The Hand Magazine Issue #19

The HAND A MAGAZINE FOR REPRODUCTION-BASED ART

Issue 19, January 2018

33

$10

Ren Adams, Reactor 4,

Image transfer onto Rives BFK (from multi-layered, mutated and glitched video still “monotype”), 11” x 9”, www.renadamsart.com

2-39 Art 40-44 Terri Cappucci 45-56 Art 57 Call for Entry *Cover Artwork Andrew K Thompson, Green Rainbow Palm Tree, Chemically altered chromogenic photograph with thread, 23.75” x 16.75”, andrewkthompson.net

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Dear readers, Welcome to Issue 19 of The Hand Magazine! Happily, we have gained many new readers over the last couple of months. We are so excited that our little magazine is getting bigger and bigger with each issue. The Hand has always been about community; or rather, bridging communities. The magazine came about through our conversations about the similarities between photography and printmaking. It was a revelation to think of photography as a printmaking process, which of course it is.

It is still true, and in many ways fair, that “printmaking” and “photography” are generally thought of as separate mediums. Yet, it is interesting to think of the negative as a kind of plate, and to think in layers while building up a photograph printed by hand. With new digital processes supplanting the hand of the artist, we wanted to find a way to shine light on the paradoxical presence of the artist’s hand in what are, ostensibly, mechanical processes. It is our hope that The Hand Magazine causes artists to re-evaluate their own practice. Making this magazine has certainly made us re-evaluate what we do as artists. We see the artists hand in the way the image is printed, but also in the way the subject is constructed. Digital imaging has given artists new ways to build their images. We want to be inclusive, open, encouraging, and inspiring.

Our feature artist this issue is an artist who embraces all aspects of image making. She is an accomplished documentary photographer and studio photographer who has also become well versed in a number of hand printed processes. We are very happy to present to you an interview with the kind, generous, and very knowledgeable, Terri Cappucci. Terri talks with us about her own practice, the varieties of printing processes she uses, and much more. We always try to get to know our feature artists a little, and not be strictly technical and academic. Again, we are about community. Artists are real people and we like to know what makes them tick, so to speak. We hope you enjoy Terri’s interview and work. And we hope to see you back in April. Cheers!

Let’s join hands, Adam & James

Adam Finkelston Owner, Publisher, Co-editor

Adam Finkelston is an artist and educator based in Prairie Village, KS. He has shown his work in solo, juried, and group exhibitions throughout the U.S. adamfinkelstonphotography.com

James Meara Co-editor, Lead Designer

Dale_Bailey_5_7ShadesofSunrise

James Meara is an artist based in Providence, RI. His work is rooted in printmaking, but includes drawing, painting, photography, and multi-media processes.

Meara has been involved in both group and solo shows across the country and abroad.

Dale, 7 Shades of Sunshine, Archival Inkjet Print Bailey Dale, Shades ofBailey Sunrise , Archival Pigment Print, 20” x 25”, baileydale.com

jamesEmeara.com

The Hand: A Magazine for Reproduction- Based Art, (ISSN 2476-1427) is published quarterly in January, April, July, and October by The Hand Magazine LLC, 3950 W. 87th St., Prairie Village, KS, 66207. Application to mail at periodicals pricing is pending at Prairie Village, KS. POSTMASTER: Send address changes to: The Hand: A Magazine for The Hand: A Magazine ReproductionBasedPrairie Art, (ISSN 2476-1427) is published quarterly in January, April, July, and October by The Hand Magazine LLC, 2812 W. 91st Street, Leawood, KS., 66206. Application to mail at periodicals pricing is pending at Prairie Village, KS. POSTMASTER: Send address changes to: The Hand: A Magazine for ReproductionBased Art,for3950 W. 87th Street, Village, KS. Reproduction- Based Art, 3950 W. 87th Street, Prairie Village, KS. Copyright 2017, 2018, The Hand Magazine LLC. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without written permission of the copyright owner. The copyright for each image / article is held by the credited author. All other materials are the exclusive copyright of The Hand Magazine LLC

List of Artists Ellen Jantzen – p. 30 Michael Jantzen – p. 30 Diana Nicholette Jeon – p. 28 Evey Jones – p. 48 Solveig Landa – p. 52 Tom LeGoff – p. 11 Steve Lovegrove – p. 16 Lesia Maruschak – p. 38 David Manje – p. 3 Myken McDowell – p. 29 Debi Milligan – p. 24 Heather Muise – p. 5 Lisa Nebenzahl – p. 51 Angel O’Brien – p. 46 Susanna Pershern – p. 53 Beverly Poppe – p. 53 Project Barbatype – p. 13 Robert Quackenbush – p. 6 Hailey Quick – p. 17 Jared Ragland – p. 10 Vicki Reed – p. 25 May Roded – p. 35 Elizabeth Rose – p. 27 Barry Roth – p. 21 Tina Rowe – p. 20 Gustave Savoie – p. 45 Jennifer Scheuer – p. 19 & 52 Sara Silks – p. 51 Aline Smithson – p. 32 & 33 George L. Smyth – p. 26 Magnus Stark – p. 32 & 33 Cindy Steiler – p. 8 Sal Taylor Kydd – p. 18 Farnaz Tasbihgoo – p. 20 Andrew K. Thompson – Cover Rachel Urban – p. 53 Cara Lee Wade – p. 31 Melanie Walker – p. 13 Nannette Wallace – p. 50 Peter Wiklund – p. 22 Valerie Yaklin Brown – p. 34

Ren Adams – Contents page Jaime Aelavanthara - p. 56 Joanna Anos – p. 50 May Babcock – p. 27 Francis Baker – This page Lindsey Beal – p. 27 Gary Beeber- p. 35 Patricia A. Bender – p. 49 Grant Benoit – p. 37 Jason Biehner – p. 38 Kevin Bond – p. 7 Nancy Bundy – Back Cover Valerie Burke – p. 7 Jade Butay – p. 47 Terri Cappucci – p. 40 - 44 Kayla Caron – p. 22 Marilyn Carren – p. 51 Nicholette Codding – p. 46 Thomas Condon – p. 39 Bridget Conn – p. 39 Kevin Cozad – Inside Back Cover Jacob Crook – p. 34 & 35 Rob Crossno – p. 15 Brian Culbertson – p. 4 Bailey Dale – p. 1 Katarzyna Derda – p. 46 Kathleen Donohoe – p. 18 Tess Doyle – p. 50 Brian K. Edwards – p. 55 Debilynn Fendley – p. 36 Juan Fernandez – p. 9 Fran Forman – p. 47 Elizabeth Lee Freedman – p. 49 Carole Graham – p. 51 Lucy Julia Hale – p. 21 Jonathan Helms – p. 23 Wanda Holmes Oliver – p. 24 Åke Hultman – p. 23 Karen Hymer – p. 16 Raluca Iancu – p. 14 Constanza Isaza Martinez – p. 12

Francis Baker Barrier (detail)

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Gum bichromate on rabbit-skin glue gesso on mahogany panel 80.5” x 9” x 1” some.progress.blogspot.com

Opposite Page David Manje Set A Soul Free

Monotype, chine collé, photopolymer intaglio 30” x 22” www.arroyopressstudio.com

Isolation and Loneliness

Lightheadedness

Brian Culbertson

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Salted paper print, prescription medicine (Amitriptyline, Diazapam) 14” x 11” www.brian-culbertson.com

Tightrope

Snake Charmers

Fortune Tellers Heather Muise

Four - plate etchings with gold leaf 14” x 11” ea heathermuise.com

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461669

Veneno de Rata

100206192

One

Robert Quackenbush

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Image transfer, collage, applique, colored pencil, pencil, acrylic paint on repurposed Kraft paper that was stained, cut, abraded and taped, when used as a cover for a work bench 18” x 27” ea. www.artbyq.com

Reminiscences 2, Photo transfer on 4x5 film holder, 5” x 4”

Reminiscences 3, Photo transfer on 5x7 film holder, 7” x 5” Kevin Bond

www.kbondphotography.com

Nautilus

Tiger Nautilus Valerie Burke

Pinhole camera image, archival pigment print with colored pencil valerieburke.artspan.com

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Vestige II, 15” x 13” x 1”

Vestige III, 15” x 10” 1”

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Vestige V, 19” x 12” x 1”

Cindy Steiler

Toned cyanotype on fabric, embroidery hoops, embroidery www.cindysteiler.com

Sphere (Sidibe)

Square Gradient

Spheres on Red Aluminum

Squares on Blue Aluminum Juan Fernandez

Wetplate collodion tintype photograms 10” x 8” ea. www.jmanuelfernandez.com

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Jared Ragland Untitled, from the series, Babel 10

Collage 10” x 8” jaredragland.com

Horizon Cross, 1859 - 1862: Townsfolk #2, Pious

Horizon Cross, 1859 - 1862: Townsfolk #7, Engineer

Horizon Cross, 1859 - 1862: Townsfolk #8, Waiting

Horizon Cross, 1859 - 1862: Townsfolk #12, Eyes Tom LeGoff

Gold toned albumen print, cardstock 6.5” x 4.25” www.tomlegoff.com

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Evolution II

Evolution X

Evolution XI

Constanza Isaza Martinez 12

Photogravure 22” x 15.5” www.constanzaisaza.com

Project Barbatype (Scott Hilton and Bryan Wing) Garey Faulkner Inkjet on acrylic (from 5x4 tintype) 20” x 16” www.projectbarbatype.com

Mica 24, 7” x 5”

Book of Trees, 10” x 8” Melanie Walker

Transfers on mica melaniewalkerartist.com

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Reconstruction Attempt #12 (full stop)

Reconstruction Attempt #10 (track faults) 14

Raluca Iancu

CNC-cut relief, linocut, collage on wood panel 35” x 47” x .5” www.ralu.ca

Surveillance Room

Escape Room Rob Crossno

Archival pigment print from scanned large format negatives 35” x 28” www.robcrossno.com

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Karen Hymer Fallen Bird

Palladium over pigment print 8” x 6” karenhymer.com

Steve Lovegrove Bones

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Wet plate collodion photogram on aluminum 11” x 5” www.darkarts.com.au

Nesting, 18” x 15”

Symbiosis, 24” x 18”

Hailey Quick

Lithographs www.instagram.com/haileyquick

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Sal Taylor Kydd Resurrection

Platinum / palladium on paper 10” x 8” www.saltaylorkydd.com

Kathleen Donohoe Sanctuary

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Silver gelatin liquid emulsion on coated rice paper, 35mm negative 15” x 20” kathleendonohoe.com

Jennnifer Scheuer Mary Ann’s Fish

Silk screen 17” x 14” www.jenniferscheuer.com

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Tina Rowe Isobel

Typed-on negative printed on layout paper, shellac, silver leaf 6” x 5” tinarowe.co.uk

Farnaz Tasbighoo Trapped 20

Archival pigment print Variable sizes www.farnazt.com

Barry Roth Untitled #4, from “Sculptograph” series Archival pigment print 14” x 11” www.instagram.com/barryrothart

Lucy Julia Hale Adam’s Rib Shack: Longest Running RomCom Print of collage of photographic images 10” x 8” www.walltowallsecrets.com

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Peter Wiklund Kodak Moments #8

Archival pigment print from pinhole film can camera 8.5” x 12” www.peterwiklund.se

Kayla Caron Untitled

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Giclee print 8” x 10” kaylacaron.squarespace.com

Jonathan Helms Battery, Stonewall Jackson

Cyanotype over archival pigment print 12” x 12” jonathanhelmsphoto.com

Åke Hultman Jalousie Composition Digital photograph www.daguerre.se

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Wanda Holmes Oliver Garden Dreams Series 1 No. 9 Cyanotype 15” x 11” www.wandaholmesoliver.com

Debi Milligan Botanical Brasil 24

Cyanotype 10” x 7.5”

Moondance Constellation

The Gardner

The Handyman Vicki Reed

Cyanotypes on fabric 80” x 70” ea. www.vickireed.com

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Boat, Harris - Scotland

Bus Stop - Scotland

Harris - Scotland

George L. Smyth 26

Bromoil prints 6” x 9” ea. glsmyth.com

Elizabeth Rose Snow Geese

Intaglio printed in relief 15” x 11” elizabethclairerose.com

May Babcock and Lindsey Beal Lamina 12

Cyanotype, handmade paper with cotton, abaca, and pigment fibers 9” x 6.5” maybabcock.com lindseybeal.com

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Nights as Inexorable as the Sea Book 3

Nights as Inexorable as the Sea Book 2

Diana Nicholette Jeon

iPhoneography, archival pigment prints, encaustic, Altoids tins, adhesives 3.75” x 28.5” x 1” diananicholettejeon.com

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Myken McDowell Views I & II

Photopolymer, relief, and chine collé 33” x 21.5” www.mykenmcdowell.com

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Ellen Jantzen Proliferation

Photo montage, archival pigment print 24” x 24” www.ellenjantzen.com

Michael Jantzen Claire’s Landscape

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Archival pigment print 6.4” x 10” archinect.com/michael-jantzen/projects

Insidious Charms: The Wallflower Glances Askance, Mordançage, 15” x 12”

Insidious Charms: Seeking The Greatest Clarity, Mordançage and oils, 14” x 11”

Cara Lee Wade

caraleewade.sites.livebooks.com

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Aline Smithson Cory, from “Fugue State”

Bleached analog negative manipulated in the digital darkroom 14” x 12” www.alinesmithson.com

Magnus Stark Afraid of the Good News

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Archival pigment print on rag paper from a weathered Type 55 Polaroid 22” x 17” www.magnusstark.com

Aline Smithson Julia, from “Fugue State”

Bleached analog negative manipulated in the digital darkroom 14” x 12” www.alinesmithson.com

Magnus Stark No Map to Follow

Archival pigment print on rag paper from a weathered Type 55 Polaroid 22” x 17” www.magnusstark.com

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Valerie Yaklin-Brown Luciferous Crossing

Silver gelatin print with gold paint 20” x 16” valerieyaklin-brown.com

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Jacob Crook Ann @ Hinkson Mezzotint 24” x 18” www.crookstudio.net

Jacob Crook Gathering Storm Mezzotint 9.5” x 24” www.crookstudio.net

Gary Beeber Suburbia, Midnight Archival pigment print 30” x 20” www.garybeeber.com

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The Sacrifice, 9” x 12”

Pygmalion and Galatea, 11” x 14” DebiLynn Fendley

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Etching / aquatint debilynnfendleystudios.com

Grant Benoit Threshold Theory / Heirloom

Screenprint, embroidery, gold leaf, mixed media 8’ x 12’ installation www.grantbenoit.com

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Lesia Maruschak Zyma

Unique archival pigment print on handmade Japanese paper, handpainted with egg tempera and natural pigment, beeswax and damar handpainted finish 16.5” x 21.5” www.lesiamaruschak.com

Jason Biehner Alder Lake

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Ambrotype 6.5” x 8.5” www.sabertashphoto.com

Thomas J. Condon Forever Tomorrow

Silver gelatin chemigram on fiber-based paper 20” x 16” www.thomasjcondon.com

Bridget Conn Tree #2

Chromoskedasic Sabatier silver gelatin print 10” x 8” bridgetconnartstudio.net

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interview with

TERRI CAPPUCCI

Barn #2, Wet Plate

Hi Terri. Thanks for talking with me. Can you tell me about how you first got into photography?

Well, I recall being at a camp one summer when I was about 8-years old and seeing our group photos being developed in a darkroom, shortly after someone had taken the photo. Then the imagination came into action. While other kids were playing “house” and replicating being Moms and Dads, I can remember playing “picture maker”. I would pretend to take a picture, turn out the lights for a minute and when the lights came back on, I would have a picture from a coloring book and would pretend that I had just made.

That is definitely what comes to mind when I think about my first interest in photography.

With that said, I always had an interest in cameras and how to take pictures, but it became more serious as a teenager. I took an independent study class with my high school art teacher, Mr. Coy. The hands-on printing in a darkroom was always very exciting.

Watching the photograph processed in front of me was always a thrill. I was fascinated 40

with the ability to take what I saw through a viewfinder and make it tangible. Not just a memory, but something I could keep looking at. I began studying photography at a community college and continued my education and earned an MFA in photography from the University of Massachusetts, Amherst.

Ha ha! I love the “lights on, lights off” story!

That’s fantastic. What an imagination. And, being a high school photography teacher myself, it’s gratifying to hear that that was an inspiring time for you. Do you still get that same thrill watching an image come out?

Yes, I really do. This is partly why I am dedicated to handmade photographs. It’s always a thrill to see results process themselves in real time.

You work in many different processes. What made you choose to work with alternative processes?

Loblolly Pine, Gumoil print

As a photojournalist for the early part of my career, I was fortunate enough to learn and work in a darkroom, daily. I was the generation who learned traditionally and then saw the technology on the horizon and was very proactive in learning digital. I was certainly intrigued with how fast I could get things done, especially because I was always on a deadline. I was excited when the modern-day process became part of my daily routine and I became proficient working with digital as well as with film. Although I was thrilled to be part of the industry evolution, my interest in photography began to wane.

I was losing interest in the process of making the photograph. The excitement was there when I would take a photograph, but the end result of seeing it as just a digital image on a screen or just sending it to a printer as an inkjet print had become so uninteresting. I actually put my camera down for a couple of years (with the exception of a long-term film project I was working on is South Africa) to see if time was what I needed and thought maybe I was just burned out. What I had discovered was that while I missed photographing, I desperately missed the tactile process of making the actual print. When I processed my own images from the film to print, there was an anticipation, a bit of mystery and an adrenalin surge, as I would watch the image transform into what would be the final print. This is what began as truly, making art. I researched and learned processes that allowed me to take my photography through a handmade process, right to the very end. This is why I chose to work with alternative processes. With that said, I do occasionally use digital equipment to create inter-positives, odd sized large negatives or even for a reproduction print of a process that can only create a one of a kind.

Barn Series #1, Wet Plate

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work is already made? I guess the short way to ask it is, do you think about the meaning of your work more before or after you make it?

Midcentury Chair, Gumoil print

Do you normally shoot with a process or look in mind – as to how you will print it? Or do you shoot and try printing in different ways until something works best?

I usually aim for a specific feel to my work. I generally start out with a process in mind and will work with it until I achieve what I am looking for. It is not about making technically sound images at this point. I leave my perfectionist state of mind at the door when I aspire for a certain idea or concept to what I am trying to say in the final print.

Good question, Adam. Sometimes I am drawn to a project and will work on it not always knowing the full reasoning behind the idea. As I begin to produce the work in a specific genre or with a specific theme, the reason behind my work will unfold. It usually results in something autobiographical and will make complete sense to me. At that point, I can really dive deep and understand that I have a specific message to convey. For instance, there is one series I had worked on for years where I collected leaves that had fallen from trees and were drying up. Some still had color, some didn’t. They were curled up, had little bumps, age markings, beautiful veins, etc.

I began to photograph them in my studio and about a year into the project, I realized that it was about my own fear of the aging process and being aware of the changes taking place. In a society that has places so much weight on appearance and youthfulness, I was now looking at the greater value of being older, stronger and seasoned. This became a story for people and I wanted to tell this story through images of dying leaves.

That’s very interesting. I’m always interested in how artists bring meaning into their work. As an educator, I try to encourage students to do that; and I find it’s very difficult to teach that. So let’s switch gears a little from meaning to making. I am fascinated by the gumoil process. How did you first hear about this process and how did you learn how to do it?

I happened to stumble across the gumoil process about six years ago, while I was researching the bromoil process. I sought out more information and became intrigued with the steps to make a gumoil print and wanted to learn more. There was not a lot of information readily available online, but I did find an article written by the inventor, Karl Koenig. He had given a brief description of how he made a print, so I gave it a try. I experienced a lot of frustration and unrecognizable images, several times. At the time, I felt my failure was because I didn’t understand gum printing. A few years later I wanted to take a serious block of time and teach myself how to make a quality gumoil print.

Stairwell, Gumoil print

Do you do most of your conceptualizing pre-production, or as Jerry Uelsmann called it, “pre-visualizing” what the image will look like and mean? Or do you tend to have a looser idea to begin with and really see the concept define itself after the 42

Elizabeth’s Room, Gumoil print

My friend and fellow artist Diana Bloomfield, a talented gum bichromate printer, was very helpful in explaining how to work with gum arabic. When I was ready to give this a try again, I found a YouTube video of Karl Koenig making a print, so that was helpful. I am not one to learn from reading so watching a video and following along, was my teacher. I had come across another gumoil artist who I have really come to admire, Anna Ostanina, who I made contact with almost immediately.

Watching her remove the oil paint from her print was so elegant and the process itself was just beautiful. She was probably the most helpful in my learning process because she had so many short videos of her creating these beautiful prints. Kelly Wrage, is another gumoil printer who I had reached out to for some guidance. I reflect on the question “How did I learn the gumoil process”, I have to say it started with interest, but it was a community of artists along months of hard work, experiments, failures. It is an unstable process, but I truly love the anticipation as I make a gumoil print.

Portland Headlight, Gumoil print

Can you give us a description of the process; it’s history and methodology?

Interestingly making a gumoil print combines both historical and contemporary practices to make a print. On an inkjet printer, I start out by making an inter-positive of the image I want to use, by printing on transparency film. First, apply a coating of a mixture of gum arabic and potassium dichromate, on a good quality hot press water color paper. It is applied in very low light, but it must be placed in the dark to dry. This is the paper sensitizing process. When the paper is completely dry, the inter-positive is placed over the sensitized portion of the paper and exposed to UV light. The inter-positive film is removed and then the exposed paper is immediately soaked in water. During this developing stage, the exposed gum is removed, which will eventually make way for the oil paint to adhere to the paper. After a final rinse, the print is placed on a drying rack, usually overnight. The next day, a thin layer of oil paint is applied to the dried paper, right over the area that had the gum removed. The oil paint will adhere to the areas of the paper that will end up being the darker areas. When those details begin to appear, I rinse the image in water and very gently wipe off the excess oil paint at the same time. I let the image dry. There is an etching process that takes place at this point. This will open up some of the areas that need more details to come through. A brief bleach and water wash, a rinse and off to dry again. Apply paint, remove paint and if

needed, another etching step can be done. When the details and print are to my satisfaction, then I have my gumoil print.

Easy right?! Ha ha! Not really, I know. I’ve tried it. It’s extremely difficult.

I say that as if it’s a step-by-step process with no complications. There are so many factors that go into making a gumoil print successful in the end. The correct sensitizer mix, understanding what a well exposed image will look like before and after the soaking process, using a good quality paper that can handle multiple steps and being sure to use a professional grade oil paint.

Koenig’s process was to remove the oil paint by more intense rubbing with a dry cloth before soaking in the water to remove the paint. I am sure others have created workflows that haven’t been mentioned here. It’s a very individualized process, but the materials are pretty much the same.

Gumoil printing is still being explored and continuously experimented with. Koenig’s website says that he invented the process in 1990 and originally called it the “Polychromatic Gumoil Process”. Sadly, Koenig passed away in 2012. In speaking with other photographic artists and printmakers, I have found there is a consensus that the gumoil process had yet to be perfected. I am finding that there are more and more artists who are researching and trying to find answers to some of the issues that arise, causing this process to remain a bit unstable while creating a print. I have finally developed steps to keep my workflow consistent, but it can change the moment I get a new tube of paint, if the water source I use is different, if I use paper from a bad batch or just mixing new sensitizer. It’s a challenge, but one I enjoy.

I’m surprised to learn it is such a new process. I mean, 1990 is brand new for photography. It’s not even as old as digital photography. But it has an “old look” doesn’t it? That’s part of the charm, I think. It is a very charming process. Anna’s videos are absolutely mesmerizing. I can watch them over and over again like I’m hypnotized.

Yes, me too.

What resources would you recommend for someone interested in learning gumoil?

As far as resources go, there are not a lot of tutorials out there.

I know that Karl Koenig has a book but I have not been successful in finding one. I do have a book called “Alternative Photographic Processes’ by Christopher James. There is a section on gumoil in his book that was helpful to me. Plus, his book has a lot of information on so many other processes. I think it is a must have book. There are also blogs on the gumoil process at www.alternativephotography.com . I have found and also made some creative videos on the gumoil process on YouTube, but there is still a need for the information to be more available in detail. I created a Facebook group with Anna Ostanina called, “The Gumoil Process”, and it is a great place for questions and to share work.

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What are the other alternative processes that you work with?

What other ways do enjoy spending time?

I still choose to work with film and in a darkroom and make my own prints. This allows me to also to do Bromoil printing. I have been doing wet plate collodion for several years now, and it is the other process that I have spent a great deal of time doing. Wet plate photography required me to design and actually build a couple of processing dark boxes that I could take on the road. Unlike film where you can just take it home and develop later, it requires processing on the spot, while the plate it is still wet. There are wet plate photographers who strive for the clean and spotless image when they make a plate or glass, producing really beautiful work. For me, the beautiful imperfections that are left behind from chemical effects, are one of the reasons I enjoy making them. The historical look and feel, can make any image look like it was from another time period. I know there are apps for digital filters to make an image look like an old tin type, but there is absolutely no comparison to the look that comes from making it by hand.

I also shoot with my stash of polaroid film from time to time, allowing me to create emulsion lifts and film transfers. I have recently been experimenting with cyanotypes and palladium printing. I understand digital imaging and have worked with it for many years, but I was fortunate enough to start out my career in a traditional darkroom. When digital made its debut, I was fascinated by it all. It was instant gratification and it met a short-term need for me, but it met a demanding need in the photo industry I was working in.

I enjoy traveling, especially internationally. I have always been one to pack up my gear and drive or fly to places off the beaten path, looking for parts of the world that are hidden. On a summer day, I can be found relaxing in my cabana with a bottle of water, watching a good movie. The other place I am found is with a headset on, mowing my property on my tractor.

I’m not afraid of physical work and feel a great sense of accomplishment when I complete a big project. I enjoy time with my family and truly love my life.

Any shows coming up or exciting events happening?

I have been working on a new documentary the past few years called “Rescued Existence”. My portfolio that included this project was recently selected for the annual call by, Rfotofolio, and will be featured in their gallery in the very near future. My print from this series, “Screen Door Light”, was selected for the, 2018 Depth of Field Exhibition, to be held at the Center for Photographic Arts in Carmel, CA in April. Selections of my work are currently available for purchase at the Salmon Falls Gallery in Shelburne Falls, Massachusetts. Thank you for your interest in my work. www.terricappucci.com

Working with alternative processes revived an excitement in me and it is still there every time I watch an image come to life in front of me. It’s working with the feel of the paper and the smell of the materials being used. It’s the tactile process, the rhythm of the practice and the awareness of time. What I want to convey is incomplete until I have something tangible in my hands. In that moment, I know my work has taken on a life of its own. This is what alternative processes does for me.

Do you have a dedicated space for making photographs? Tell us a little about your studio; like for example, where is it?

For twenty–five years, I have had a studio located at my residence in western Massachusetts. I have a full functioning darkroom, a studio for photographing and a work room where I spend most of my time. This is usually where I will print, mat, frame, store and display my work.

What about the rest of your equipment? What kind of camera/s do you use? Do you have a particular kind of film you like, or any other equipment you love to use?

I have been shooting with Nikon cameras my entire life. My film camera is a Nikon f5 and my Digital is a Nikon D810s. I have a 4x5 Speed Graflex that I shoot wet plate with as well as a 5x7 Vageeswari camera that I purchased from India. Hoping one day to have either an 8x10 Deardorff or Chamonix view camera. I also have a few homemade pinhole cameras that I have used in the past. I do have a collection of toy cameras that I have also used to make photographs with. I have always wanted to build my own camera for wet plate work, but have not been able to not carve out the time to do it. It is something I hope to get to in 2018.

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Empty Supply Store, Gumoil print

Family Photograph #1

May Roded

Family Photograph #2

Screen print 6” x 4” ea. mayroded1.virb.com

Self Portrait

Unknown Gustave Savoie

Acrylic ink, 500 Aquarelle paper 30” x 22” www.gustavesavoie.ca

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Katarzyna Derda Chairs, from the series “Paper Dreams” Lith print 14” x 14” katarzynaderda.com

Nicholette Jean Codding Fear Itself Photopolymer gravure 4” x 4” www.nicholettejean.com

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Angel O’Brien Sublime

Photo transfer on watercolor paper 11” x 10” instagram.com/5x7angel

Jade Butay Clean

Archival pigment print 10” x 8” jadebutayphotography.com

Fran Forman Blue Chair in a Darkened Room Archival pigment print 22” x 33” www.franforman.com

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There Are No Maps - 1

There Are No Maps - 2

Evey Jones

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Monotype 15” x 11” www.eveyjones.com

Patricia A. Bender Geometry.1

Unique oxidized gelatin silver photogram 3.5” x 3” www.patriciaAbender.com

Elizabeth Lee Freedman Photo ABCs #2

Mixed media collage 14” x 11” elizzyfreedman.wixsite.com/elizabethleefreedman

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Joanna Anos Blue Construct Intaglio and relief 15.5” x 11.25”

Tess Doyle Untitled Collagraph 11” x 9”

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Nannette Wallace From Within

Monotype with Akua ink 8” x 8” www.nannette-wallace.squarespace.com

The images on this page are part of the 5th International Juried Printmaking Exhibition at Remarque New Grounds Printmaking Studio in Albuquerque, NM. newgroundsprintshop.com

Lisa Nebenzahl A Cloud Withdrew From the Sky

Marilyn Carren Apologies to Duchamp

Sara Silks Second Gift - Visitation 2

Carole Graham Poppies

Platinum / palladium print 30” x 22” www.lisanebenzahlphoto.com

Photopolymer gravure 9” x 6” www.sarasilks.com

Palladium print 7.5” x 5.5”

Wet plate collodion tintype 7” x 5” www.mycollodionjournal.com

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Jennifer Scheuer Dreams and Wisdom Color Lithograph 10” x 20” www.jenniferscheuer.com

Solveig Landa A Memory Forgotten 52

Silk screen and laser cut 16” x 24” www.solveiglanda.com

Rachel Urban I Dreamt I Was Nothing But A Picture On Your Wall Photo lithograph 12” x 9” puregoldtears.bigcartel.com

Susanna Pershern Helios

Mordançage 2” x 2” www.susannapershern.com

Beverly Poppe 9:38 PM

Archival pigment print 22” x 17” www.beverlypoppe.com

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Glossary of Processes Albumen print - A type of photographic print using an emulsion of egg whites sensitized with silver nitrate. The resulting print has a very shiny, smooth surface.

Ambrotype - See “Wet plate collodion” Archival Pigment Print- A digital print using pigmented ink laid down on a surface using an inkjet printer with nozzles.

Aquatint - A intaglio printmaking process that uses a fine resin covering a copper plate. The etched resin allows for a wide range of colors and tones often resulting in a print that resembles a watercolor painting.

Bromoil print - A process by which a silver bromide print is bleached to create a matrix. The bleached out image, or matrix, is then built back up again by inking the matrix with oil based inks.

Chemigram- A cameraless photographic process that uses a resist to block photographic chemicals from reacting with specific areas of photographic paper. Spray paint, lacquer, tar, or any number of adhesive and resistant substances can be applied to the paper. These substances crack, peel, congeal, and generally act as interesting resists to the chemicals. This is a very experimental and difficult to control process, although of course practice can give one a relative sense of control.

Chine-collé - A printmaking process using tissue or thin paper between the ink layer and the main substrate. Usually used in etching but also with screen printing but also sometimes used with other printmaking processes.

Chromogenic print- Also called a dye-coupler print, Type C or “C-print” (if made using a negative), and Type R or “R- print” if made using a transparency. Chromogenic prints use light sensitive silver- based paper with three layers of dyes. The paper is exposed either with a regular enlarger or with a digital machine using lasers or LED lights. Both digital and regular chromogenic prints use light-sensitive paper processed in RA-4 chemistry. The difference is in how the image is exposed to the paper.

Chromoskedasic Sabatier - A process by which a silver gelatin print is treated with a series of chemicals which act on the unexposed silver. The chemicals can be applied under normal light, after the print is developed and rinsed but before it is fixed. The chemicals cause the unexposed siver to react to the light and make a range of colors from deep reds to blues and yellows depending on the paper, developer, and other factors.

Collograph - A printmaking process that essentially uses a collage as a plate. The collage is usually made of various textured materials upon a thick card or board, which, when inked up and run through a press, impart their unique textures ontot he paper.

Cyanotype- Also called a “blue print”. A contact printed photographic process using ferric ammonium citrate and potassium ferricyanide to create an iron-based emulsion. The emulsion is applied by hand to paper and exposed using a transparent negative to UV light. The UV light reacts with the iron to create a blue print. The print can be toned using tannic acid or a number of other substances.

Digital C-print- See “Chromogenic print” Dry plate tintype - A technique which replaced the wet plate process (see “Wet Plate Collodion”). The emulsion on dry plates was pre-coated on the plate using a silver bromide and gelatin solution rather than silver chloride and collodion, therefore allowing for mass manufacture and freeing the photographer from being forced to coat, expose and develop plates on the spot. The dry plate opened photography to a huge new audience and ushered in the film era, which democratized photography even further.

Drypoint - An intaglio printmaking process that is simply direct etching by hand onto a plate using a sharp utensil. The etched lines are inked and transferedto paper using a press.

Eco print - A process using natural plant pigments to create a direct contact print. The print is essentially a result of the plant dyeing the paper. The process is sometimes helped along with various chemicals to help the dyes transfer more easily.

Emulsion lift - Usually done with instant films such as Polaroid or Fuji Type C, the emulsion is the light sensitive substrate on which the image rests. The emulsion on these films can be detached from the original plastic substrate and lifted onto a different substrate - usually paper, but also ceramic, metal, or anything else.

Encaustic- A painting technique using colored wax. Is often applied to photographs to add color, layering and textures.

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Engraving- A printmaking term used to describe an intaglio process by which the artist makes marks directly on the plate by hand, as with a needle, burin, rocker, or other tool.

Etching- An intaglio printmaking process that uses a strong acid to cut into unprotected areas of a metal plate. The plate is coated with ink and wiped off to leave ink in the cut areas of the plate. The plate is then passed through a printing press and the image transferred to paper.

Giclee print - “Giclee” is French for “to spray” or “to squirt”. Essentially a high quality archival pigment print made with an inkjet printer.

Gum Bichromate- Or, “gum printing”. A contact printed photographic process using gum arabic mixed with pigment (usually watercolor pigments) and light- sensitive dichromates (usually ammonium or potassium). The emulsion is coated on the paper and exposed to negatives under UV light. Multiple colors can be built up using different pigments. Negatives are color balanced to accommodate these different colors.

Gumoil print - A process by which a paper is sensitized with potassium dichromate and gum arabic. The sensitized paper is exposed using a transparent positive. The print is developed and dried, then coated with oil paint, which sticks to the “open” or unexposed areas when the oil paint is rinsed off.

Image transfer- Any of a number of techniques for transferring an image from on esubstrate to another. Usually from an archival pigment print made on a transparency, then transferred using alcohol gel (hand sanitizer), Mod Podge, or some other binder or solvent. There are a number of techniques for different surfaces and original print types.

Inkjet print- A digital print using either dye or pigment based inks.

Instant film- Any of a few types of instant film types such as Polaroid, Fuji Type C, Instax or others.

Intaglio- A printmaking term used to describe processes that involve ink settling into a cut or etched area of a plate; in essence, the opposite of relief. See “engraving”, “etching”, “mezzotint”.

Letterpress- A relief printmaking technique using thick metal plates that are arranged on a bed or “chase” and pressed into contact with the paper. The process leaves a distinct emossment. This is the technique used by Gutenberg and was the predominant was of reproducing text and images for almost 500 years.

Linocut - A relief printing technique that uses a linoleum block instead of wood.

Lith print- No relationship to lithographs. Lith printing is aphotographic process in which a silver gelatin print is developed using Lith developer. The developer creates dramatically different tones than regular silver developers, and also gives the print colored tones, from peachy to dark sepia. Much depends on the paper, the exposure, and the time at which the paper is taken from the developer.

Lithograph- A printmaking process that uses a block of stone as a plate. An image is applied to the stone using wax or oil- based crayons. After the image is applied, the stone is treated with an acid and gum arabic mixture. The stone is then coated in ink, however, the acid/ gum arabic mixture allows the parts of the stone not covered in wax to repel the oil- based ink, thus leaving the ink only on the original drawing.

Mezzotint- An intaglio printmaking process that uses a textured rocking tool to build up delicate and detailed textures in a metal plate. The plate is then inked and run through a press to transfer the image to paper. The techniqeu allows for a very fine texture and “soft” feel with a rich variation of tone.

Monoprint- A printmaking term for a one- off print. Similar to a monotype; the distinction being that a monoprint is taken from a plate that includes some features, i.e. etched or engraved areas, while a monotype is taken from a plate that is completely featureless.

Monotype- A printmaking term for a one- off print. There are many different ways to create a monotype, but essentially an image is applied to a clean plate- usually copper or zinc, but possibly Plexiglass or even thin Mylar or acetate- and then transferred to another surface via a press or hand- pressed technique. The term could also be used to refer to any one- of- a kind image made with a printmaking technique.

Mordançage - A silver gealtin print is treated with a solution of copper chloride, hydrogen peroxide and acetic acid. The solution degrades the silver emulsion, creating loose curtains of emulsions that canbe manipulated to create various effects.

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Photogram- A photographic print made by placing an object or objects directly on a light sensitive substrate, exposing directly to light, developing and fixing. The result is a kind of “reversed shadow” of the object. The technique can be used with many different paper processes and in combination with negatives Photogravure- A photographic printing process that involves transferring a photographic image to a copper plate and printing the plate as you would an etched intaglio plate. A sheet of carbon paper is used to create a resist on the plate. The plate is then etched in a strong acid to cut an image into the plate. The plate is then inked and printed just like an etching. See “etching”.

Photolithograph - Uses photographic processes to transfer an image to a plate. Most often a polyester plate, also sometimes called “pronto plates”. This plate is a thin sheet of special plastic that can be printed on using a photocopier. The plate is inked up using a similar process as with a lithograph. See “lithograph”.

Photopolymer etching / intaglio - Similar to a photogravure, except the image is transfered onto a thin metal plate coated with a light-sensitive polymer. The plate is exposed to UV with a transparency, with the polymer hardening where light hits it. The plate is then etched using regular water, which washes away the unexposed- and hence softer- polymer. After hardening in another UV exposure, the plate can be inked and printed liek any intaglio plate. .

Pinhole camera- A camera, usually hand-made, that uses a small pinhole in place of a lens. The image is recorded directly onto a sheet of light sensitive paper or film and processed as a negative. The negative can be contact printed to make a positive. The result is an image that is easily manipulated by changing the shape of the camera, the type of film or paper that is used, or through other interventions on the camera or substrates.

Platinum/ palladium print- A photographic process using platinum(II) and palladium in combination with ferric oxalate to create the emulsion. After sensitizing the paper, a UV exposure is made by contact printing with a negative. The exposed print is then developed in ammonium citrate, fixed, and rinsed. As platinum gives more contrast and palladium adds warmer tone, the proprtion of platinum to palladium in the sensitizing solution can give varying results. The process is considered to give the widest tange of tones of any contact printing process. Prints can also be toned to give further variants. Also called, “platinotype”, “palladium print” or “platinum print”, depending on the predominance of one metal over the other.

Relief- A printmaking term used to describe processes that involve ink remaining on the raised surface of the print; in essence, the opposite of intaglio. See. “woodblock”.

Salted paper print - A photographic process using paper coated with a chloride solution - usually sodium or ammonium chloride - and then sensitized with silver nitrate.

Scanograph - A photographic process that uses a scanner, essentially as a camera, to capture high resolution images.

Screen print- Also called a silkscreen or serigraph. A photo/ printmaking process that uses light-sensitive emulsion to create an image on a screen mesh. The sensitized screen is exposed with a positive image to UV light, which hardens the emulsion in specific areas. The unhardened emulsion is washed out, leaving those areas of the screen open. Ink can then be pushed through the open parts of the screen to print the image.

Silver gelatin print- A photographic print using a paper coated with silver nitrate suspended in gelatin as an emulsion. This type of paper is more sensitive to light than other hand- coated emulsions, giving the artist the ability to use an enlarger to create enlarged positive prints of negatives. Also sometimes called, “Gelatin silver”.

Tintype- See “Wet plate collodion” Type 55 print - A type of instant film made by Polaroid (see “instant film”) Wet plate collodion- A photographic process that uses collodion as a substrate to accept silver nitrate, thus sensitizing the plate. The plate is placed into a camera, and the plate is exposed, developed and fixed while the silver/ collodion emulsion is still wet. There are three main types of wet plate collodion plates: - An ambrotype is a positive image made on glass. The image is backed using some type of black substance- ink, asphaltum, or black fabric, for example.

- A glass negative can be made and then contact printed using a wide variety of hand- coated photographic processes, traditionally, albumen.

- A tintype is a positive image made on a piece of metal. Traditionally tin was used, but modern practitioners usually use aluminum. Therefore, these plates are sometimes called aluminotypes or ferrotypes, referring to the aluminum substrate.

Other substances can be used as the substrate, such as Plexiglass (called a “Plexitype”), agate (called an “agatype”), or any number of other “-types”.

Woodcut- A relief printing technique using carved wood blocks as the printing plate. The ink is rolled onto the raised surfaces of a carved block and paper is placed on top. The ink transfers to the paper. See “relief print”

Brian K. Edwards, White Sands,, New Mexico, 2016, Platinum / palladium print, 4” x 6”,

www.briankedwards.com

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Jaime Aelavanthara Pheasant Tea-stained cyanotype 20” x 16” www.jaelavanthara.com

Kevin Cozad Weeds In Snow

Mixed media on birch panel 14” x 18” kevincozad.com

Issue #20 (April 2018) Submissions Due Feb. 28th The HAND Magazine is always seeking entries for future issues There is NEVER A THEME The HAND Magazine is printed in color, however, black and white/ monochrome images are still accepted and will be reproduced accordingly.

The due date for entries for Issue #20 is February 28th, 2018 The HAND Magazine is a magazine for reproduction-based arts: We will consider any and all techniques that incorporate photographic and/ or printmaking techniques.

The cost for submission is $15 (more outside the US) and includes a copy of the issue, which you will receive whether or not your images are selected for publication Artists may submit up to 5 images per entry fee.

Send all submission material to: thehandmagazine@icloud.com For the required submission file specifications, payment information and submission forms, visit the website: www.thehandmagazine.wordpress.com, and click on the “Current Call For Entries” page.

Back Cover: Nancy Bundy, Masked Intention 1, Archival pigment print, www.nancybundy.com

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