Inkedognito operates under the care of Pieter Hugo. His own works belong to the permanent collections of the Centre Pompidou, the Rijksmuseum, the Museum of Modern Art, and the Victoria & Albert Museum. His photographs are also preserved within SFMOMA, the Metropolitan Museum of Art, the J. Paul Getty Museum, the Walther Collection, Deutsche Börse Group, the Folkwang Museum, and Huis Marseille.
We walk you through the process — and stay in your corner every step of the way.
For twenty years, archival pigment ink has been the choice for serious fine art and photographic reproduction. Often called giclée, these are digital prints made on professional large-format printers. We use them to achieve a faithful, lasting translation of tone and texture onto the world’s finest papers.
Piezography is a dedicated black-and-white printing system made for absolute tonal depth. We use an Epson large-format printer fitted with carbon-based monochrome inks.
By blending cool, neutral, and warm inks with extreme precision, we can build a vast range of neutral or toned monochrome prints. The results have a remarkable presence, rendering deep, open shadows and subtle highlights. This is the natural evolution of black-and-white printmaking.
The Imacon 949 remains the benchmark for film digitization because of how it handles film.
It pulls the negative into a curve—a virtual drum—creating a perfectly flat plane for the lens to focus on. This eliminates the soft edges common in ordinary scanners. The sensor is actively cooled to eliminate digital noise, while a soft light diffuser naturally fills fine scratches in the emulsion, preserving the raw detail of your negative.
For physical artwork and large-format media, we use the Expression 12000XL Pro. With an optical density of 3.8 DMax and 48-bit color depth, it catches the quietest gradations in the deepest shadow areas. It registers fine structural details and textures exactly as they are.
We adapt the Piezography carbon process to create ultra-high-resolution digital negatives for the traditional darkroom.
Using the PiezoDN system, we print calibrated negatives onto specialized transparency film. These are then contact-printed directly onto silver gelatin paper in the darkroom, bridging digital control with classic chemical printmaking.
