Introduction to Our Print Process

In an increasingly screen-dominated world, it may seem almost indulgent—or perhaps unnecessary—to commit an image to paper. But printing remains one of the few ways that I believe truly complete a photograph. My print process is built around that very belief: that an image only becomes complete once it’s translated into a tangible, permanent form. It forces a different kind of engagement, one that slows things down and allow me to consider: Is this image worth holding? How will it look in relation with spatial environment? And most importantly, does it hold that timeless characteristics?

Curation Begins With Intent

Not every photograph is destined for print. Everything from subject matter, image tonality, and even the inherent image quality may affect its presentation. That may sound obvious, but it’s surprisingly easy to overlook. While most images will thrive on small backlit screens—where contrast, saturation, and scale are forgiving. But when printed on paper, most images starts to show their limitation.

Which is why I begin with a process of deliberate curation. Each image is evaluated individually—not just in terms of composition or aesthetic appeal, but by asking: What does this image feel like in print? Will it hold up at close inspection? How does it look when scale up? and What mood does it portray?

In doing so, we’re not only choosing which images to print—but determining how they deserve to be printed.

Every Image is Accessed Individually

No two files are the same in terms of the print tolerance. Put simply, a clean, low-frequency image with subtle gradients can tolerate larger print sizes without appearing soft. But a high-frequency, detail-rich image—think cityscapes, foliage, or fine texture—demands tighter tolerances. It may start to break apart much earlier when there are no details to resolve.

That’s why I will personally assess each image on its own terms. Using a mix of visual evaluation and pixel-level inspection. I will also calculate the maximum size it can be printed at 300 PPI with its native resolution to ensure that there are minimal compromises.

My ultimate goal is to aim for a full-resolution output, edge-to-edge sharpness, and no funny surprises.

And yes, it's far more labour-intensive than what we would imagine. After all these are being prepared to go on large size prints.

The Print Process: More Than Just Retouching

Once an image is selected, the print process begins—a careful and deliberate sequence of steps designed to translate pixels into pigment without compromise. I will always work from the raw file, building the image specifically for print rather than web use. Retouching is methodical, with targeted sharpening applied in a way that responds to ink and paper, not just the screen. Dust spots are removed by hand, right down to the most minute pixel-level distractions. I will also retain most of the details as it is unless they are properties that should not be there. Eg, a piece of plastic non organic garbage in a nature scene. This is to ensure that the image is representing what we see in life, a true-to-life end result.

Each file is then cropped and resized to match the intended physical dimensions exactly. Once everything is ready, the final files are sent to our trusted local lab, an Ilford-certified printing partner who shares our commitment to precision and archival quality.

An 8×10-inch print with a physical ruler placed in front—illustrating the level of detail and accuracy maintained in our print process, down to each individual millimeter.

First Light of Penang

Why Fine Art Paper?

Trust me, paper matters a lot. Which in this case, I have also deliberately chose to print on archival-grade fine art paper, not only for its longevity but for its ability to convey tone and texture faithfully.

The surface texture of the print paper can either complement the image—or compete with it. We match the paper choice to the image characteristics: subtle gradients, shadow detail, and quiet tonality often benefit from a gentle surface, while high-contrast work might fare better on something with a bit more bite.

Final Thoughts

Printing, at its best, is less about decoration and more about permanence. It commits an image to a form that doesn’t shift with time, screen calibration, or platform trends. It gives it weight—both physically and emotionally. Most importantly, no one will be able to see our work from our storage if not printed.

This entire printing process is slow by design. It’s full of decisions that most viewers will never notice—but that I believe matters at every step to ensure the best print quality.

If you are curious, do check out the print site here. Should I say, they are the best collections that I have and some have not seen the light of the day until now.