great stability.

New Arches Platine - Weight: 145 and 305g/m² - 100% cotton
Natural white paper, one side smooth and the other textured, resistant, similar to Hahnemühle paper.

Tosa Hakkinshi #1, #2 - Weight: 28g/m² - 70% Kozo/30% Gampi & 80% Kozo/20% Gampi
Japanese  mixed fiber papers.

Awagami papers - Weight: 30g and 60g g/m² - 100% Mitsumata or Gampi
Fine and delicate Japanese papers.

Tosa Washi - Weight: 28g/m² - 10% kozo, 70% paper pulp, 20% rayon
White paper, one side rough and the other smooth and fine, for optimal sharpness.

Herschel Platinotype - Weight: 200g/m² - 100% linen
Herschel paper is handmade and is specially designed by Ruscombe Paper Mill for contact printing processes.

Château Vellum - Weight: 110g/m² - 100% linen
Except for its weight, the Château Vellum paper is identically composed as the Herschel paper. Since it’s a thin type of paper, it has a slightly satin look while its tone is quite warm.

Buxton Platinotype - Weight: 240g/m² - 100% cotton
Like the Herschel paper, the Buxton paper is handmade and is specifically designed for contact printing processes. It has a distinguished velvety look and is less rigid than the Herschel paper.

Argentia - Weight: 120g/m² - 100% cotton
Fine, warm-toned and velvety paper.

Crane - Weight: 120g/m² - 100% cotton
Fine and very white paper.

Laurier - Weight: 250g/m² - 100% cotton
White paper, with a slightly distinct grain.

Moulin de Couzi - Weight: 245g/m² - 100% cotton
Fine grain white paper.

RK00 - Weight: 3.6g/m² - 100% kozo
Extremely fine paper for specific use.

Laurent Lafolie
Mouting, framing and finish
The presentation and the protection of prints is an integral part of the printing process.   Once they have been dried, the platinum-palladium prints are retouched using a loupe. Then they are pressed and wrapped in a polypropylene protective sleeve made from Mylar or cotton paper. Prints can also be matted and framed to measure. We propose frame mouldings of different sizes and made from raw timber. Mouldings can be stained, varnished, waxed, etc. The frames can be fitted with standard or invisible glass (ClearColor®).

Prints that are to be shipped are protected between sheets of thick card or between chipboard for larger formats. Prints are shipped with a postage tracking and insurance by La Poste or by the shipping company.

Encadrement 60x70 cm bois teinté-ciré noir, image Hiroshi Sugimoto
Presentation in a picture mount sleeve, Mylar protection
  Encadrement 60x70 cm bois teinté-ciré noir, image Hiroshi Sugimoto
Nielsen frame mouldings
Laurent Lafolie - Photography laboratory and imaging workshop

12, rue Orbe
64270 Salies-de-Béarn - France

C +33 (0)6 32 22 51 11 - T +33 (0)5 59 38 99 60
email :
Laurent Lafolie