Limited by the offer of the actual silver halide color papers, i developed an experimental process that gives me a greater control on the tones and contrast, but also explores new graphic qualities.

After processing, the films are scanned and converted into CMYK to obtain four distinct layers: cyan, magenta, yellow, and black. This quadrichromic separation gives a large color pallet when used with the substractive color model, like in photogravure or in the Dye-Transfer process used by William Eggleston, but abandoned by Kodak in 1994. Each layer is converted to grayscale and inverted to obtain a negative, which is print as a black and white A3 photocopy.

The color head of the enlarger permit to expose the photo paper to each color of the CMYK mode, by using a precise combination of filters and exposure time specific to each color. To "recompose" the original image, the photosensitive paper is exposed four times, by contact print, with each photocopy associated with the corresponding filter setup. The paper is then passed into the trays of color chemicals (RA4), first the developer, then a bleach/fixer bath. Unlike the black and white silver gelatin paper, the color paper must be manipulated in complete darkness, from the moment it's taken out of his box, until the final rinse bath.