A look at the photogravure syntax and how Stieglitz used it in his battle to legitimize photography as fine art.
Mark Katzman’s obsession with photography dates back to elementary school when he moved into a house with a darkroom. The fumes, the amber glow of the safelight and the rush of watching an image appear in the tray was intoxicating. In junior high, he stumbled across a shoot happening in New York’s Washington Square Park. Cheryl Tiegs was the model and he had my camera. When he brought the pics to school and showed them around, his popularity skyrocketed and he scored the job of photo editor of the school newspaper. Little did I know this would be his lucky break. His then colleague Jimmy Hirsch went on to be a writer for the New York Times and talked them into giving Katzman an actual assignment. It went well and they gave him a couple more.
After decades of shooting, his relationship with photography is healthier than ever. He works to balance commercial assignments, personal work and pro bono work. He has begrudgingly lived through the transition from film to digital. A strong advocate of the the ‘slow photography’ movement, he has adopted a forgotten photographic process, the photogravure, and is deeply diving into its preservation.
Image: Alfred Stieglitz, The Hand of Man, 1902, printed 1903. Image Courtesy of The Art of the Photogravure
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