Kai Brückner

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手工拉印的日晒凹版画，印在古老手工平纹纸上

左下角用铅笔签名：Sarah Moon
右下角为印刷厂字母组合
纸张尺寸：31 x 25 cm

手工拉印的日晒凹版画，现今已不多见，但在19世纪后半叶非常流行。它将影像通过摄影方式转移到铜版上，铜版先经水点法处理以获得色调，再在其中蚀刻出图案。随后对铜版手工上色并以普通凹版印刷的方式印制。

手工拉印日晒凹版画，正是如此——完全由手工完成。每一张版画都在平床印机上手工上色并拉印，因此每张印刷品都略有不同。这是所有光机摄影印刷工艺中的黄金标准。它是William Henry Fox Talbot毕生致力改进的工艺，最终被Karel Kilč完善。它也是Peter Henry Emerson、Alfred Stieglitz、Alvin Langdon Coburn、James Craig Annan等伟大摄影师为之孜孜不倦地追求、并将之用于他们最杰出的作品中。

Hand-pulled heliogravure on ancient hand made laid paper
Signed in pencil by Sarah Moon lower left
Monogram of the printer lower right
Sheet size : 31 x 25 cm

Hand-pulled heliogravure, hardly used now but very popular in the later 19th century, involves the photographic transfer of the image to a copper plate, prepared with aquatint to give it tone, into which the design is etched. The plate is then hand-inked and printed from in the same way as an ordinary intaglio plate.
A hand-pulled heliogravure is just that – made by hand. Every print is inked and pulled by hand on a flat-bed press, and therefore each print is subtly unique. This is the gold-standard of all photomechanical processes. It is the process that William Henry Fox Talbot worked so hard to improve throughout his career, and that Karel Kilč eventually perfected. It is the process that Peter Henry Emerson, Alfred Stieglitz, Alvin Langdon Coburn, James Craig Annan and other great photographers worked tirelessly to master and embraced for some of their greatest works.

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Sarah Moon (1941-) - Nu de dos, c.1980

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