"The photographer has enlarged his view of himself as craftsman and observer, incorporating methods such as lithography and serigraphy, which had previously belonged to traditional printmaking. At the same time, many graphic artists are today discovering the potential of photographic techniques and Images, integrating them within the tradition of the handmade art object. The tremendous interest in mixed media grows out of this breaking down of the classical distinctions between photography and printmaking".
- Photography as Printmaking MoMA, 1968
My oil prints are not photographs. In essence, you become a “printmaker” working in this process. I’ve always wanted to transcend photography to some degree. Don’t misunderstand me, I love photography, but there is always more. I’ve often said, “I’m a frustrated painter.” You might ask, why don’t you just paint? I think I will, eventually, but for right now, I’m enjoying being a "printmaker”. Why do this? For me, it allows for a more creative approach to this work, especially this work. I’ve said for a long time that I’m seeking a more “poetic” process, more like a drawing or painting. I want my “hand” involved as much as possible. I’m trying to avoid as much “mechanical” with this work as I can.
I’m finding that these negatives are great for printing Platinum Palladium as well as Oil Prints. I was really happy to see this print emerge out of the ink today. It’s from a collodion dry plate negative and registers as 1.7 negative density. Perfect for both printing out processes. No redevelopment required, nothing additional on wet or dry collodion negatives.
OIL TRANSFER PRINTS
I’m waiting for my Richeson Baby press now. Once I get that, I’ll start doing some oil transfers. This is going to be trial and error for the most part. I can’t find any real instructions or information on how to do them. The concept is simple; swell and ink a print and transfer it to the final support via the press. However, I know there’s more to it than that.
I think there will be some great advantages to doing transfers. First, there will be only paper and ink. Nothing else. I can also print them very clean - borders, sizes, etc. And from what I understand, they are very detailed and have a great tonal range. Oil prints have all of that too, but you still have the gelatin and maintaining edges, etc. when inking. I’m not sure about this, but if it’s true it will be the greatest advantage; multiple prints. Swelling and inking the print over and over again. Can it be done? I’m not sure, but I’m going to find out. Can you imagine? I would be able to do a series of prints, quickly and efficiently.
#intheshadowofsunmountain
Look at the relief, you can see why a transfer makes sense.
Inking another matrix - these are the basic tools for the process.
The black and brown mixture of ink gives a nice warm color and also contrast.