Actual 'original negative' size of photograuves

I would very much appreciate anyone's help answering a question

related to the photograuve process popular at the turn of the

century. Looking recently at Stiegletz's 'Camera Work'(the book) I

noticed that virtually all of the images are 1) photograuve, and 2)

each 'original negative' (given in the book as cm) converts to a

negative size ranging from 7X9 to 12X15 inches. Question: Were all of

those photographers routinely using cameras that large or were the

negatives somehow enlarged and THEN photograuved? And a final

question if anyone would be so kind to indulge it: Do any

photographers still use the photograuve process or has it become

basically a lost art? Many thanks to all respondants.

I can only hazard a guess as to the actual negative size, but my best estimate is that the images that you observed were the size of the original negative.

 

Yes, there are photographers that utilize the process today. However, they are obviously few in number. I did encounter an article in one of the photo magazines within the past year that told of a photographer that was engaged in the process. From what I remember the process is quite elaborate. The results, however, seem to be unlike any other. I am sorry that I could not direct you to the specific article. Good luck in your search.

 

Regards,

 

Donald Miller

Since photogravures are an ink on paper process, at the time of Camerawork there were two ways to get to the photogravure negative. One was the camera negative, the other was an enlarged negative. The enlarged negative could be created in the darkroom, or an original print could be re-photographed using a copy camera. Since Steilglitz ran a photoengraving business, my guess would be the latter.

 

As for modern practictioners there are few. Russ Dodds in Portland, Or is one that first comes to mind. He produces photogravures for the LensWork Special Edition gravures.

 

You might try to post again in the alternative process forum for more and better responses.

Long time ago I read a book about Steichen - I can't remember the name of it, now - but it had extracts from letters and diaries. In one extract Steichen mentions that after he had processed the negs from a shoot he spent the afternoon/evening making enlarged negs. This was mentioned in such a casual manner that it seemed like a routine thing.

 

Steichen and Stieglitz were founder members of the Photo Secession, and Stieglitz personally supervised each edition of Camera Work, the flagship of the movement. Photogravure was chosen as a means of reproduction because of the number of editions of the magazine. Each photogravure was made by attaching a negative to a copperplate which was then etched with acid and put in a press to produce a print.

 

The printing was of great importance to Stieglitz, and he thought that the photogravures were so fine that when the photo secessions members prints failed to arrive on time for an exhibition, the gravures were used instead.

 

Regards,

Neil

First, yes the photographers back then were using large cameras,

making large negatives. However photogravure is not a contact process.

The first step is to make a film positive from the in-camera negative,

and this can be made by enlargement or contact. Sheet-fed photogravure

is still used for very high quality editions of photographs by

contemporary artists as well as issues from past masters' archives.

http://www3.nf.sympatico.ca/deadcatpress/

 

it should interest you.

Anderson Ranch used to offer a one or two week photogravure workshop. That was four or five years ago, I don't know if it's still offered or not.

Take a look at the Lens Work Quarterly web site as someone

suggested-they are producing many of these. The intro print is

well-worth buying to have a real, modern hand-inked and wiped

photogravure. The "photogravure" has been re-interpreted for

printmakers with the new UV-exposed and water-developed SOLARPLATE

product. I recommend PRINTMAKING IN THE SUN by Dan Welden and Pauline

Muir-a beautiful, inexpensive book that explains the process and has

lots of great imagery. GOODLUCK