Arts / L&C Artists / Edward S. Curtis

Edward S. Curtis

Sepia-toned photogravure

By Joseph A. Mussulman

The monumental collection of photographs by Edward Curtis was intended to be the ultimate documentation of the then-apparent end of traditional Indian life-ways. Published between 1907 and 1930, The North American Indian consisted of twenty volumes of illustrated narrative plus twenty portfolios containing over 700 large photogravures. The consummation of thirty years’ work, it was enabled by substantial patronage from the wealthy financier J. P. Morgan.

Until the advent of four-color photography in 1935, most photographs were printed in continuous shades of black and white, called grayscale. Edward S. Curtis (1868–1952) developed his photographs using a paper treated with a sepia-toned emulsion. Sepia was a rich brown pigment made from the inky secretion of the cuttle-fish genus, sepia. In the printing of a negative on paper coated with sepia, a chemical reaction converted metallic silver to a sulphide, which resists fading that otherwise would occur with the passage of time. Optically, moreover, the sepia-toned image appears to have a more readily visible range of shadows and highlights than a grayscale image. Historically, it melded the principle of lithography with the spontaniety of photography.

Photogravure is a photomechanical intaglio printing process in which the image to be printed, such as a photograph, is chemically etched into the surface of the printing plate through a screen consisting of tiny square cells (corresponding, electronically, to pixels today). The varying amount of ink held in contiguous squares of different depths produced subtle degrees of density in the printed image. The photogravure process entered the popular press weekly during the first half of the 20th century with the rotogravure, a term which came to denote a section of a newspaper printed on special paper by the photogravure process with a cylindrical, or “rotary,” press, in sepia monochrome. With this step, the lithograph was replaced as a pleasing and economical print medium. (The rotogravure was immortalized by songwriter Irving Berlin in 1915 in “The Easter Parade”—”the photographer will snap us, and you’ll find that you’re in the rotogravure.”) Around 1910, however, photogravures were still printed from flat plates on a letterpress—a slow and expensive process reserved for the finest artistic efforts.

Curtis describes his photographic process in Drying Salmon.

 

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