IMAGE CAPTURE

In the field, Gaillard alternates between an 8 x 10 field camera and a Phase One IQ4 technical camera, achieving an extraordinary image quality that provides an armature on which the content rests. This technology allows his images to be reproduced at the largest size the available paper and substrates while maintaining the highest possible quality.

At every stage of his process Gaillard applies the utmost attention to detail and technique, but it is important to note that this precision is not the goal of the work. Gaillard believes such levels of refinement allows the materiality of the image and marks of its making to recede into the background enabling a more direct relationship to the content contained within the frame. The confluence of his instinctive personal vision coupled with his commitment to precision produces subtle, ethereal, evocative images that become not merely objects on a wall, but elemental contributions to the atmosphere of the interior. 

PRINTING

Gaillard prints all his work in his studio in Hastings-on-Hudson, NY. Before he had his own space, he worked closely with My Own Color Lab in Manhattan and Griffin Editions in Brooklyn. Both relationships were invaluable as their expertise helped him develop and hone his skills such that he could confidently produce the work on his own. 

Using the highest quality pigment printing technology and fine art fiber-based paper by Hahnemuhle, Gaillard can print up to 63.5 inches on the short dimension, and as long as needed. In the case of clients requesting larger works, there are two strategies, one involving printing using Griffin Editions' Digital Chromogenic Printer which can reach up to 71 inches on the short dimension, or, for even larger pieces, he can make prints with discrete seams to achieve nearly any size up to the maximum dimensions the mounting substrate allows. 

For sizes larger than 63.5 inches on the short dimension, Gaillard has now begun to work with Colorcenter NYC using cutting edge UV-Printing technology. This new process still uses inkjet, but the ink is composed of pigment suspended in a photopolymer that cures at specific UV wavelengths (typically 395nm, as in our case). The ink jets in the same manner as any other inkjet process, as with water-based, or solvent-based inks, but because of the near-instant curing with UV light it can be applied to almost any surface. Also since it is cured by UV light it has a natural UV resistance, so it doesn’t require any special treatment for protection from light, and, depending on the makeup of the inks they can be exceptionally resistant to scratching or very flexible.

In the case of Michael’s particular application, he works closely with his master printer to create a formula to mimic the look of a fine art inkjet paper, which requires attention to a delicate and intricate combination of a white ink base layer, then color layer, then varnish overprint.

MOUNTING AND FRAMING

After a meticulous optimization and proofing process in his studio, Gaillard entrusts his prints to expert mounters to ready them for framing. Each print is mounted using a pressure-sensitive technique with museum-grade archival adhesives and substrates, always utilizing Dibond, the premier quality substrate.

In collaboration with industry-leading mounters and framers, Gaillard ensures each frame perfectly showcases and preserves his art. These skilled craftsmen share Gaillard's commitment to precision and attention to detail. Although less expensive alternatives may appear adequate at first glance, the superior quality of Gaillard's chosen methods is apparent even to the untrained eye.

With nearly two decades of experience collaborating with esteemed figures in New York, the San Francisco Bay Area, and Los Angeles, these teams share Gaillard’s commitment to quality. This close collaboration and commitment to excellence with his team ensure that the finished artwork meets the high standards they demand and Gaillard's clients have come to expect.