About the Processes

“How charming it would be if it were possible to cause these natural images to imprint themselves durable and remain fixed upon the paper!  And why should it not be possible?  I asked myself.”

William Henry Fox Talbot

  1. Photo-intaglio (Zinc plates)

An enlarged positive is exposed using ultraviolet light onto a sensitized Zinc plate.  The plate is then developed, covered with a fine coating of resin, and etched in acid.  Prints are made by running the inked plate in contact with a piece of watercolor paper through an etching press.


  1. Photo-intaglio (Solarplate)

A safer and more environmentally friendly technique than traditional photo-intaglio, Solarplate is becoming an increasingly popular choice for producing high quality photogravures.  The surface of a steel plate is coated with a light sensitive polymer, which hardens upon exposure to light and can be developed in plain water.  The resulting plates are then inked, as in the traditional process, and run through an etching press in contact with damp paper.


More information can be found at: http://www.alternativephotography.com/wp/processes/photogravure/photo-intaglio-an-overview



  1. Temperaprint

Pioneered by Peter Fredrick in the 1980s, temperaprint is an update of the old gum bichromate process.  An emulsion of ammonium dichromate, acrylic paint, and egg is coated onto plastic-based paper (yupo) and exposed to sunlight under a negative.  If more than one color is required, then more than one exposure must be made, using distinct separation negatives aligned upon the paper in registration, one by one.  A four-color temperaprint would have at least eight coats of emulsion and would require at least eight separate exposures, with a water bath development after each.


For further information, see:  http://www.alternativephotography.com/wp/processes/tempera-prints/the-fundamentals-of-temperaprint

Peter Fredrick