Making a Polymer Plate for Photogravure (video)

A plate-making overview.


based on the workflow in the book
Making Photogravures with Polymer Plates

Vulcan's Anvil

photogravure (polymer)

7" x 10.5"

first print

probably a little too much oil, less would bring the contrast back
overall I like the plate

The Long Path to Success

On October 13, 2010, I made a blog post about photogravures with polymer plates, in which I was frustrated about the process, realized that I was mostly on my own with how far I wanted to push the process, and had mostly given up on the usability of the information on the internet.
http://artandwater.blogspot.com/2010/10/keep-on-paddling.html

The information is out there.  The frustration grew from two things:
1.  The good information is scattered among lots of incomplete or bad information.
2.  Those who had the type of success I was pursuing seemed to have access to some very expensive equipment, and I wanted to do this without spending thousands of dollars.

As the October 2010 post suggests, I decided to "keep on paddling" forward.

Fast-forward to November 2013, and I had figured out the least expensive way to get the high quality that I wanted.  I published a book about the workflow.  In the book I included an email address, offering to help those who bought the book.  Currently, I'm having email correspondence with a few people, and am anxious to see the success they will have.

For the sake of encouraging others who look to explore the process of making photogravures with polymer plates (and for curious record-keeping), I will post links to most of the blog entries I made over the past three years (that have to do with learning this process).  Hopefully it encourages students by reminding them that success is not instant.  It takes work.  They will experience frustration.  The reward is worth the effort (I believe).

http://artandwater.blogspot.com/2011/05/how-to-make-plate-with-photopolymer-for.html

http://artandwater.blogspot.com/2011/06/photography-changes-during-printing.html

http://artandwater.blogspot.com/2012/03/digital-negatives-adjustment-curves.html

http://artandwater.blogspot.com/2012/06/grand-canyon-gravure-kickstarter.html

Believe it or not, making many cyanotypes helped me understand making adjustment curves.  I had some success, but in 2011 I felt that I did not yet understand it well enough to teach.  Making many cyanotypes, allowing myself to experiment with making curves by intuition (making many different digital negatives for small prints) let me develop a solid understanding of compensation curves for digital negatives.  Cyanotypes are significantly less expensive to make than polymer plates for photogravure.  Toning cyanotypes with different agents also reinforced the idea that different inks and tones will have different grayscale densities, forcing me to be very careful in the future about which ink I was going to use for photogravure (making unique curves depending on the ink color).

http://artandwater.blogspot.com/2012/08/basement-bathtub-photography.html

http://artandwater.blogspot.com/2012/08/12-different-cyanotype-tones-compared.html

http://artandwater.blogspot.com/2012/08/curves-by-intuition-and-some-experience.html

http://artandwater.blogspot.com/2012/09/transparency-for-inkjet-negatives.html

http://artandwater.blogspot.com/2012/11/pictorico-vs-fixxons.html

http://artandwater.blogspot.com/2013/04/printing-photogravure.html

http://artandwater.blogspot.com/2014/02/how-to-find-minimum-exposure-time-for.html

To everyone learning this process, I want to wish you good luck.  If you own my book, please feel free to email me at the address in the book.

How to find minimum exposure time for polymer plates

Click on this link
to view a PDF (that can also be downloaded)
of Chapter 5 in the book "Making Photogravures With Polymer Plates"
that reveals how to establish both
the minimum exposure time and optimum exposure time
when using polymer plates for intaglio process


The full book is available for purchase through Amazon
http://www.amazon.com/Making-Photogravures-With-Polymer-Plates/dp/0615919219/

People who buy the book are welcome to email me for help with this process.

Making Photogravures With Polymer Plates (Book)

The book is ready!

$11.99  Introductory price.

available through Amazon


ISBN-13: 978-0615919218


ISBN-10: 0615919219 


Learn photogravure with this step-by-step instruction book. It has over 250 images and 140 pages of explanations that reveal what is needed to use steel reinforced, photo sensitive polymer, to create stunning intaglio plates.  

Applicable for experts and beginners alike, individuals with small home-made darkrooms or large universities, the methods shown will open the possibilities of intaglio image making without the need for acids, high v.o.c. solvents, fine rosin dust, or petrochemical asphaltum. The aquatint and image are made with film positives and UV light. The plates are etched with water. Both traditional oil based inks and modern "safe" etching inks can be used to make the final print.   

Photogravure is a photo-mechanical process in which etching ink is pushed into the recesses of a fine matrix ("aquatint") of a printing plate. Excess ink is wiped from the surface by hand. Damp cotton paper is run through an etching press with the inked plate, where it picks up the image. The resulting print is one of the most archivally stable ways of photographic reproduction known.   

Included inside the book is a unique method for visually creating adjusted digital transparencies. The technique can easily be adopted for the creation of digital negatives for any of the "alternative" photographic processes that are seeing a resurgence in recent years.   

Practitioners of polymer photogravure are not limited to just photographs. The same plates make beautiful etchings and reproductions of hand drawn images. Many artists use hybrid drawing and photographic methods to create intricate and beautiful work with the polymer plates. 

-------------------------------------------------------------

Here us a link to a video that shows printing in real time...

http://www.youtube.com/watch?v=0HkvxnO22s4

"Altered" show

October 5 - 31
http://www.submitartimages.com/show/6/gallery/

at Open Shutter Gallery
735 Main Avenue
Durango, CO 81301

Juried by Mark Sink

I won't be there for the opening reception
(October 5 from 5 - 9 pm),
but I'm happy to be included in the show at such a great gallery,
and psyched that I'll be in town a week later,
so will be able to see all the beautiful work that was selected.

(here is the photogravure of mine that will be included
titled "Winter Canyon"

John, Paul, Ringo

(were the names of our rafts rented from Canyon REO)

http://www.kickstarter.com/projects/1064313302/grand-canyon-gravure?ref=card


I'm super excited and very flattered by all of you who helped the Grand Canyon Gravure project reach it's funding goal.  Thank you very much!



For those who are just now deciding to become backers of this project, you'll still get some good art at the fund-raising price.  Anything pledged that pushes the project beyond the original minimum goal will help take steps towards making the book portion a reality.  

There are some other very cool projects out there too, not just his one, so take a look.  You just might make the difference between an artist funding their dreams of making important work.


Invisible Cities Photo Exhibition


What We Tell Each Other


New Orleans Community Print Shop

Sunshine and Fluffy Clouds

Bright sunshine, deep sky and bright white fluffy clouds floating by.  Your favorite weather and everything you need to be happy right there with you now.  Calmly, openly looking.  The decision for the next step is quiet yet sure.  This place is beautiful.  It is unique, one of a kind.  It must be held with gentle hands.  It must be taken care of, preserved with good intent, gifted to the future now.

19 days to go

People juggle many different diversions.  Life is busy.  Friends we make are in various locations.  Toys and tools are scattered from use.  Did you ever feel like you had the urge to gather all your favorites in one place?

"The Fun Package"

includes a bunch of stuff from the Grand Canyon Gravure project.

* hand-made cyanotype on cotton paper (optimally sized for easy framing)

* archival digital reprint in a cotton mat (thoughtfully sized for easy framing)

* signed copy of the book "It Must Be... (A Grand Canyon Trip)"

* 100% cotton Tshirt with the brushstroke circular design

* sticker

it should be $165

but this Fun Package is only $125

20 days left

Imagine a special place that takes effort to access.  Picture a process that takes work to make happen.  The surface of the place is seen by many, whereas the intimate details of the depths are only accessed and understood by those who are willing to take the extra steps needed to experience something so special.  The result of the process is rendered in easily understood form, and yet still to be appreciated fully, one must reach out to take the action necessary to be involved in the history of the thing.

clickety click

Havasu at Soho Photo Gallery tonight!!!

The hand-made photogravure from the Grand Canyon Gravure series
is in the 15th Annual Small Works Show that opens tonight,
and runs through the entire month of July.

http://www.sohophoto.com/sp_national_comp.html

If you are in NYC, come out and see the show.

http://www.artists2artists.net/events/soho

If you want to support the continuation of this photogravure project, visit the Grand Canyon Gravure project and pledge as little at $10 for some awesome artwork!
http://www.kickstarter.com/projects/1064313302/grand-canyon-gravure?ref=card

http://www.sohophoto.com/downloads/2012_national_comp_winners.pdf

26 days to go

to get this project funded.
It's all or nothing.
If the goal is not reached, the project does not get finished!
A "pledge" means that you are not charged for this right now.  It will only happen when the goal is reached at the end of the month.
http://www.kickstarter.com/projects/1064313302/grand-canyon-gravure?ref=card

$25 or more and you get an ARTandWATER cotton tshirt.
(Stickers too?  Sure, why not.  Everyone likes stickers)

When the project is funded, you will receive a private message so we can discuss tshirt size, design, and color.




http://youtu.be/GSiUtzT5Kz4

Photoworks Gallery

"Alternative Visions"
at Glen Echo Park in MD
April 13 - May 7
Opening Reception April 22 from 5 - 7:30 pm
Artists/Gallery Talk from 6 - 6:30 pm


If you are in the DC area be sure to stop by to see the show.
click here for invitation
You've had the chance to preview some of these images on the web,
but there is much more to see in person.
The internet cannot represent all of the subtle work in each piece.
They need to be seen in person to be fully appreciated.

"Camp 118.6"


"Havasu 2"
(first public showing of this piece) http://b-ccc.org/Articles/ReadArticle.asp?ID=425

Diffusion IV

look for my work this Spring in the fourth edition of Diffusion Magazine

"Diffusion is an independent, reader-supported annual that highlights and celebrates unconventional photographic processes and photo related artwork. Diffusion strives to spotlight artists pushing the boundaries of traditional photographic processes as well as introducing new and innovative voices through articles, interviews, and image galleries.

Described as ‘a wonderful bundle of inspiration,’ Diffusion is supported by an audience of photographers, gallery directors, educators and art enthusiasts worldwide."

(quoted from - http://onetwelvepublishing.com/wordpress/about/)

ARTSPACE GALLERY

"Altered State?"
photography show
opening reception Saturday, January 14
at ARTSPACE Gallery
of Pocono Arts Council

Both of these photogravures of mine will be there. If you are in PA, stop by the show and see them in person (much better looking live than just on the internet)

"Camp 118.6"

"Campsite Quanta"

________________________________________________________________
update January 15, 2012
I am very proud to announce that "Campsite Quanta" received the Juror's Choice award in this show.

Here are some links to press about the show:

http://www.poconorecord.com/apps/pbcs.dll/article?AID=/20120126/LIVING/201260324/-1/NEWS16

http://www.strausnews.com/articles/2012/01/28/pennsylvania/arts_and_entertainment/4.txt

http://forwardianartssociety.blogspot.com/2012/01/artspace-in-altered-state.html

http://www.poconoarts.org/__PApages/__alteredstates.htm

http://www.poconorecord.com/apps/pbcs.dll/article?AID=/20120113/LOCALENT/201130332/-1/rss15

http://www.poconoarts.org/__PApages/__images/newsletter/2012_01_newsletter.pdf

Illusion and Chemistry: The Alternative Process

January 10 - February 4, 2012
at The Kiernan Gallery
23 B West Washington St.
Lexington, VA 24450



This photogravure called "Havasu" is one of the thirty alt pro images selected to hang at the gallery for this juried show. I'm very proud to have this piece hang with so many other fantastic photos in an event that showcases some particularly creative approached to photography (and image-making in general). If you have never seen any alternative process photography, or have only caught a glimpse of alt pro photo before, then you must see this show. I want you to see my photo in real life, but the show is bigger than me. There are so many good pieces to see. It's worth the trip.

http://kiernangallery.com/
-------------------------------------------------------------------------------
update:
Kat Kiernan was nice enough to send installation photos from the show. Here they are...
(click on image to enlarge)

Grand Canyon photogravures (sepia)

Gallery 270 currently has the portfolio, of artist's proofs for these prints, to show to collectors. Contact them to see the work in person (much more detail and an incredible impression in real life)





"Havasu"






"Winter Canyon"






"Campsite Quanta"






"Matkatamiba"






"New Years Day 2011"







"Camp 118.6"



This edition of 10 prints with sepia ink was made on Rives BFK Off White 100% cotton paper.
There is another addition of 10 prints with Thalo Black ink that was printed on Rives BFK White 100% cotton paper.
1 artist's proof and 1 printer's proof for each addition.


http://artandwater.blogspot.com/2010/10/keep-on-paddling.html

http://artandwater.blogspot.com/2011/04/kolb-photo-studio-south-rim-of-grand.html

http://artandwater.blogspot.com/2011/02/grand-canyon-sketchbook-slide-show.html

http://artandwater.blogspot.com/2011/05/how-to-make-plate-with-photopolymer-for.html

campfire: old and new

(version 1)
vine black ink, white paper


I experimented with the contact between the positive/transparency and the plate for this one, seeing if I could get either a distressed or aged look. The result is good, but I'm wondering if I took it a bit too far. I'll make another version in cleaner conditions, and with better contact to see if a more clear image still holds up and gives the desired effect.

I'm looking to elicit the feeling of an old tradition by taking an image of a gathering from this past year and developing it with an older process of printing. Experimenting with some warmer black ink and some dark browns (perhaps even a some kind of sepia tone), and an off-white print paper might help signify age and tradition.

(version 2)
dark brown ink, white paper


(version 3)
dark brown ink, off white paper


(version 4)
new plate, vine black ink, white paper


This latests version is the one I'll go with. It has about as much mid-tone as I can get out of the naturally contrasty environment of night time campfire photography. Instead of distressing the image (through the transparency, and thus the plate), I'll use a dark brown ink on an off white paper. That will look more like an old photo, and it will knock the contrast down a bit since the slight color will read a slight more mid-tone than any pure black.
(the image was just a little larger than the other plate, so it is a better size, which reads better from average viewing distance in a room. The image is cropped, above, at the plate indentation, so you are seeing 11.5" x 8". I'll cut the plate down to about 11" x 7" and print on 15" x 11" paper, leaving an even 2" border all around)

Alternative Photography

Has made a web page for me to showcase my completed images, using the polymer photo gravure process.

http://www.alternativephotography.com/gallery/v/scott-barnes/

I am very happy that my work has developed enough to be accepted into this community, and am flattered that they have made a page for me.

from the header on the alternativephotography.com website:
"Historical photographic methods in use today - the art, processes and techniques of alternative photography"

There are too many unique techniques to list on this blog. Please enjoy my work, but you are also encouraged to explore the Alternative Photography website and look at the engaging work by other artists using varied historical photographic techniques.

keep on paddling (updated)

The photopolymer graveur process has become frustrating. I don't know whether I've become more demanding, with a more finely tuned eye for detail, or I'm just hitting some sort of sophomore jinx with a new process. Perhaps some things are not working right this week. I'm encouraged by some of things I've learned while making mistakes, but frustrated that the final result is not right. The photopolymer graveur process is still new to me, but screen printing is not. I've made three attempts at one image with a screen today, with poor results.

I have three options.
1. Should I give up completely?
2. Should I take a long break and come back to the problems later?
3. Should I keep pushing forward, finding a way to turn anger and frustration into determintation?

I am a fan of option #3. It is one that I naturally follow, and a belief that my experience on whitewater (and other outdoor activities) has reinforced. The river will not stop moving. I will make mistakes along the way, but I need to forget them immediately after they happen and keep moving forward.



I'm inspired by some of the students in my studio classes. Their frustrated learning curve is palpable, particularly when I hear them let out a big sigh, drop their shoulders, and look away from their drawing. What has encouraged me so much, lately, is the frequency with which the return to their work, trusting the process of looking/drawing/looking/drawing/etc. Their faith in the process, and belief that they will make progress, moves me forward in my own work, and give me faith that I, too, will make progress.

Beginners mind...
_______________________________________________________________________
update (Oct. 15)

made some progress with the photo gravure



solved the contact problem, mostly...
I admit that I was not as clean as I should have been, so the three pieces of dust tented the transparency enough to lighten up the right side, BUT everything else is looking pretty good, so at least the work flow is good now.

downside is that I still can't make a screen for anything....
I've done so many of these that I can't figure out what I am doing wrong.
It will wait for the weekend. I need a break for now.

_________________________________________________________________________

update #3:
I have not liked the overall image, and did not trust how much information would be lost with the gravure process, so I decided to do alot of burning and dodging in photoshop. This was all done while clicking the preview filter on and off to predict results.
After a while I decided, since nothing was working perfectly and this was becoming an experimental piece anyway, to push the burn and dodge to extremes, betting on anything above 80% and below 20% blowing out to pure black or white.


My guesses were about half correct. I pushed it a bit too far, and the image is awkward. But, the extreme example is a good way to learn, and I will keep this one for future reference.
________________________________________________________________________

update #4:
This is a good image. Adjustments in Photoshop improved the image. I am learning how the preview curve actually relates to the final product. The transparency/positive was good. The only problem with this plate was a lack of good contact in the lower right corner. I'll clean the glass on the exposure unit and the print frame before plate #5.


_________________________________________________________________________

update #5:
This is the final image.
Contact with the frame was good.
I dried the transparency with a hair dryer to make sure it did not contain any moisture.
I had taken the advice of a friend and sprayed the back of my positive/transparency with matte medium to eliminate Newton's Rings. The same person discovered why baby powder was useful in this process. Brush it on the plate, then brush it off. The super thin residual film of talc will create just enough space for gas and water vapor to escape during exposure. Talc is fine enough to not act like dust and create exposure issues. I imagine that using baby powder would make my results even more predictable.



I will edition this plate.
The next step is to figure out which tone paper, and what color ink I will use for the edition.
_________________________________________________________________________

Here are the plates in order, for easier comparison.











http://artandwater.blogspot.com/2010/06/photopolymer-graveur-curves-preview-in.html

http://artandwater.blogspot.com/2010/04/solarplate-etching.html

http://artandwater.blogspot.com/2010/04/photo-polymer-gravure.html

http://artandwater.blogspot.com/2010/05/plate-decisions-and-editioning.html

http://artandwater.blogspot.com/2010/05/photopolymer-aquatint-grayscale-test.html

http://artandwater.blogspot.com/2010/05/variety-in-three-editions.html

http://artandwater.blogspot.com/2010/05/better-look.html