Luminograph A3+

Give your prints
more room.

A UV exposure unit and contact press for your cyanotypes and alternative prints, up to 32 × 48 cm.

Luminograph A3+, assembled with the mechanical press closed, neutral studio lighting and soft blue UV LEDs

Made in France2-year warranty1 year of Calibration Flow Pro included

Luminograph A3+, close-up of the two press arms and the pressure-plate hingesMechanical press · 2 arms

The contact

Contact makes
the detail.

Two mechanical arms hold the negative against the paper during exposure. Your image is printed by contact, at the size of your negative.

UV light and a mechanical press, together in one instrument.

The light

Red to prepare.
UV to expose.

A red safelight and a UV channel, switched on separately.

Luminograph A4 with the press closed, lights off
A4 shown. The same selector on both formats.

One selector. Three positions.

Red, off, UV. The two light channels are never switched on together.

Optional Wi-Fi module: Calibration Flow switches off the UV at the end of your exposure.

The format of your images

More room.
The same process.

Choose the format for the prints you want to make. Exposure times stay the same when the other printing conditions are identical.

A4

Paper up to21 × 29.7 cm

Exposure area
23 × 33 cm
Explore A4

A3+

Paper up to32 × 48 cm

Exposure area
36 × 51 cm
Your current model

Paper sizes shown at the same scale.

Your next prints start here

Close-up of the Luminograph A3+ selector control
One selector. Three positions.
See how Luminograph works
UV exposure unit · Contact press

Luminograph A3+

More room for your contact prints. A larger UV exposure area, with the same working method and exposure times as the A4.

Exposure area
36 × 51 cm
UV power
60 W
Press
2 arms

Made in France

€699

Machine only: UV source and mechanical press. Paper, chemistry, negative film and studio tools are selected separately.

Quantity

1

Orders to France: dispatch within 48 hours

2-year warranty

Secure payment

No instruction manual supplied.

Shipping & returns
Technical specifications

Technical specifications

Max format
32 × 48 cm
Exposure area
36 × 51 cm
UV power
60 W
Power supply
24 V
Wavelength
395-400 nm
Safelight
Built-in red safelight
Control
Wi-Fi, optional module
Negative/paper contact
Mechanical pressure, 2 arms
Weight
~6 kg
Construction
Reinforced anodised aluminium

A three-position selector drives the lighting: red safelight channel, off, UV channel. The two never light together — the red light lets you prepare and position the negative without fogging the sensitised coat.

The machine doesn't count time for you: it lights, you decide when to stop. Since its output varies with neither the hour nor the season, a watch is enough to repeat exactly the same exposure from one print to the next. The Wi-Fi module, sold separately, takes over that counting: driven from the Calibration Flow app, it switches the UV channel off at the chosen time.

Compatible processes

Cyanotype
Gum (Color & Sanguine)
Resinotype
Bromoil
Carbon print

Indicative exposure times

Cyanotype3-5 min
Gum print4-8 min
Resinotype6-10 min
Bromoil2-4 min
Carbon print5-10 min

* Times vary with negative density, paper humidity and the exact process used

Designed and made in France

Before your first print

A few practical answers.

Do I need the Wi-Fi module?

No. You can switch the UV channel on and off manually and time the exposure with a watch. The optional Wi-Fi module lets Calibration Flow switch off the UV at the chosen time.

What else do I need for a print?

Sensitised paper or your process chemistry, a negative in the final print size, and suitable processing tools. The extras are optional: keep using the equipment you already own.

Does the Luminograph enlarge my negative?

No. It is a contact-printing exposure unit. The negative and the paper are held together by the mechanical press; the negative must match the intended print size.

How do I choose the exposure time?

Start with a test strip for your process and negative. Exposure depends on the chemistry, paper and negative density. Moving from A4 to A3+ does not require a longer exposure when the other conditions stay the same.

Explore the optional Wi-Fi module

Make room for your practice.

Chemistry, paper, negatives: add what you need, and keep using the equipment you already own.

Complete workspace

1/5 steps

01 · Chemistry

1

02 · Support

4
  • Needs Primer N°04
  • Needs Primer N°04

03 · Negative

1

04 · UV exposure — included

1
  • Luminograph A3+

    Included

05 · Studio tools

1

Watercolour papers must be primed before sensitising, so Universal Primer N°04 comes with them. It is not on sale yet: mark it “I already have it” if you own some, and these papers open up — or choose PULPØ, which needs none.

Selection total

€699

1 × Luminograph A3+

Learn more

The Luminograph A3+ inherits the UV-A 395-400 nm technology of the A4 model but extends it to a working surface of 360 by 510 mm, a 142 % increase over the A4 format. It addresses experienced photographers, shared studios and art schools producing exhibition prints, where the A4 remains dimensioned for individual practice and learning. The homogeneous spectral distribution is preserved across the entire surface, a non-negotiable condition for a carbon, four-color gum or resinotype print to display regular density at large format. Unlike VP chemistries which are organized by process, the Luminograph range is organized by exposure format, scaling output size rather than chemical method.

Designed and assembled in France like its smaller sibling, the A3+ carries the same three-position selector, the same red safelight channel and the same compatibility with the optional Wi-Fi module, and remains supported by the free Calibration Flow application, which adapts its exposure recommendations to the enlarged format. At 699 € against 449 € for the A4, it represents the typical investment of a studio moving from study work to framed exhibition format. It is also the only way to expose A3 sheets of 640 gsm cotton in a single pass, used in monochrome carbon or four-color Aquaprint, without resorting to successive tile assembly which would compromise exposure consistency. No commercial equivalent offers this controlled spectral distribution at this working surface.