Sometimes methinks I am a masochist! When things seem to be going well photographically I start getting restless and think new ways of presenting my work. As far back as I can remember I have been fascinated with photogravure in particular and the etching process in general.The work of Alfred Stieglitz and his secessionist contemporaries of the late 19th and early 20th century is truly inspiring, but the health risks associated with the processes are rather off putting!
I recently began exploring the potential of photopolymer plates in the production of intaglio prints in the "photogravure tradition". What a journey it has been! I first constructed a vacuum frame and an ultra violet light unit. (The sun is free but not predictable or consistent). The major outlay was an intaglio press.
My images start off as black and white negatives which are scanned. An enlarged digital positive is printed onto clear film. The resulting transparency is then exposed in contact with the photopolymer plate (in the vacuum press using ultra violet light.) During exposure the latent image is transferred to the plate which is "developed" in a water bath. The image bearing plate is subsequently inked and run through the press in contact with damp etching paper. The resulting print is left to dry for several days/weeks!
It has been a very interesting, frustrating, enlightening, time consuming but thoroughly exciting journey. I am totally hooked!
I hope that you enjoy viewing the few prints of my early attempts and that they may inspire the confidence to try the process.
The boat house image was captured with an 8x10 pinhole camera and paper negative. The others are from 35mm b&w film stock.
Regards,
Lawrie.
