Some printers refuse to recognise inkjet transparency films. I show you the method I use so that my printer accepts them every time. And if you use an Epson A3+ or A2+ printer (13 in or 17 in wide), I explain how to avoid the small marks left by the feed wheels.
I also share a few settings that give the best results for your prints.

I offer you two ways of working. What they share: both let you recapture the fineness and delicacy of a Polaroid emulsion lift, from your own digital photos.
The first is the one I keep mostly for small formats. It gives an emulsion of extraordinary fineness that literally melts into its surface.
The second offers a sturdier veil, easier to handle, and opens the door to large formats. Compatible with most inkjet transparency films, it grows with your practice: with each attempt, you will move towards a finer and finer veil.
I show you each method step by step, in real time.

These surfaces instantly change the way you relate to the image. The veil no longer just floats on a surface: it plays with reflections, light and the space around it.
In two videos, one for each method, I show you step by step how to lay the transparent emulsion onto a mirror and then onto glass, how to position it patiently, and how to keep all its fineness until it dries.
Two fascinating surfaces that reveal the full transparency of the process.

Metal instantly gives the image veil a very special density and depth.
The emulsion hugs the surface of the metal and lets through the light it reflects.
In this part of the workshop, I show you step by step how to prepare your brushed aluminium plate, how to lay a very thin veil without damaging it, and how to fix the small tears that are part of the game.
Metal is a field for experimenting, where emulsion lift reveals all its sensuality.

On ceramic, the smooth, shiny surface interacts with the image veil in a very particular way.
In this part of the workshop, I show you how to lay the emulsion onto a ceramic tile, and how to use its flexibility to stretch it, tear it on purpose and let what lies beneath show through.
I also share the small gestures that prevent air bubbles and limescale marks as it dries.
An ideal surface for daring, more organic and freer results.

Japanese paper gives the image veil a unique lightness and delicacy.
Here I work on a 9 gsm tissue paper (9 g/m², about 0.27 oz/yd²): the fibres, transparency and fineness of the paper blend with the emulsion to create a unique result.
I show you how to handle these extremely thin papers, how to lift them without tearing them, and then how to mount your work onto canvas. A way to put your images onto surfaces that cannot be soaked in water.

Fabric opens up a more experimental territory for emulsion lift. In two videos, one for each method, I show you two very different results. With the first, the emulsion is so thin that it almost melts into the fabric and becomes one with its weave. With the second, you work in a larger format.
I also explain which fabrics to choose.
This surface opens up exciting possibilities for artists and creatives who want to take their images further with thread, embroidery, beads or other artistic additions, on decorative pieces only, since the lift cannot be washed.

Wood instantly gives the image veil a very special warmth, depth and presence.
Thanks to the transparency of the emulsion, the fibres and grain of the wood stay visible under the image, creating organic and deeply embodied results.
Wood cannot be soaked in water: I show you how to prepare it so it resists moisture, and the trick that lets you carry the veil onto it. A trick you can use on every surface of this kind.

An image veil that plays with the light of gold!
In this video, I show you how to lay your emulsion onto a gold leaf panel, and then how to combine gold and the veil on glass, in the style of an orotone.
Gold and inkjet emulsion work together: the image seems to glow from within.