Interviews with:
Harvey Milk Photo Center
Miranda Metcalf Pine | Copper | Lime
Issue 28, May 2020
$10
issue
Robert Howsare
Harvey Milk Photo Center
Cascade
Serigraph
Jon Hilty
Autochrome Plate #139
roberthowsare.com
Miranda Metcalf
46-50
Pine | Copper | Lime
Glossary 54-55 *Cover Photo:
18” x 14”
Call for Entry 57 Autochrome
5” x 4”
jonhilty.com
Editors’ Notes Dear readers, We are writing these notes on March 17th. It’s a crazy, confusing, and scary time for many people. We hope that when you receive this magazine, things will have become easier and less anxious. Who knows? It has become clear over the past few months that we are all in this together. We rely on each other. Community is vital. It is fitting, then, that the featured interviews in this issue are with two organizations that represent the past and the future of strong community building. The Harvey Milk Photo Center, in San Francisco, California, has been a beacon for the photographic community for over 75 years. Their darkroom is the oldest and largest community darkroom in the United States. They have offered classes and presented exhibitions, educating and exhilarating audiences with work by some of the most important photographers in the history of the medium. They continue to serve the community today, offering a wide range of workshops teaching analog photographic processes. We are honored to speak with the director and curator, Dave Christensen, as well as two more of the Center’s instructors, Allan Barnes and Susanna Lamaina. Our second feature is an interview with, Miranda Metcalf, the host of the popular printmaking podcast, Pine|Copper|Lime, lovingly known as, “PCL”. Miranda has created a podcast that is funny, smart, educational, and fantastically inspirational. We have printed work by several artists that Miranda has interviewed, but for this feature we chose to present work by some artists that had not been featured in our pages yet. We are grateful to PCL guests, Jamaal Barber, Ben Beres, Mehdi Darvishi, Reinaldo Gil Zambrano, Wuon-Gean Ho, Deborah Maris Lader, Ben Munoz, Tanekeya Word, and Elizabeth Jean Younce for contributing images to the feature. Each of them, in their unique ways, have done so much to foster community through their work. Miranda and her guests frequently discuss the community aspect of printmaking. It is inspiring to learn about the many ways in which artists are reaching out to their own communities, bringing print to new audiences, and spreading the gospel of print.
In trying times and in good times, the arts console and comfort, inspire and encourage. This is true not only for the audiences who enjoy art, but most certainly for those who create it. For creators, making art is an activity that gives our lives meaning and purpose. It is a way of recognizing beauty where others may not see it and pointing out ugliness when others may not want to look. In either case, art reassures us of our human spirit. It is all the more reassuring and life-giving when we know we have compatriots, fellow makers to share techniques, ideas and studio space with. We need this now more than ever. We need to tell and to listen. We hope you are safe and well. Please take care of yourselves and each other.
Stephen Proski, Swimming Lessons, Archival pigment print, 15” x 12” stephenproski.com
Adam Finkelston
Owner, Publisher, Co-editor adamfinkelstonphotography.com
James Meara
Co-editor, Lead Designer 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 Reproduction- Based Art, 3950 W. 87th Street, Prairie Village, KS. Copyright 2019, 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
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Candace Law, Light and Shadow II,
Media Size Website Photo image on sumi paper, encaustic on wood panel, 10” x 8”, candacelaw.com
Artists
Artist Title
of
Mara Magyarosi-Laytner – p. 41 Julia C. Martin – p. 17 Dale Mateo – p. 51 Jeff McConnell – Inside back cover Myken McDowell – p. 34 Miranda Metcalf – pp. 46 - 50 Phyliss and& Victor Merriam – p. 32 Ben Muñoz – p. 50 Shannon Murphy – p. 12 SK Murphy – p. 4 Anikke Myers – p. 41 Rhea Nowak – p. 45 Kaley Nowicki – Back cover Karen Olson – p. 16 Freya Payne – p. 8 Sage Perrott – p. 56 Tatiana Potts – p. 15 Stephen Proski – pp. 1 and 38 Hailey Quick – p. 56 Vicky Reed – p. 44 Holden Richards – p. 7 El Ronan – p. 56 Bobby Rosenstock – p. 21 Bailey Russel – p. 20 Lizzie Salacinski – p. 16 Brooke Sauer – p. 53 Karina Serapio-Rendon – p. 21 Jennifer Shaw – p. 23 Dylan Sherman – p. 37 Jonpaul Smith – p. 33 Jason Sofokleous – p. 34 Lori Stanziola – p. 24 Vicky Stromee – p. 37 Gerardo Stubing – p. 14 Byron Tenesaca – p. 6 Lisa Turner – p. 38 Jenny Upperman – p. 17 Linda VanArtsdalen – p. 53 Maria Vinogradova – p. 7 Reneé Vonk – p. 4 Jacob Wachal – p. 22 Ginger Wagoner – p. 9 Ilan Weiss – p. 5 Michael Weitzman – p . 17 Linda Whitney – p. 56 Anduriel Widmark – p. 41 Peter Wiklund – p. 34 Steve Wilkinson – p. 40 Liz Wolf – p. 54 Connie Wolfe – p. 12 Tanekeya Word – p. 50 Magdalena Wutkowska – p. 12 Elizabeth Jean Younce – p. 50 Maliheh Zafarnezhad – p. 52 Rebecca Zeiss – p. 53
List
Debra Achen – p. 4 Courtney Annuschat – p. 35 Jennifer Anderson – p. 25 Jamaal Barber – p. 46 and& 47 Allan Barnes – p. 26, 28 and& 29 Vaida Barzdaite – p. 19 Kayla Bedey – p. 10 Patricia Bender – p. 36 Ben Beres – p. 47 Anne Berry – p. 19 Jason Biehner – p. 18 Robert Black – p. 22 Joanna Borowiec – p. 4 Carter Browning – p. 37 Derrick Burbul – p. 6 Keith Buswell – p. 25 Christa Carleton – p. 52 Dave Christensen – pp. 26 – 31 Christy Chudosnik – p. 42 Ryan Cronk – p. 13 Mehdi Darvishi – p. 49 Leah Diament – p. 53 Christiaan Diedericks – p. 43 Corey Durbin – p. 13 Tracy Featherstone – p. 39 Sandra Fernandez – p. 13 Ciara Froning – p. 44 Paige Fuentes – p. 44 Reinaldo Gil Zambrano – p. 49 Jennifer Gioffre Todd – p. 55 Iris Grimm – p. 3 Lily Guillen – p. 51 Mille Guldbeck – p. 36 Hiroshi Hayakawa – p. 9 Jessica Hays – p. 51 Mary Heinemann – p. 32 Jon Hilty – Cover Wuon-Gean Ho – p. 48 Rachele Holt – p. 51 Robert Howsare – Contents and p. 35 Katharine T. Jacobs – p. 42 Carolee Jakes – p. 42 Jaybees – p. 16 Liv Johnson – p. 11 Nina Jordan – p. 24 Amy Kanka Valadarsky – p. 40 Debra Keithly – p. 40 Wesley Kramer – p. 39 Andy Kraushaar – p. 7 Deborah Maris Lader – p. 48 Susanna Lamaina – p. 30 and& 31 Candace Law – p. 2 Jocelyn Lechuga – p. 22 Camila Linaweaver – pp. 12 & 44 Patrizio Martinelli – p. 18
Last Days of Winter, Solargraphs hand bound as accordion with sleeve, 5.625” x 5.5” x .625”
A Swell, Color film photographs bound as a flag book, 3.5” x 16” Iris Grimm irisgrimm.art
3
S.K. Murphy Tommy’s Gaze
Joanna Borowiec Unfinished Dreams 2
Pigment print from toned cyanotype 15” x 16” befuddledpress.com
Backlit Palm
Silver gelatin print, medium format film 50cm x 50cm joannaborowiec.com
Debra Achen
Archival pigment prints 10” x 10” ea. debraachen.com
René Vonk Waal View 1, 2, and 3 (L to R)
4
Fujifilm Provia 100F 120-film, pinhole camera, archival pigment prints 10” x 10” genster.nl
Conjoined
Ilan Weiss Marines
Unique altered archival pigment prints 60” x 35” ea. (top three) & 47” x 20” (bottom) ilanweiss.com
5
Human Mounds: Apu II
Human Mounds: Apu I
Byron Tenesaca
Archival pigment print of multiple exposure 13” x 19” byron-tenesaca.com
RE: Brule, Wisconsin, Ripped toned silver gelatin print, indigo (water) and sepia (bank) toners 7.25” x 7.25”
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RE: Duluth, Minnesota, Ripped silver gelatin prints, untoned and sepia toner
7.25” x 7.25”
Derrick Burbul
https://www.flickr.com/photos/43615550@N05/albums/72157712988826138
Andy Kraushaar Ferns
Gum bichromate over cyanotype 8” x 10”
Backwater
Old Birch Tree By The River Maria Vinogradova
Tri-color gum bichromate prints 10.6” x 12.5” ea. m-vinogradova.com
Nantahala River
Haw River - Rocks Holden Richards Salt prints 10” x 8” ea. kallitype.org
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Looking For Exits
The Fear of Getting Lost 6
The Fear of Getting Lost 7
Looking For Exits 5
Freya Payne
8
Etching on paper 40” x 60” flowersgallery.com/artists/63-freya-payne/ & atelierdemelusine.com
Ginger Wagoner Soul Sister Support
Palladium printed over pigment on Revere Platinum paper 11” x 14” psphotoart.com
Accident, Van Dyke Brown print on Stonehenge paper, 11” x 9”
Study for Vanitas 13, Van Dyke Brown print on glass, 10” x 13” Hiroshi Hayakawa hiroshi-hayakawa.com
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Romanticized Landscape, Tri-color gum bichromate, 14.75” x 59”
Alpine Oasis, Tri-color gum bichromate, 14.75” x 29,5”
West Over Moon, Tri-color gum bichromate, 14.75” x 14.75” 10
The Century Plant (36 / 100), Tri-color gum bichromate over cyanotype, 96” x 96” Kayla Bedey kaylabedey.com
Preternatural, Four-color aquatint etching, softground, chine colle, 14” x 11”
The Visitant, Three-color aquatint etching, softground, chine colle, hand coloring, 6” x 4.5”
Afterimage, Screen print on hand-dyed paper, 11” x 15”
Waiting, Waiting, Aquatint etching, hardground, monotype, 22” x 17.5”
Liv Johnson
livjohnsonart.com
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Camila Labarca Linaweaver Plot Etching on paper 9” x6” camilalinaweaver.com
Magdalena Wutkowska Valley Photopolymer print 12cm x 12cm magdalenawutkowska.com
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Connie Wolfe Calve
Stone lithography and screen print 9.75” x 13.25” conniewolfe.com
Shannon Murphy A Pinker Shade
Etching with chine collé 9” x 12” shannonartist.com
Volcanic Egress #1, Screen print monotype, 30” x 22”
Tectonic Residence #2, Screen print monotype, 30” x 22” Ryan Cronk ryancronk.com
Sandra C. Fernández We Are All In The Same Boat Silkscreen, collage, and thread 15” x 11” sandrafernandez.info
Corey Durbin Paradise #3
Archival pigment print (installed) Dimensions variable coreydurbin.com
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Gerardo Stübing Herbarium I (and details)
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Cyanotype on 12g washi paper on 300g Guarro Superalfa paper, calligraphy ink 7” x 44” (each image is 7” x 5.5”) gerardostubing.com
Capitol Arch, Silk screen, artist book, 6.5” x 3.5” x .5”
Dark Chocolate, Lithography, artist book, 11” x 7.5” x 1”
Baltimore Atrium, Intaglio prints bound into tea-bag-like artist mini-books, 4” x 3” x 3”
Sorry But Not Sorry, Silk screen printed, artist book (shown closed and open), 13” x 11.5” x 3” Tatiana Potts tatianapotts.com
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Lizzie Salacinski Lucid Dreams No. 2
Silver gelatin mordançage print 8” x 10” instagram.com/liz_sal_photographs
Jaybees Lifehead
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Silver gelatin print, Rollei Black Bird film, with Zenit 412SL 12” x 8” jaybees.org
Karen Olson Blindsight
Archival pigment print 20” x 16” karenolsonphotography.com
Texas In My Rear View Mirror
Cast Yourself On Me
Archival pigment print on vellum over gold leaf 6” x 5”
Lith gelatin silver print, sepia and gold toned 11” x 11”
Michael Weitzman michaelweitzman.net
Jenny Upperman Woodman #2 Van Dyke Brown print 6.5” x 5” jennyupp.com
Julia C. Martin Absorption
Copperplate photogravure 6.25” x 10” juliacmartin.com
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Patrizio Martinelli Palladio and The Basilica. Space Time Architecture Archival pigment print, collage on paper 27” x 19” instagram.com/patriziommartinelli
Double Lift, Silver gelatin print, 8” x 10” Whirlybirds, Silver gelatin print, 8” x 10”
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Tacoma Yacht Club, Silver gelatin print, 8” x 10”
Jason Biehner
sabertashphoto.com
Double Lift, Silver gelatin print, 8” x 10”
Donkeys at the Welcome Tree
German Boy
Fire Escape
Janus
Anne Berry
Photogravure prints 8” x 8” ea. anneberrystudio.com
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Untitled
Anthotype - Raspberry juice, blackberry juice, beetroot juice, hibiscus tea, turmeric juice, vinegar, and vodka 10” x 8”
A Walk In Purple
Anthotype - beetroot juice 10” x 8”
Vaida Barzdaite vaidabarzdaite.com
Bailey Russel A Swarm of Beetles and the Death of a Lodgepole Pine, 1 & 2 20
Unfixed cyanotypes and digital inkjet prints 70” x 52” ea. baileyrussel.wordpress.com
To Mother We Flock
Cyanotype print and monoprint collage, 36” x 24”
Grandmother of Hummingbirds
Cyanotype print and monoprint collage, 48” x 36”
Karina Serapio-Rendon
instagram.com/karinarendon_art
Bobby Rosenstock Carry Me Home
Woodblock, printed by BIG INK 33” x 33” justajar.com/ bigink.org
Immigration I + II
Immigration III + IV Jocelyn Lechuga
Relief prints 15” x 15” ea. instagram.com/j.v.l.arts
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Robert Black coexist
Collage with hand-cut original archival inkjet prints on Arches paper 18” x 38”
Kolonya II
Kolonya I Jacob Wachal
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Gum bichromate and cyanotype on rag paper 9” x 6” instagram.com/realbigpants
Flood State 027
Flood State 031
Flood State 049 Jennifer Shaw
Photogravure on Japanese Kozo paper 7” x 16” jennifershaw.net
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Lori Stanziola
Koi in Water Linoleum relief print with monoprint and screenprint 21” x 15” lskcreative.com
House In The Middle of the Block
Mother at 21 Monroe Place
House Number 255
Monarch House Nina Jordan
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Reduction woodblock prints 18” x 24” ea. ninajordan.com
Overheard In The Breeze, Drypoint with chine collé, 8” x 11”
Secrets Within, Drypoint with chine collé, 9” x 7” Jennifer Anderson ravenpressart.com
Siena, Intaglio, 12” x 11”
Orvieto, Intaglio, 12” x 11”
Pisa, Intaglio, 12” x 11” Keith D. Buswell keithdbuswell.art
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Photo Center The Harvey Milk Photo Center is a legendary photographic institution in San Francisco. We are very pleased to present our interview with director and curator, Dave Christensen, and two instructors, Allan Barnes and Susanna Lamaina, to discuss the center and all of the great things they do.
HMPC Darkroom (Photo: Qunicy Stamper)
Allan Barnes
Untitled (Golden Gate Park series)
Tintype
The Hand Magazine interview – Dave Christensen, Director & Curator of the Harvey Milk Photo Center (SF, CA), Allan Barnes, Instructor & Susanna Lamaina, Instructor The Hand Magazine: Welcome Dave, Allan, and Susanna! Thank you all so much for talking with us. It is an honor to feature you and your venerable institution in The Hand Magazine! Can you tell us a little about the history and mission of the Harvey Milk Photo Center?
Dave Christensen: The Harvey Milk Photo Center is Celebrating over 75 years! The Harvey Milk Photo Center is the oldest and largest community wet Darkroom in the United States and is part of the San Francisco Recreation & Parks Department. Harvey Milk Photo Center is located at 50 Scott Street, within the Duboce Park. We also offer a full Digital Lab at our facility to our members. We have been in our current location since 1954. Our program now exceeds over 200 classes, lectures, and workshops annually. All of our exhibits, lectures, special events, and memberships are available to the public. Our wide selection of classes and workshops are taught by working professionals within the industry, in both fine arts and commercial photography. We also offer numerous scholarships for anyone living in San Francisco wishing to take our classes.
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Director & Curator: Dave Christensen (Photo: Qunicy Stamper)
Dave Christensen
THM: Why do you feel it is important to continue teaching analog photography in the digital age?
DC: It is critical to teach analog photography, so one can first experience the shear magic of exposing a sheet of silver gelatin paper, and then placing it in the developer tray and seeing an actual image you captured on film come to life! Do this and you are going to instantly fall in love with the analog process. It also shows you so much more, with comp, light, form, scale, tonality, and helps one to really “see” the image, as well as put your own stamp and take on how you wish the rest of the world to see your photograph.
Dara
Instant film transfer
aspire to eventually learn Platinum/Palladium. I teach WPC and Cyanotype at Harvey Milk Photo Center, at the Los Angeles Center of Photography, and also to individuals who want to come and take one on one lessons at my studio. I should say that I find all photographic technologies interesting, and I am puzzled at the curmudgeons who insist that one technology is somehow superior or "more authentic" than another. I enjoy making plates, but I also like to make snapshots on my IPhone. (But the IP5 is enough for me!). THM: You’ve seen a resurgence in both photographers and lay people using the darkroom. Do you see a difference in the way people create images now as opposed to, say, 40 years ago, considering they are more used to creating digitally as opposed to beginning that exploration in the darkroom?
Allan Barnes: That's a great question. I actually am a full-time CTE (Career and Technical Ed.) photo teacher at a high school in the South Bay area. CTE courses are designed to teach a skill that one might be able to earn a living from, so my courses are all digital. However, there is a fresh wave of people to young to remember film who are either very interested in trying it or have already embraced it...Analog processes have become a subculture, much like vinyl for recorded music fans. My students are supposed to learn about the history of the medium however, so I start every school year by taking an old Kodak Brownie, and making a few wet plates with it. Later in the year, I usually demo how easy it is to develop film, that is, when I have a student in each class asking about it.
AB: I find the current availability of technology to be very democratic. A person who lives in the middle of nowhere who has an interest in, say, historical processes, can order gear and materials on the internet, watch tutorial videos, and connect with other people who share these interests on social media.
My personal area of interest is in Wet Plate Collodion, though I
The wonderful thing about digital technology is that we don't have to spend as much time in the darkroom making Kodaliths.
When Flickr was launched over a decade ago (and in a few years it will be TWO decades ago) my interest in alternative processes was just heating up, and I found others who shared my interest all over the world. I also noticed a lot of young photographers finding their photographic voice and their photographic audience on Flickr and that was very refreshing to see.
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We can make digital negs with our inkjet printers. It's also nice to not have to handle your original materials as much. For example, if I want to make a cyanotype of one of my glass plates, I just make a digital negative and that way I don't have to worry about damaging the original glass plate. While I am not so interested in using film anymore, I understand it's appeal. I grew up with a grandfather and great uncles who were master woodworkers, and there is something very gratifying about making art that can be held and touched and has a physical presence. There are also a lot of people who spend forty or more hours a week in front of a computer screen so why would they want to spend another twenty hours of their leisure time doing the same thing? I think that explains some of the increase in interest in analog processes. The spike in people doing wet plate collodion is especially interesting...There are a number of us who were really into Polaroid Land Film. My personal favorite material was Polaroid 55 and 665 but when I found wet plate collodion it was easy to accept the loss of both. I've heard others call wet plate collodion the "Polaroid of the 19th Century" and I tend to agree. THM: You’ve seen a resurgence in both photographers and lay people using the darkroom. Do you see a difference in the way people create images now as opposed to, say, 40 years ago, considering they are more used to creating digitally as opposed to beginning that exploration in the darkroom?
Untitled (Golden Gate Park series)
Tintype
DC: Certainly, the current technology has quantumly changed how
Untitled (Go
Untitled (Sharkfin) Tintype
* All images on 28 & 29: Allan Barnes 28
Untitled (Yosemite)
anyone captures and makes or records a photograph. But frankly, the shift in how one stands back, takes in the subject, and really studies the composition and content seems to have dramatically shifted to an auto-response with digital. Of course I know many photographers who use both film and digital, and they are highly immersed in the moment, fully engaged, and “visually awake”, creating really unique and beautiful and evocative images. Susanna Lamaina: Analog photography is about the process of Magic and Alchemy. The liquid emulsion and cyanotype processes are not always forgiving, but therein lies the beauty. The significance of making a liquid emulsion or cyanotype photograph may not be about getting the best photo, but more about methodology and how one arrives at their results. It’s about exploration. The act of looking and observing is your best friend!
Untitled (Golden Gate Park series)
Untitled (Golden Gate Park series)
Yosemite) Tintype
Tintype
My students find their way to the darkroom with complete admiration. Working with alternative process media allows them to step outside the digital realm and explore a different world within photography. They often remark about how slow and methodical the processes are and how much they like the fact that they are doing something different. Watching the magic of the substrate (silver gelatin paper, cloth, water-color paper, wood or metal) appear as if out of nowhere in the developer is something to behold! Alchemy is a blend of the chemistry and the substrate speaking to one
Tintype
Mother L
Ambrotype 29
Whiz Burgers
Cyanotype
another to create a picture. This is something that digital can’t replicate! The darkroom is a place to be Zen and meditate on the use of your tools and how you make them uniquely your own. With each stroke of the brush when you paint the Liquid Emulsion on your substrate, you must actively engage with the material(s). The photograph is one of a kind, you can work with the same negative (analog or digital) again and again but you can never make it exactly like the last one, it becomes authentic immediately. Being engaged with all the elements of sun light, exposure and water when working with cyanotype has to be just right! I call this baking a cake with light, intention is everything. The greatest discoveries with cyanotypes are the mistakes which you can’t duplicate. Leaving room for and allowing mistakes is where the process of learning comes into play. Everything is possible when working with alternative processes, it gives photographers the idea to keep searching for new ways to create. THM: The center has been a gathering place for some very prominent photographers in the Bay Area. Has this made it crucial to some of the area’s historic moments?
DC: Some of our key exhibits over the years have been Imogen Cunningham, Pan Pacific at 100 years, Ruth Bernhard, Minor White, Fred Lyon, Arthur Tress, Lawrence Ferlinghetti, Thomas Schiff, Jay Blakesberg, Pirkle Jones & Ruth Marion Baruch, Judy Dater, Janet Delaney, Richard Rachenberg, Eugene Atget, Jeffrey Blankfort, John Wimberley. THM: That is an impressive list of very important photographers. What role do you think the Center has played in the larger arts and cultural scene in San Francisco? And do you think the Center has had an even wider reach? For example, do you think it has inspired other similar centers in other cities?
DC: From my perspective as Director for the past 10 years, I believe the Harvey Milk Photo Center has created an excellent platform for the arts and our community’s cultural growth. The arts are critical in all societies from time eternal. Our reach crosses over to many groups and forms of artistic medium. We’ve had many photography exhibits which have also included, sculpture artists, glass, metal, painting, textiles, which attracts a wonderful cross section of dialog with the artists and the community. This I find enriching and stimulating, when artists and the public come together, as this certainly enriches our community, our world. Your question regarding has HMPC inspired other centers, is interesting, as I do feel we are an example to other centers, since we have been in San Francisco for over 75 years, and feel that we have made a massive contribution and inspiration, considering so many analog darkrooms are closing their doors, and we are thriving. THM: What kinds of facilities, benefits, classes, and opportunities do you offer?
*All images 30 & 31: Susanna Lamaina 30
DC: At HMPC, we have several very affordable memberships, for youth, teens, adults and seniors. Besides the largest darkroom in the country, we offer a film processing room, digital lab, print drying area, and several galleries. Members are all invited to be a part of our Annual Members Group Photo Exhibit, which we have every fall. Examples of the classes and workshops we offer are: Intro to Darkroom, Adv Darkroom Techniques, Darkroom for High School Students, Getting to know your DSLR, Matting & Framing, Dynamic Portraits, Adobe Lightroom, Digital Transfer Workshops, Cyanotype, Wet Plate Collodion, Smartphone and various locations, Street Photo, Exploring Composition, Great Creative Portraits, Basic BW Film Dev & Scan, Developing Personal Vison, and Image Transfer workshops. THM: Can you tell us about some of the events you have coming up?
DC: We have an exciting and full schedule ahead of us this year. Currently we are developing a very large master project showcasing the Golden Gate Park’s 150th Anniversary this year. We will be having a very wide range of photographs in this exhibit, which opens in April 24th, and will be up through May 27, 2020. Following this project, we move into our StreetFoto Exhibit, which showcase the work of over fifty countries globally. This exhibit is always so interesting, and insightful to see the approach of so many international street photographers.
Fania Davis Liquid emulson on wood
In late June, we will present our Annual Art + Pride Exhibit, and will exhibit and celebrate the diverse photography from our LGBTQ community at Harvey Milk Photo Center. Later in the summer/fall we will be exhibiting the work from over 45 students who work with professional photographers from National Geographic, creating work from the San Francsico and the Yosemite Valley. THM: Thank you again for speaking with us. It really is a great institution with a long and storied history. We hope our readers in the Bay Area, or visiting the Bay Area, will go check you guys out or follow you online. Take care!
DC: Yes, please do follow us at: harveymilkphotocenter.org. It was a so great to talk with you Adam, as we love your beautiful magazine. It is so well designed, has such and incredible body of work, and is so very inspiring to look at! For more information on upcoming classes, exhibitions, and other information about the Harvey Milk Photo Center, visit their website: harveymilkphotocenter.org
Self-Portrait Liquid emulson on wood
Harvey Milk Photo Center is part of the San Francisco Recreation & Parks Dept.
Man on Girard Avenue Cyanotype
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Untitled, 3D printed relief plate on mulberry paper, crumpled, 12” x 8”
Untitled, Etching, 9” x 11” Phyllis & Victor Merriam
thepostdigitalprintmaker.tumblr.com
Trees Double Block, Block print on paper, 27” x 13” 32
Red Bricks, Block print on paper, 23” x 15” Mary Heinemann maryheinemann.com
Cyanotype Doily, Hand-cut and woven rag and washi paper, sun exposed cyanotype, 38” x 38”
Acherontia atropos, Linocut relief print, 12” x 9”
Dots and Lines, Arranged scrap linoleum pieces, glued to mat, then carved, 22” x 17”
Jonpaul Smith jonpaulcsmith.com
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Peter Wiklund Time Flies
Jason Sofokleous Precession #7
Platinum / palladium print 9.6” x 12” jasonsof.com
Last Visit With Mizuki - Naoshima
Toned cyanotype from 120 film, shot with a pinhole camera 15” x 11” peterwiklund.se
His Mother’s Pharmacy - Kodaira Myken McDowell
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TPR etchings on copper plate with chine collé 17” x 11” ea. mykenmcdowell.com
Transmission, Serigraph, 16” x 12”
Red Plinko, Serigraph, 17” x 11” Robert Howsare roberthowsare.com
Farrago: Salient
Farrago: Inescapable
Farrago: Manifest
Courtney Annuschat Screen print collages 24” x 16” ea. instagram.com/courtschat
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Geometry 217
Geometry 218 Patricia A. Bender
Unique oxidized gelatin silver photograms with colored pencil and pastel 10” x 8” ea. patriciaAbender.com
Metaphysics I
Metaphysics II
Metaphysics III Mille Guldbeck
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Silver bromide prints 8” x 10” ea mille-guldbeck.com
Carter Browning The Dionysus Pool
Silver gelatin print 8” x 10” instagram.com/salems.jpg
Lapse: Caution
Lapse: Moment of Pause Dylan Sherman
Pinhole camera image 16” x 24” ea. dylanAsherman.com
Moon Eclipsed
Capturing The Moon Vicky Stromee
Archival pigment print 12” x 12” vickystromeephotography.com
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Stephen Proski A Bunch of Eggplants Hanging Out Archival pigment print on paper 15” x 12” stephenproski.com
Bodily Possessions #5
Bodily Possessions #3 Lisa Turner
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Screen prints 14” x 11” ea. lisaturnerart.com
3rd Eye Pill, Multi-block woodcut, colored pencil, collage, 30” x 22”
Double U, Multi-block woodcut, collage, pastel, 30” x 22” Tracy Featherstone tracyfeatherstone.com
Eye Spy Hoo?
Insatiable Amount of Greed Wesley Kramer
Woodcut, screen prints 24” x 18” ea. instagram.com/weszakk
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Amy Kanka Valadarsky Untitled #9 (Meeting Frida)
Debra Keithly Guardian
Silver gelatin lith print with Chromoskedasic Sabattier 10” x 8” amykankaphotography.com
Fern, Four-color print, gum over cyanotype, 11” x 8” 40
Archival pigment print 10” x 7.5” debrakeithlyphotography.com
Pierced, Four-color print, gum over cyanotype, 11” x 8” Steve Wilkinson
The Place Where The Fairies Live
We Almost Got Lost In The Hills Archival pigment print with acrylic marker 5” x 7”
Archival pigment print with acrylic marker 7” x 5”
Anikke Myers anikkemyers.com
Mara Magyarosi-Laytner Hyperstimulation 0550
Inkjet photo transfer on birch with gold leaf 24” x 40” maramagyarosilaytner.com
Anduriel Widmark Membrane Archipelago
Giclée print with silkscreen and acrylic embellishments 18” x 12” andurielstudios.com
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Christy Chudosnik Silvered Transmission & Gelatin Peel
Carolee Jakes Stupor Mundi
Silver gelatin collaged print digitally assembled (archival pigment print) 10” x 7” instagram.com/christy-chudosnik
Tunnel Of Love
Woodblock print 60” x 40” caroleejakesartist.com bigink.org
See The Light Katharine T. Jacobs
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Cyanotypes on linen from 4”x5” film with cotton stitching 10” x 8” katharineTjacobs.com
Medicine Man II - 3/15 (State III - hand finished)
Linocut, collage and mixed media printed on 300gsm Hahnemüle etching paper 107cm x 78cm
(im)Perfect Fit X
Monotype on laser cut matrix on 300gsm Hahnemüle etching paper 123cm x 65cm
These Bones Will Rise Again
Monotype printed on 300gsm Hahnemüle etching paper 102cm x 215cm
The Ferryman
Monotype printed on 300gsm Hahnemüle etching paper 60cm x 107cm
Christiaan Diedericks
themelrosegallery.co.za/artists/christiaan-diedericks
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Vicki Reed Woven Leaves
Silver gelatin lumen print 24” x 20” vickireed.com
Ciara Froning Learning Lauren
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Archival pigment transfer on resin 16” x 10” ciarafroning.com
Camila Labarca Linaweaver Image Sequence of Monotype Animation, “You Are Here” Monotypes 11” x 6” camilalinaweaver.com
Paige Fuentes Hands of Flesh, Hands of Iron 1 Gum bichromate print 10” x 8” instagram.com/pnico
Hope
Now On
Sustenance Rhea Nowak
Intaglio on handmade paper 23.5” x 48.25” rheanowak.com
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Miranda Kielland Metcalf is a native of the Seattle, Washington area, now living near Sydney, Australia. She is the host of the brilliant podcast, “Pine| Copper|Lime“, where she interviews printmakers about their practice. “Pine.Copper.Lime“, is an absolute must for anyone interested in printmaking.
THM: I love Pine.Copper.Lime - or as it is lovingly known to its fans, “PCL” - so much! It is both informative and inspiring. I have picked up some great ideas both for the studio and the classroom. Your guests are consistently fantastic. I always want to make something after I listen to it. So, thanks for that!
the artists I interview is certainly informed by my time as an art historian and gallerist. That, as well as just the incredible connections I have in the printmaking world I developed during that time.
MKM: Thank you so much! My husband and editor, Timothy Pauszek and I put a lot of time into it every week, so it’s always great to hear our efforts are not going unnoticed.
Yeah, the articles on the website are fantastic and so thoughtful and informative. They really lay some great groundwork for the interviews. Was there a particular moment when you first fell in love with printmaking? Mine was pulling my first etching. Printmaking had me hooked then.
THM: They are not. I know a lot of people who listen. We have had a lot of the same artists in The Hand Magazine that you have interviewed. Stephanie Alaniz, Annalise Gratovich, Aaron Coleman, Jenny Robinson, Eunice Kim, and Myles Calvert have all been included in both PCL and The Hand. So, we have a lot in common, I think. Can you tell us a little bit about the podcast? How it started and your inspiration for it?
For me, it was when I came to understand the sexy and sordid history of printmaking. I love that is has been the medium of the people and a subversive medium for the last 500 years. Everything that people wanted to hide went into prints: sex, revolution, dirty jokes —the stuff that life is made of.
MKM: I have always been a podcast/NPR nerd for as long as I can remember. When I was in my early twenties, I used to stay home on Saturday nights so as not to miss, “This American Life,” on my local public radio station. My favorite thing in the world is hearing people tell their stories. Well, favorite perhaps next to printmaking. So, the marriage of the two seemed like a natural fit. Your background is in art history and the gallery world. Do you still do that kind of work? What skills from that experience have been most useful in creating the podcast?
PCL does have an online gallery that I would encourage anyone to take a look at. I’m working with printmakers from Australia and South East Asia who are doing some beautiful prints. I also do a fair bit of consulting here and there. As for what from that experience I bring to the podcast, writing about
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Jamaal Barber Dual Woodcut Episode 17 jbarberstudio.com studionoizepodcast.com
Do you make prints yourself?
This is a question I get a lot actually and the short answer is “nope”. I’ve certainly spent quite a bit of time in print studios so I’ve been clean hands from time to time, carved a couple of linos, and doodled in some soft ground but nothing that would be considered anywhere near a print practice. My focus has always been in being a print advocate. I have so much admiration and love for printmakers, I feel very lucky to be an honorary member of the community. You have said that you started the podcast you wish existed, despite not knowing about producing a podcast. We pretty much did the same thing with this magazine! There has been a lot to learn – and we’re still learning! What kinds of things did you not expect about podcasting, and which were the hardest for you to learn?
I get you there! At least we live in an age where we can just pop questions into a Google box and get an answer. I’m really lucky in that all of the audio editing heavy lifting is done by Tim, so that frees me up to focus on creating episodes and finding guests. One of the things that surprised me was that people really wanted the episodes to be longer! When I started, I was making them around half an hour, thinking that people wouldn’t want to hear an amateur podcast longer than that. But I was quickly filled in that people like to hear the in-depth chats. It’s a good question, what the hardest thing to learn was. I’ve always been one of those people who ‘can make conversation with anyone,’ so the actual recording is always the easy part. Plus, all of my guests have been amazing, open, and interesting. Maybe just coming to realize the amount of time it takes to make the darn things. It is a bit like running a gallery, actually. Releasing the podcast is like an exhibition opening. So, while everyone is enjoying what you’ve created from the moment you open/drop it, your mind has to be on to the next episode/exhibition.
To Be Free Woodcut Episode 17 jbarberstudio.com studionoizepodcast.com
Jamaal Barber
We’ve had to figure out very similar things. How many pages works best? How do we promote and advertise efficiently? And definitely, the cycle of production is constantly ahead of where you are at the moment. It’s always good to learn new things. One thing that we love is the opportunity to meet and learn from artists whom we admire. We can be like fans contacting our heroes, but then we have something to offer too. That’s exciting and so rewarding for us. Can you speak to the most rewarding aspects of doing your podcast?
Having these incredible, open, honest, and insightful conversations with people who are essentially strangers always feels like such an honor. Those, and the sweet notes and emails I get from time to time really keep me going. Every few weeks I’ll get a lovely instagram DM from someone just saying thank you for the work Tim and I do. Those really do mean the world. Plus anyone who is giving anything to the PCL Patreon. Even if its just a dollar a month, the idea that people value what we do enough give money to something they could get for free makes my heart soar. Ben Beres Chokehold Etching w/ chiné-colle Episode 6 benberes.com
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Wuon - Gean Ho
Hungry Cat Cafe Linocut w/ monoprint Episode 1 wuongean.com
You’ve worked with all different types of artists. It must be interesting to see how they all approach making prints differently. What are some exciting ways you see printmakers working?
Part of my PR for the podcast is that I’m talking with artists who are doing something beyond the expected, and that really holds as my lodestar for selecting and talking with guests. Some of them are using the medium differently with cut plates or innovative dry point on cardboard. Others are harnessing printmaking for the power of activism. I’m open to anyone who is doing something I’ve never seen before. I love that you talk so much about community on PCL. Darkroom photography can be communal, but generally, I think it’s fair to say that photography is a mostly solitary pursuit, though there are undoubtedly very healthy and supportive communities in that world too. We like to think The Hand bridges the print and photo communities. As a historian, as a podcaster, and just as a person who loves the arts, I’m interested to know how you feel about the compartmentalization of art mediums. How does that affect art-making? How does that affect collecting? And just generally, do you have thoughts about that?
Deborah Maris Lader Wings and a Prayer Color etching with chine-collé Episode 5 deborahmarislader.com chicagoprintmakers.com 48
Hoo boy, that’s a big question! I certainly have thoughts about it all. It could probably fit into a whole other interview. If I could sum it up, it would be that I’m pretty much against tribalism in human pursuits no matter where you find it. I don’t think that dividing ourselves into camps has ever helped anyone, and whenever you start to deconstruct any binary, you find that there’s nothing there but our preconceptions. This doesn’t mean, however, that there isn’t space for a great community in printshops. I think it should just be based around a “this is who we are” model rather than an “at least we’re not them” model. Printmaking being segregated certainly doesn’t help us when it comes to collecting. While it can be very socially rewarding to go a print fair rather than an art fair, what’s the implication there? That print isn’t art?
Reinaldo Gil Zambrano Emancipation Woodcut Episode 25 reinaldogilzambrano.com #spokaneprintfest Of course, I know this may sound a little at odds with PCL’s catchphrase “shun the non-believers.” That phrase, however, came about from me being frustrated with hearing people always complain about how printmaking isn’t taken seriously. My attitude is, who cares if some asshole doesn’t understand printmaking and doesn’t want to make an effort. We are our own support system, our own collector base, and our own community. We don’t need validation from the outside world. We have critical mass. You do a great job encouraging people to collect art. How do you do that through PCL? And can you talk about why, in your opinion, living with art is beneficial?
Yay! One of my favorite questions! Art - unlike most every object we bring into our homes - is one that is there for pure pleasure. That’s not to say that all art needs to pretty. Even something that is political, sober, or morbid brings its own kind of pleasure when we experience it. Art viewing is an embodied experience. In its highest form, it takes us out of the analytical and the verbal and into the space of the body, intuition, pleasure, and feelings. Most of us spend days at a time forgetting that that side of our lives even exists. Having art that moves you in your living space is a daily invitation to remember that you are more than your job, your words, and your bank account. You have an emotional landscape that is yours and yours alone that you can access just by looking at an image. Pontification aside: Do you like art? Then you better fucking support artists who make it! The best way to do that is to buy art from living artists, either directly or through their gallery. Do it on the primary market. Give them money and the feedback that their work is appreciated out in the world. I try to encourage people to collect through PCL by always asking artists where people can find their work as well as inviting gallerists on the podcast. They are in the best position to be advocates for the contemporary art market. Mehdi Darvishi Centenary Mezzotint Episode 7 instagram.com/mehdi.darvishi 49
I always like to know what kinds of other things artists do besides making art. What do you do besides make podcasts? Do you have any other loves or areas of interest that give you a respite from the art world? Or is everything in your world art-related?
Lately, it’s been pretty much just art, art, art! I rarely have a day when I’m not working, at least for a little while, and all of my work is art-related in one way or another. I do have a day job, which helps pay the bills. Outside of art and my job, I do a lot of nature walks, I have a deep passion for trying to spot wombats in the wild, and Tim and I love going to the gym and doing power lifting together. We’re swolmates. What’s on the horizon for you and PCL? Any grand schemes or dreams you can tell us about?
I would love to have more time to expand on the PCL gallery. It’s all part of the ecosystem of the art world. When you buy from the PCL gallery, you’re giving money to the artists who made the work. They keep making work, and I get to interview them about it. I’ll also be doing a live taping of PCL at SGCI in Puerto Rico, but I think that will be over and done with by the time this interview comes out—I hope it went well. As for grand visions, Tim and I have always wanted to run a print studio and gallery together. We’re constantly building towards that in one way or another, and it’s beginning to look like this long-time dream may finally get off the ground sometime in 2020. But you’re just going to have to keep listening for details about that. Well good luck with those plans! We wish you continued success with, “Pine.Copper.Lime.” You are doing great things. And if anyone is interested in heeding Miranda’s call to support artists (something we agree with 100%!), take a look at the website, pine.copper.lime.com, where you can find links to the artist’s websites and social media pages, a gallery, and of course, links to the podcasts. You will be educated, inspired, and entertained all at once.
Elizabeth Jean Younce America The Destructive Lithograph Episode 21 elizabethjeanyounce.com
You can find it on iTunes, Spotify, Stitcher, and on their website, pine.copper.lime.com.
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Tanekeya Word Starshine and Clay Lino-cut & mixed media on paper Episode 20 blackwomenofprint.com
Ben Munoz Voracity Woodcut Episode 19 benmunozart.com
Jessica Hays Outlooking
Rachele Holt Negative
Palladium over pigment 9” x 12” jessicahaysart.com
Relief print and monotype with charcoal & white conté crayon 28” 39.5” saatchiart.com/racheleholt
Lily Guillen Imposicion
Mixed media on canvas 36” x 36” lilyguillenart.weebly.com
Doubt Reality
Believe Or Burn Dale Mateo
Mixed media: collage, ink, fire (burnt paper) 10” x 8” instagram.com/dalemateoart
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Maliheh Zafarnezhad Lovers No. 3
Collage transferred to canvas 19.6” x 19.6” malihehzafarnezhad.com
No Longer People Pleasers Letterpress and woodcut 17” x 12.5”
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Just A Good Time Girl Woodcut 37” x 25”
Christa Carleton
christacarleton.tumblr.com
Every Day Since Graduation Letterpress and woodcut 10” x 8”
Linda VanArtsdalen Contained? Cyanotype 11.5” x 11.5” ladyfishfelt.com
Rebecca Zeiss Solace X (alternate version) Cyanotype over platinum/palladium 12” x 11” zeissworks.com
Leah Diament Val
Dual print, handstitched, collage cyanotype on patterned fabric 10” x 8” avagabondsvisual.com
Brooke Sauer Midnight Sun Cyanotype 41” x 29” brookesauer.com
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Glossary of Processes Acrylic gel transfer - A transfer process whereby a laser copied image is placed in contact with a substrate that has been coated with acrylic gel medium. After drying, the backing of the paper copy is wetted and rubbed off to reveal the image transfered to the substrate. Anthotype - A photographic process that uses natural dyes, such as those found in berries, flowers, and other plant parts. Also sometimes called a “chlorophyl print” as it uses the natural chlorophyllic dyes, which fade in UV light, relative to their exposure, when painted onto a sheet of paper and exposed to UV light with a transparent positive. Exposures can take several weeks. Aquatint - An intaglio printing process using a fine dust-like particle as a resist so that when the plate is etched, a fine texture is created on the plate. Archival pigment print- A digital print using pigmented ink laid down on a surface using an inkjet printer with nozzles. The most common type of digital print for exhibition. Also called, “inkjet print”, “giclée, and ”pigment print”. Autochrome - A very early color photographic process using a color “screen” made of microscopic grains of potato starch dyed red, green, and blue with carbon black filling the voids. The screen is layed over a silver-based emulsion, which records the light corresponding to each color. The plate is processed to create a transparent positive similar to a slide. Each image is unique. Bromoil - A photographic print that starts with a silver gelatin print. The print is bleached to create a matrix. The matrix is then inked using lithographic ink to build the image back up. Chine-collé - A printmaking process using tissue or thin paper between the ink layer and the main substrate. Usually used in etching but can be used with other printmaking processes. Chromoskedasic Sabattier - A chemical combination that causes color changes is solarized silver gelatin prints. (See “silver gelatin print”). Named after the French scientist, Armand Sabatier. Copperplate photogravure - See “Photogravure” 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. 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. 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. Encaustic - Colored wax that can be used to coat a photograph or other kind of print to give it a unique finish. 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. Gicleé print - A French term meaning, “to spray”, a “gicleé” print denotes any print made from a digital printer with a nozzle, such as an inkjet print, also called, “archival pigment print”. Ground - A wax-like substance (actually asphaltum) used as a resist to coat plates for etching. The ground can be etched into, exposing the plate for etching in acid. It comes is hard, soft, liquid and balled varieties. 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. Halo-chrome - A type of toner that produces silvery effects similar to solarization. Image transfer- Any of a number of techniques for transferring an image from one substrate 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.
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Instant film - Any of a range of films that rely on packets of chemicals incoporated into the film stock. The most famous of these is Polaroid film, but also, Fuji, Instax, Impossible, and 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 printmaking technique using raised metal or wooden plates to create relief prints. Linocut - A relief printing technique that uses a linoleum block instead of wood. 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. There are many versions of lithography that do not use a stone, but use the same basic, “oil and water don’t mix” concept. Lith print - Not related to a lithograph, a lith print uses a slow developer on silver gelatin prints to yield a variety of effects, colors, and tones depending on the paper, developer, developing time, and other factors. Lumen print - A variation of the photogram typically, but not necessarily, using expired paper. The print is laid in UV light - usually the sun - for an extended period of time allowing the silver in the paper to react to the UV light. Various papers give a wide range of resulting colors depending on the state of the chemistry. Mezzotint - A kind of intaglio print that uses an etched plate and a rocking tool to work the plate from dark to light, rather than the other way around, which is more common. It is very labor intensive and requires many hours of building up layers 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 process that uses an acid-copper bleach solution to soften the gelatin of a silver gelatin print. This makes it possible to gently lift the emulsion off the substrate to create veil-like effects. 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.
Liz Wolf, Conjurers and Caged Girls, Monoprint, pronto plate lithograph, colograph, 15” x22”, lizwolfgraphics.com 54
Photogravure - A traditional photogravure is done on a metal plate. A sheet of carbon tissue is used in between the plate and a phototransparency. The image is exposed, creating a carbon-based image on the plate that can be etched in acid like a traditional etching. The plate is then inked an printed. In contemporary practice, a photopolymer print (see below) is often called a “photogravure”. Photolithograph - A printmaking process that uses a image transferred onto either stone, aluminum plate, or even paper, then inked and printed as you would a lithograph. Photopolymer etching / photo 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 that is usually handmade and often made from simple materials. Usually it is just a simple box that has been modified to be light tight. The image is taken through a small pin hole rather than a lens. 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. Polaroid - See “instant film” Pronto-plate lithograph - See lithograph”. A pronto plate is a thin plastic plate that can be drawn directly onto or put through a laser printer. The image is printed just like you would a stone lithograph. Reduction woodcut - A woodcut that uses one block to create a multicolored print. With each successive color, the artist carves away or reduces the amount of surfacce space that gets inked. 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”. Salt print - A very early type of print - actually, the first to be used to print a photographic negative - invented by William Henry Fox Talbot in 1839. Paper is firrst coated with a salt water solution and then with a solution of silver nitrate to create a light sensitive emulsion. the paper is exposed and developed in another salt water bath before being fixed in sodium thiosulfate. 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. Serigraph - See “screen print”. Silkscreen - See “screen print”. Many screens used in screen printing don’t actually use silk as the screen matierial. A “silk screen” implies that silk is used, and that the silk helps the printer achieve greater detail. Silver bromide - A form of silver gelatin print that uses a silver bromide compund as opposed to silver chloride. 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”. Solargraph - A kind of pinhole image that requires exposures that lasts weeks or even months. The expisure is so long that the emulsion solarizes and reverts to positive much like a lumen print. Solarplate gravure - Solarplate is a brand of photopolymer gravure. See “Photopolymer gravure”. Stone Lithography - (see “Lithography”). With so many other versions of the lithographic process, many printmakers specify that their prints are truly made using a “stone” or “litho”-graph. TPR etching - Stands for “temperature-programmed etching”. A kind of dry etching process commonly used in conjunction with photolithography. Dry etching uses gases to etch into a substrate rather than an acid bath. Van Dyke Brown- A photographic process using both silver nitrate and ferric ammonium citrate. The emulsion is applied by hand to paper and exposed using a transparent negative to UV light. The light reacts with the iron and silver to create a brown print. 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: 1) 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. 2) A glass negative can be made and then contact printed using a wide variety of hand- coated photographic processes, traditionally, albumen. 3) 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 / woodblock- 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”
Jennifer Gioffre Todd, Overlap #1 (L) & #3, Gum bichromate over cyanotype prints, 20” x 16”, jennifergioffretodd.com
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Hailey Quick This Hunger Isn’t You, Is It? Etching 18” x 24” haileyquick.com
El Ronan The Fool
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Linocut on Kitakata paper 24” x 17” elronan.com
Linda Whitney Woodlands Dragonfly Dancer Mezzotint 18” x 12” lwhitneystudio.com
Sage Perrott Talking Foolish: Talk Bubble #1 Screen print 10” x 8” haypeep.com
Jeff McConnell Summertime, And The Living Is Easy... Gelatin silver print from pinhole negative 16” x 20” jeffmcconnell.net
NEXT CALL FOR ENTRY: Issue #29 (August 2020) Submissions Due May 31st 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 #29 is May 31st, 2020 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.space, and click on the “Current Call For Entries” page. Back Cover: Kay Nowicki, Awakening Moon, Halo-Chromed silver gelatin print from electrocuted negatives, 11” x 8.5”, kaynowicki.com
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