Photogravure...

[jtk]

After seeing some wonderful locally printed examples, I've wanted to learn and use photogravure... two local printmaking studios have the presses for copper plate printing. Unfortunately (but logically) both require proof of instruction and skill: I have neither but they'd be happy to charge me ($}to learn, and charge me ($) to use their plate burners and presses . The alternative is to pay ($$$) an established pro to burn the plates from my enlarged transparencies (negatives) and do the ink printing.

I'd enlarge selected images onto transparencies, use the transparencies to burn copper plates, and print via a large mechanical press on fine art paper.

Has anybody here got hands-on experience with photogravure (e.g. mezzotints of photo portraits) ?

 

[nmp]

After seeing some wonderful locally printed examples, I've wanted to learn and use photogravure... two local printmaking studios have the presses for copper plate printing. Unfortunately (but logically) both require proof of instruction and skill: I have neither but they'd be happy to charge me ($}to learn, and charge me ($) to use their plate burners and presses . The alternative is to pay ($$$) an established pro to burn the plates from my enlarged transparencies (negatives) and do the ink printing.

I'd enlarge selected images onto transparencies, use the transparencies to burn copper plates, and print via a large mechanical press on fine art paper.

Has anybody here got hands-on experience with photogravure (e.g. mezzotints of photo portraits) ?

No personal experience unfortunately. However, there is this new book out by David Kachel that describes "polymer photogravure" that you can look into that may be considerably cheaper.

https://www.photrio.com/forum/threads/new-photogravure-book-released-2-28-19.165870/

:Niranjan.

 

[koraks]

I've done some photopolymer. Gave up on it; I simply like other processes more. But it's certainly doable. It requires some experimentation to dial in the process parameters, but that's true for any alt process. What kind of information are you looking for?

 

[nmp]

Also, there is Clay Harmon's book.

https://www.amazon.com/Polymer-Photogravure-Step-Step-Highlighting/dp/0815366043

There is also a mail-order catalog that sells supplies for this approach.

https://mountain-intaglio.com/


:Niranjan.

 

[rorye]

I've made several copper plate gravures under the tutelage of Unai San Martin over here in San Rafael. It's stunning, messy and fun. If I can answer any specific questions I'd be happy to (bearing in mind I'm in the early stages of learning, there are folks here far more qualified than me).

 

[jtk]

Also, there is Clay Harmon's book.

https://www.amazon.com/Polymer-Photogravure-Step-Step-Highlighting/dp/0815366043

There is also a mail-order catalog that sells supplies for this approach.

https://mountain-intaglio.com/


:Niranjan.[/QUOT lol

Thanks ! Jk

 

[jtk]

I've made several copper plate gravures under the tutelage of Unai San Martin over here in San Rafael. It's stunning, messy and fun. If I can answer any specific questions I'd be happy to (bearing in mind I'm in the early stages of learning, there are folks here far more qualified than me).

Thanks... Photogravure seems (visually) like an optimum way to deal with a couple of images that have been unsatisfactory with PS...

 

[davidkachel]

After seeing some wonderful locally printed examples, I've wanted to learn and use photogravure... two local printmaking studios have the presses for copper plate printing. Unfortunately (but logically) both require proof of instruction and skill: I have neither but they'd be happy to charge me ($}to learn, and charge me ($) to use their plate burners and presses . The alternative is to pay ($$$) an established pro to burn the plates from my enlarged transparencies (negatives) and do the ink printing.

I'd enlarge selected images onto transparencies, use the transparencies to burn copper plates, and print via a large mechanical press on fine art paper.

Has anybody here got hands-on experience with photogravure (e.g. mezzotints of photo portraits) ?

Better late than never! First, the best group for Photogravure is on Facebook. I am a moderator of that group but not the owner. I am the owner of a photogravure group on yahoo but the yahoo service is so bad I just decided to move it to .io today. So, I am the only member for the moment. My intent with maintaining that group is to provide a place for those who hate facebook and won't sign on there. They have a point!

There are three basic classes of of technology for photogravure, listed from most expensive and most difficult to least expensive and least difficult. Quality is the same for all three.

1. Copperplate - several variations
2. Readymade polymer plates. You buy 'em and use 'em right out of the box. The drawback is the high cost of the plates (~ $10 @) for the smallest, and the very high defect rate.
3. Polymer plates you assemble yourself. Less than $1 for the same size plate as #2 above. Much less expensive equipment required, and I wrote the very first book on it. (So, my point of view may be biased!) There are lots of workshops available for 1 & 2. Just one for 3. Mine. Waddya expect? I just released the book at the end of February! ;-)

 

[Theo Sulphate]

I don't understand how the gradation in tones is achieved. I understand that a darker area will have a deeper well and thus more ink than a shallower well, but I don't understand how that produces a darker tone on the paper.

For example, if the image consisted of two squares: square A is totally black and has the deepest well possible (e.g. Zone I) and square B is middle grey (Zone V), that will have a well that's not nearly as deep but it will still be below the surface of the plate. So far, so good. But, when the paper is pressed on the plate, what causes the ink for square A to produce a darker tone than that for B? There's more ink, yes, but why does more ink imply a darker tone? Is the paper less saturated?

 

[davidkachel]

I don't understand how the gradation in tones is achieved. I understand that a darker area will have a deeper well and thus more ink than a shallower well, but I don't understand how that produces a darker tone on the paper.

For example, if the image consisted of two squares: square A is totally black and has the deepest well possible (e.g. Zone I) and square B is middle grey (Zone V), that will have a well that's not nearly as deep but it will still be below the surface of the plate. So far, so good. But, when the paper is pressed on the plate, what causes the ink for square A to produce a darker tone than that for B? There's more ink, yes, but why does more ink imply a darker tone? Is the paper less saturated?

Theo,
It's simple. Gradation is controlled by the amount of light that makes it all the way through the ink to then be reflected back through it again, to reach the viewer. No ink = max brightness. With very thin Japanese papers (these you don't want to try until much later), you get a quasi-three dimensional effect. The light passing through the Japanese paper takes on a slightly different color (if you choose your materials right) and the tiny airspace between Japanese tissue paper and matte board gives the three-dimensional illusion. In this case, the matte board becomes part of the image and the image changes drastically if you replace it with something else.