photogravure

photogravure is a sophisticated photomechanical intaglio printing process that produces high-quality, continuous-tone images. It marries the art of photography with traditional printmaking techniques, resulting in prints renowned for their rich tonal depth, subtle gradations, and archival permanence. The process was perfected in the late 19th century and became a premier method for reproducing photographic works in art books and fine art editions before being largely supplanted by cheaper commercial methods.

History

The foundations were laid by early pioneers of photography, including Nicéphore Niépce and William Henry Fox Talbot, who experimented with light-sensitive materials on metal plates. A major breakthrough came in 1879 with Karel Klíč, a Czech artist working in Vienna, who successfully combined the photographic sensitivity of gelatin with the etching of a copper plate. This innovation, known as the Talbot-Klíč process, made consistent, high-quality reproduction feasible. The technique was rapidly commercialized, most notably by the London firm The Autotype Company, and later by Alvin Langdon Coburn and Alfred Stieglitz in their artistic circles. For decades, it was the standard for illustrating prestigious publications like Camera Work, the journal of the Photo-Secession movement, before declining with the rise of halftone printing in the early 20th century.

Process

The traditional method begins with a film positive of the image being contact-printed onto a light-sensitized sheet of tissue paper coated with gelatin and potassium dichromate. This tissue is then transferred and adhered to a meticulously polished copper plate. After development in warm water, a reticulated gelatin resist remains, forming a delicate relief map of the image. The plate is then etched in a series of baths, typically using ferric chloride, which bites into the copper through the varying thicknesses of the gelatin. The resulting plate contains a complex network of tiny ink-holding cells of varying depth, which, after inking, wiping, and printing under the high pressure of an etching press, yields a full-range tonal print on dampened paper such as Japanese tissue or arches.

Characteristics and uses

Prints are distinguished by their exceptionally rich blacks, delicate highlights, and a velvety, non-glossy matte surface that lacks the visible dot pattern of halftone or lithography. The depth of the etched plate allows for a remarkable tonal range, often described as possessing a three-dimensional quality. Historically, its primary use was for the high-fidelity reproduction of photographic and artistic works in luxury editions, including portfolios of Peter Henry Emerson and the famed Pictorialist journal Camera Work. It was also employed for fine art prints by painters like James McNeill Whistler and for prestigious book illustrations, such as those in editions of Edgar Allan Poe's The Raven.

Notable practitioners

Key figures in elevating the technique to an art form include Alfred Stieglitz, who used it extensively for his own work and in his publication Camera Work, championing photographers like Edward Steichen and Clarence H. White. Paul Strand produced powerful gravures for his groundbreaking book Time in New England. Later, Imogen Cunningham and Edward Weston created significant bodies of work through the process as members of Group f/64. In Europe, artists such as Heinrich Kühn of the Linked Ring and José Ortiz-Echagüe in Spain were also masterful exponents, using it to achieve their distinct Pictorialist visions.

Modern revival

A dedicated revival began in the latter half of the 20th century, spearheaded by artists and master printers seeking an alternative to purely chemical photographic processes. Institutions like the Rochester Institute of Technology and workshops led by practitioners such as Jon Goodman have been instrumental in teaching the craft. Contemporary artists including Adam Fuss, Christian Boltanski, and Chuck Close have incorporated the process into their practices, valuing its tactile, hand-made quality and unparalleled tonal richness in an increasingly digital age. Small fine press publishers, such as 21st Editions, continue to commission new photogravure works, ensuring its survival as a revered, if niche, art form.

Category:Printmaking Category:Photography techniques Category:Artistic techniques