LASTING IMPRESSIONS
PHOTOGRAVURES FROM THE PERMANENT COLLECTION
February 2 - March 13, 2021
Guido Rey, The Letter, 1908, Gift of Ruth and Richard Shack, 1991.27
INTRODUCTION
The photogravure process is one of the oldest photomechanical printing processes, dating back to William Henry Fox Talbot (1800-1877) who patented his technique in 1852. In Talbot’s method, a copper plate was coated with a chemical mixture of sensitized gelatin which reacts when exposed to sunlight. A photographic negative is then etched into the plate using an acid bath, creating an impression on the plate. Finally, the prepared printing plate can then be inked and run through a printing press. In comparison to other photographic processes of the time, multiple prints could be made from one gravure plate, whereas positive prints on metal plates, such as daguerreotypes, were unique and could not be reproduced.
Notable photographers who made significant contributions to the field of photography through the use of the photogravure printing process include Julia Margaret Cameron (1815-1879), Edward S. Curtis (1868-1952), Arnold Gassan (1930-2001), Aaron Siskind (1903-1991), Edward Steichen (1879-1973), Alfred Stieglitz (1864-1946), Paul Strand (1890-1976), and Clarence H. White (1871-1925) among others.
As a printing process, photogravures are prized for their broad tonal range, rich velvety shadows, luminous highlights, and exquisite detail. What sets photogravure prints apart from traditional darkroom printing techniques is the presence of a plate mark which generally appears as an embossed line surrounding the border of the image.
The process itself is particularly versatile and suited to a wide range of styles. Pictorialist photographers like Alfred Stieglitz, Edward Steichen, and Clarence H. White used photogravures to create the soft-focus, romanticized imagery typical of the style. Later, Paul Strand and Arnold Gassan utilized this process to reproduce the sharp focus and rich tonality coveted by straight photography purists. Abstract expressionist Aaron Siskind went on to use the photogravure process to capture highly detailed textures in his extreme close-up photographs.
Due to their ease of reproducibility, photogravures were often employed in the bookmaking process – as seen in the 1893 book of portraits by Julia Margaret Cameron on display. Likewise, the selection of Edward S. Curtis prints included in this exhibition were created as part of a thirty-year long project to document Native American culture and chronicle indigenous ways of life, ultimately published in a twenty-volume set titled The North American Indian (1907-1930).
While the process to prepare the plate is complex and involves many steps, the resulting print is little more than ink on paper. As such, photogravures are among the most durable and long-lasting photomechanical printing processes. Unlike silver gelatin prints, they are not at risk of delamination, cracking, or flaking as the emulsion breaks down due to changes in temperature and humidity. Nor are they in danger of the image fading due to light exposure since they do not rely on a chemical reaction to develop or fix the image on paper. The only preservation concern is that of the paper itself. Acids present in the paper eat way at the integrity of the paper and cause it to become brittle and weak, resulting in discoloration or browning as the paper ages. Exposure to moisture or high humidity accelerates this deterioration process. Because of this, it is often remarked by photo conservators that the print itself will likely outlast the paper it is printed on.
Signs of acid damage and foxing are evident in many of the earliest prints in this exhibition. They will need continual conservation treatment to mitigate the damage, slow the rate of deterioration, and increase the longevity of the prints so they can be appreciated by future generations.
Erin Gordon Director, Southeast Museum of Photography
Paul Strand, Wall Street, NYC, 1915, Gift of Serg J. Rioux, 2004.3
Sponsored in part by the State of Florida, Department of State,
Division of Cultural Affairs and the Florida Council on Arts and Culture.
Banner image credit: Alfred Stieglitz, On the Seine, near Paris, 1894