Methods

The photo-etchings in this collection all start from landscape photographs taken with a compact mirrorless digital camera. The selected photos are simplified and contrast-adjusted using Adobe Photoshop software. The resulting pixelated image is printed on acetate film- creating a positive hard copy.

Section of acetate prepared for Calderbrook series

Meanwhile, a copper plate is prepared to receive the pixelated image, it is polished and a photo-sensitive emulsion applied. This plate is then exposed in a light box, covered by the printed acetate film so that the printed image obscures parts of the plate from the strong light.

Lightbox at Northern Print Studios

Once developed, the exposed emulsion is washed away, leaving some of the smooth copper surface exposed.  When the plate is etched in ferric chloride, the exposed copper is eaten away, cutting pits into the surface.

Plate prepared for Calderbrook series

To print from this plate, it is first smeared with a thick oil-based ink, and the surface then wiped clean, leaving only traces of ink below the pitted surface.

Plate inked and wiped ready for printing

The plate is then run through a press, sandwiched against a piece of soft, dampened paper. The press- a giant electric-powered mangle with steel rollers- applies enough force to embed the plate in the paper, allowing the spongy paper to pick up the remaining hidden ink, revealing the final print.

Press at Northern Print Studio used to create these prints

Revealing a print

All these prints are printed on Somerset Antique Velvet printing paper. Many of the prints are made onto clean sheets of dampened printing paper. This appearance is enhanced by printing on top of thin ‘washes’ of coloured oil-based ink- themselves a form of monoprint. Preparing the underwashed monoprint involves applying a thin film of ink to a smooth plate, when run through the press the colour is transferred to the printing paper- a partially predictable and controllable technique.

Monoprint revealed, with acetate monoprint plate and registration marks on press bed.

Multiple monoprints can be applied, with the photo-etching plate applied last, ensuring that each layer is aligned or ‘registered’ carefully, and whilst the paper is still damp, as a wet-into-wet technique.

This gives a more fluid appearance to the final print, something closer to the quality of painting.