Elena Vaninetti

摄影经典作品

在纤维纸上的手工拉制光刻铜版画
左下角用铅笔署名：Sarah Moon
右下角为印刷者的字母组合
纸张尺寸：44 x 32 cm

手工拉制的光刻铜版画如今几乎不再被使用，但在19世纪后期非常流行，其原理是将影像通过摄影转移到铜板上，铜板用酸蚀法赋予色调，然后对其进行蚀刻。铜板随后被手工上墨，并以与普通凹版印刷相同的方式进行印刷。
手工拉制的光刻铜版画就是如此——完全由手工制作。每张印刷都在平压压印机上由人手着墨并拉出，因此每一张印刷都略有不同。这是所有光机印刷工艺中的黄金标准。它是威廉·亨利·福克斯·塔尔博毕生为改进而奋斗的工艺，也正是卡雷尔 Kilč最终将其完善的工艺。正是彼得·亨利·埃默森、阿尔弗雷德·斯蒂格利茨、艾尔文·兰登·科伯恩、詹姆斯·克雷格·安南等其他伟大摄影师为之孜孜以求并在他们最伟大的作品中采用的工艺。

Hand-pulled heliogravure on wove paper
Signed in pencil by Sarah Moon lower left
Monogram of the printer lower right
Sheet size : 44 x 32 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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