Where code meets ink

Everything FilmDNA sells is designed, processed, printed, inspected, and packed in my studio in Quebec. There is no print-on-demand warehouse, no third party between the algorithm and your wall. I control the entire chain — from the code that extracts the colors, to the color-managed file that goes to the printer, to the ink hitting the paper.

That end-to-end control matters most at the printing stage, and it's where I refuse to compromise.

Prints are made on a Canon imagePROGRAF PRO-2600, Canon's current-generation 24-inch fine art printer — the same class of machine used by photo labs and giclée studios. It runs a 12-channel LUCIA PRO II pigment ink system: eleven colors plus a Chroma Optimizer that evens gloss and deepens blacks. Pigment inks are the archival standard: on the fine art media I use, they're rated to resist fading for generations, not years.

The printer recalibrates itself with a built-in color sensor, so the print you order today matches the proof I approved — and the print someone orders next year.

A barcode print or a fine art photograph is, in the end, nothing but color — so color accuracy isn't a nice-to-have here, it's the whole product. Every paper I offer is individually profiled for this printer. Every image is soft-proofed against that paper's profile before a single drop of ink is committed. Highlights, shadow density, and gradients are checked print-by-print, and anything that doesn't match the proof doesn't ship.

This is the part of the job where being an engineer helps: I treat color like a measurement problem, and I don't ship out-of-tolerance work.

Standard prints go on museum-grade fine art papers: acid-free, archival stocks chosen for how they render deep blacks and saturated color. But because everything is printed in-house, I can also print your piece on custom media — a specific fine art paper, a finish you have in mind, or a stock you want matched to existing pieces in your collection. If the printer can take it, I can profile it and print on it. Just ask.

FilmDNA is also where my other work lives: fine art prints of my own photography — including aerial work from the Quebec landscape I call home — and giclée printing services for photographers and artists who want their work printed with the same care. When I'm not printing, I'm usually behind a camera or restoring vintage electronics, which probably tells you everything about my relationship with machines that make beautiful things.