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手工日光凹版印刷，使用无纹纸，

左下角用铅笔签名：Nicolas Alquin（雕塑家）
右下角用铅笔签名：Mathilde de Torhout（摄影师）
纸张尺寸：38 x 28 cm

手工日光凹版印刷，现今鲜少使用，但在19世纪后期非常流行，它将图像通过摄影转印到涂有酸蚀调子的铜版上，使其具有基调，再在铜板上蚀刻出纹理。随后将铜板按普通凹版印刷的方式进行手工上墨与印刷。手工日光凹版印刷正是如此——完全由手工完成。每一幅印刷品都在平压印机上由手工上墨、拉印，因此每一幅都略有不同。这是所有感光机械印刷工艺中的黄金标准。它是威廉·亨利·福克斯·泰尔博特毕生努力改进的工艺，最终由 Karel Kilč 完善。彼得·亨利·爱默生、阿尔弗雷德·斯蒂格利茨、艾尔文·兰登·科伯恩、詹姆斯·克雷格·安南等伟大摄影师也为掌握并在他们一些最伟大的作品中采用它而不遗余力地进行研究。

Hand-pulled heliogravure on wove paper
Signed in pencil by Nicolas Alquin lower left (sculptor)
Signed in pencil by Mathilde de Torhout lower right (photographer)
Sheet size : 38 x 28 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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Nicolas Alquin (1958) & Mathilde de Torhout - Sans titre, 1991

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