is a photomechanical process by which an image is chemically affixed to a metal plate and then etched. Buhot often used this method to transfer an initial drawing onto a plate, which he then worked up using other intaglio methods including etching and aquatint.
A generic name for photogravure in France. Also a photomechanical process that employs light sensitive asphaltum to create a resist for directly etching metal or pewter plates for printing positives on paper. The process was first discovered by Nicéphore Niépce, and perfected in many variants throughout the 1800's. For an account of this process see J.M. Eder, History of Photography, (New York: Columbia University Press, 1945), reprinted (New York: Dover Publications, 1972) p. 591. Exhibits created using this process
A forerunner of photogravure in which the photographic image is projected directly onto the plate rather transferred to it on an emulsion. The term "photogravure" is often used indiscriminately for both techniques.
An intaglio print that is produced using a process which uses a light-sensitized acid-resisting ground when etched on a copper plate. A positive transparency is laid down on a copper plate coated with bitumen (or asphaltum) - a natural tar which is light sensitive when exposed in the sun - hence the name, heliogravure. The fine art method can reproduce a tonal image on a copper plate with total fidelity to the gradations in the image. The plate, when etched, is printed using intaglio processes on an etching press.
(from Gr. helio, meaning the sun, and Fr. gravure, meaning to engrave.) A photographic engraving process. Nicéphore Niépce had already experimented with heliography in the 1810s, but the first usable heliogravures did not appear until the 1850s. The method was perfected in the 1880s by Karl Klic, who transferred the image with the use of a gelatine paper onto a copper plate dusted with asphaltum.