Central DUPON Image is one of the historic labs
of Paris's financial centre
because it has existed for over 50 years.
It has survived all the changes in the industry
and it was one of the key players in film development at the time
which then transitioned to digital around 2003-2004,
and which now works almost entirely with digital.
At DUPON, we use imagePROGRAF PRO-4000,
a very high-quality piece of equipment from Canon
which allows us to use different paper types.
This means we can offer the photographer
a choice of which paper they want
to enable the best possible rendering
in terms of image quality and definition,
to express the photographer's vision in the best way possible.
We want to enhance the photographer's work.
They come to us with the files
with the images they've put their heart and soul into,
which they've taken a lot of trouble to take,
and we need to recreate them in the best way possible.
It's a relationship that involves both
understanding the photographer personally
and creating the high quality our photographer expects of us.
My work process is always the same.
I retrieve all the photos, I look at them on the screen,
I make a few small corrections and fine-tune them a little,
I do my initial tests and then I look at all those tests
and do a few minor corrections before seeing the photograph.
Secondly, I call the photographer or the person in charge of the exhibition
and we agree on the corrections for each image.
Then after that I carry out some tests and print runs.
Regarding the format, we normally use 24x30 prints for testing
because when it's smaller you don't see much
mostly if it is a slightly larger format after.
So I stick with 24x30 to the 50x60 and larger formats.
For printing, we use the Mirage RIP software
which allows me to send my images directly to the Canon printer.
What I love about this machine is its simplicity.
Everything works intuitively, and there are screens explaining what to do.
It's quite simple to use,
you're not hindered by a very complicated system.
What I like about this device is its faithful colour rendering.
The photographer and I work with an image on screen,
and when I print it,
the printer recreates exactly the same colours.
That's a real bonus.
A huge number of photographs are produced
using imagePROGRAF PRO-4000 printers.
Every exhibition follows a narrative
and all the images take you on a journey.
What's interesting about Catalina Martin-Chico
is that she's a photographer of the next generation.
She's a photographer of Spanish origin
with a very dynamic form of expression.
She has a very engaging way of looking at people.
She's done some amazing reports on Iran, on the nomads, etc.
I really like her as a photographer because she has a sense of image
and she creates a real connection
between the photographer and the subject,
which, for me, is quintessential of a beautiful image.
George Steinmetz is a more accomplished photographer,
who is a little older but who has taken many photographs
from an aerial viewpoint because he has a ULM.
He takes photos with his Canon from his ULM
and his photos are absolutely stunning.
Hello, my name is Catalina Martin-Chico.
I am a photographer,
and I do international reports.
I tell people's stories.
I work with the Canon EOS 5D.
I started with the Mark II, the Mark III, the Mark IV...
I work with prime lenses like the 35 1.4 or the 24 1.4.
I'm really happy with the prints this printer has produced.
The colours are faithful...
it doesn't end up with more blue or more magenta.
In terms of colouring, I think it's really faithful to what's on the screen.
I like the black to be a very rich, true black,
and I think the Canon PRO-4000 really respects that.
It gives me a high-contrast print with a rich, true black,
and I really like that.
So, that fits really well with my style of printing and photography.
I've had my photos printed with DUPON many times
and I've never been disappointed.
I have a good relationship with one of the print technicians,
Jean-François Bessol,
so he knows my work.
He knows I like high-contrast images
that are faithful and without many embellishments.
It's a simple, effective way of reporting.
My name is George Steinmetz, I'm a photographer,
and I'm here today at Visa pour l'image
for the opening of my exhibit on « Big food ».
I've spent the past five years photographing
the global food supply,
mostly from the air.
My favourite camera is my Canon 5DS R
It's just an extraordinary camera, it's super high-resolution,
and it lets me take pictures
in situations that were virtually impossible
to capture before with a film camera.
I moved to Canon cameras about 15 years ago
when Canon came out with the full-size sensor for the DSLR
and I've embraced that system ever since.
It has let me expand the possibilities of what I do.
Canon was generous enough to print this exhibit here in Perpignan
making large format prints,
which is what you need to do to make my prints work.
You need to see them at scale.
The print quality I'm seeing is extraordinary.
Some of the prints here are dazzling to me.
I'm seeing things in them I didn't see before.
It's extraordinary!
DUPON has printed multiple exhibits of mine in Europe.
They're a fabulous lab.
Basically, I have no control and then I see what they've done
and it's beautiful,
so I'm very impressed.
I usually like to have meticulous control of what I do,
and I've turned it over to them and they've exceeded my expectation.
My dream is that, when a photographer sees their image,
they say 'Wow! It's beautiful!'.
And that's what it's all about,
to feel that the photographer is surpassed by their own work.
Those photos were difficult to get, and then we give them something extra
in terms of technique, quality and bit of soul too.
And when we manage to get that sense of complicity
in a short space of time
that's a win for us because we can work hand in hand
and have a long-term partnership.