The process we put into practice is intensely experimental.
This does not mean that we behave erratically, experimenting each and everything until it works.
Over time, we have been working our method towards this existence; by experimenting we get the unexpected and from the unexpected we get innovation, surprise. We have made experimentation our experienced standard with which we conduct our work, opening doors to unforeseen results.
Is it not the best advertising the one that brings about all that is unusual, atypical, rare?

This is the driving force of our process: to achieve rarity. For that reason, there is more to being skillful than just the exact moment the "articulated extension" at the end of the hand (aka "finger") presses the shutter.Let us go back a little and retrieve the remaining fingers and let us build on the skilled hand the sheer capability to draw, to illustrate and to combine materials.

Our journey always begins with that old sketch, with that old paper. We then take it to the workshop desk and in the midst of greases and screws, we manipulate liquids, pyrotechnics, lights, temperatures, actions and reactions, "casual" bumps or synchronized ones like dominoes. We also pick up lipsticks, brushes, eyeshadow brushes, eyeliners, to simulate a sun kiss on the cheek or to get that perfect top knot.All this happens before pressing the shutter. We then wash the grease off our hands and open the door of the digital world for the advertising or cinematic composition of medium format, where every part is retransformed into a consistent, sturdy and finished whole.
This is how we make an image.

This is our process: from the hammer to the light, from the paper to technology, always looking for the most effective and the best suited solution to the creative challenges we face daily.
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