An alternative process used by a few very demanding photographers, including, at the beginning of the 20th century, Alfred Stieglitz, Edward Weston, Irving Penn and others. The particularity of this technique lies in the impregnation of finely divided platinum salts, allowing the image to be conserved as long as the paper it is printed on. The platinum process is a rather slow contact printing process, which requires a high level of UV light and negatives the same size as the final image required.

The appearance and touch of the print are close to what a gravure print would offer. The warm, nuanced and matt rendering of the image – it is the body of the paper – give it a unique, timeless quality. Platinum and palladium prints are particularly appreciated by gallery owners, museum curators and art collectors. The cyanotype has the particularity of producing prints in Prussian blue.