PRINTING
APPROACH
Pochron Studios’ printing process is built around the needs of each client and project. We typically begin with a one-on-one meeting with master printer Julie Pochron, giving clients an opportunity to discuss color, art direction, and the broader intentions of the work.
From there, a range of test prints is produced to explore scale, color, paper, and surface. Clients review these tests and either move forward to final prints or continue refining through additional rounds.
The workflow is flexible and collaborative. Artists can engage as closely as they like—whether seeking hands-on involvement or targeted input at key stages. Scanning, retouching, and mounting can all be integrated into the process as needed.
Across all processes, the studio maintains exacting color standards. Each print is resolved with precision, consistency, and lasting stability.
PRINT PROCESSES
C-PRINTS (Chromogenic Prints)
A chromogenic (C-print), or silver halide print, is a photographic print made by exposing color photographic paper and developing it using RA-4 chemistry.
At Pochron Studios, we produce C-prints from film in the darkroom or from a digital file using a Durst Lambda, which exposes the paper with lasers. Both exposure methods use paper processed with Fuji RA-4 chemistry and result in true C-prints.
We use Fujicolor Crystal Archive Professional Paper as our standard material, known for its color accuracy and archival performance. Independent testing by Wilhelm Imaging Research has shown Fujicolor Crystal Archive papers to be among the most fade-resistant silver halide papers currently in production.
Matte and glossy surfaces are available, along with a range of specialty options to suit specific surface and tonal qualities.
TRADITIONAL ANALOG C-PRINTING
Analog C-printing is the original printing method at Pochron Studios. Julie Pochron has been printing professionally in the darkroom since 1995, developing a deep, hands-on understanding of color through direct exposure and process, where color is not corrected, but actively shaped.
Our color darkrooms accommodate color negatives up to 4×5 inches, producing analog C-prints up to 30×40 inches. Each print is made with careful attention to color balance, density, and the physical qualities of the final image, refined by eye through an iterative process of testing and adjustment.
Analog printing offers a slow, tactile, and responsive approach to shaping color by interacting with the material itself.
DIGITAL C-PRINTING
Digital C-printing is a core process at Pochron Studios. Working from film scans or digital files, this method allows for precise control over color and scale while maintaining the material qualities of traditional photographic prints.
Our Durst Lambda 131 functions as a digital enlarger, using lasers to expose the image onto C-print paper, which is then processed through RA-4 chemistry.
Print sizes range from 8×10 inches to 50×144 inches. Each print is made with careful attention to color balance, density, and detail, translating digital files into refined, exhibition-quality prints.
Digital C-printing offers a direct and controlled approach to color, where adjustments are made within the file before exposure. Digital C-prints allow for greater precision and repeatability from a file than analog prints. We offer a variety of Digital Services.
INKJET PIGMENT PRINTING
Inkjet pigment printing is offered at Pochron Studios as a complementary process to photographic printing. We provide a wide range of paper options and surface qualities.
Our Epson SureColor SC-P20000 uses a nine-color ink set, including four grays, allowing for nuanced color reproduction and strong tonal control in both color and black-and-white prints.
We work primarily with Canson and Hahnemühle papers, selected for their quality and archival properties, free of acids and optical brighteners. We also work with a wide range of additional papers and can source or test materials to find the right surface for each project.
Print sizes range from 8×10 inches to 60×120 inches. Each print is produced with careful attention to color, surface, and longevity. Independent testing by Wilhelm Imaging Research has rated pigment prints for extended archival stability, with longevity varying by material and display conditions.
Inkjet printing offers a material-driven approach, where the choice of paper becomes integral to the final image.
DIGITAL SERVICES
DRUM SCANNING AND FLATBED SCANNING
Pochron Studios offers high-resolution scanning with a focus on color accuracy, detail, and file integrity. Scanning is most often used for photographic prints, negatives, and slides, but we also work with paintings, drawings, and other original materials.
For artists moving from film to digital printing, scanning is a critical step—translating the original image into a file that can support precise color and large-scale output.
Our Heidelberg Tango accommodates film and artwork up to 17.7 × 18.8 inches, producing files up to 11,000 DPI in 8- or 16-bit color. Drum scanning offers the highest level of detail, sharpness, and tonal range, and is often preferred for exhibition printing and large-scale reproduction.
Flatbed scanning is also available using an Epson Expression 11000XL, accommodating artwork up to 12.2 × 17.2 inches. Larger works can be captured through multiple scans and carefully stitched into a single file.
Each scan is optimized for shadow detail, tonal range, and sharpness, resulting in a file calibrated for its intended output: print, archive, or reproduction.
RETOUCHING AND OTHER SERVICES
Pochron Studios offers digital retouching with a focus on color, detail, and the final print. From complex compositing and image reconstruction to subtle corrections and cleanup, each file is developed with its final form in print as the guiding reference.
Working from raw or existing files, we guide the image through each stage of refinement, ensuring that color, tone, and detail translate accurately in print.
Known for expertise in color, Pochron Studios applies careful retouching and color correction to support exhibition-quality results.
Additional services—including art direction, archiving, file preparation, distribution, and shipping—are available as part of a complete workflow.
MOUNTING
Pochron Studios’ mounting process is designed to ensure each print is fully resolved as an object before framing. Printing and mounting are completed in-house, allowing for continuity of color, handling, and finish. We can also coordinate delivery directly to a framer, gallery, or studio.
We use a Drytac Jetmounter to mount C-prints and inkjet pigment prints to a variety of substrates using pressure-sensitive, archival adhesives. This cold mounting process requires no heat and preserves the integrity of the print surface.
Available substrates include Dibond, Sintra, aluminum, museum board, and Plexiglas, each offering distinct structural and visual qualities. We work closely with clients to determine the most appropriate material for each project.
Mounted works can be produced up to 60 inches, depending on the substrate. Additional options, including facemounting and specialty materials, are available upon request.
Mounting is typically the stage prior to framing, ensuring the print remains flat and stable. In some cases, artists choose to present mounted works without frames. For these installations, we can add bracing and cleat systems for secure wall mounting.
Custom finishing options—including shaped cuts, beveled edges, and lamination—are also available. We welcome projects that require specific or unconventional solutions.
