Beth has five prints, all printed in polymergravure, in a great show that’s currently up at Gallery 71. The gallery is part of an upscale apartment complex in Edina, MN and open Saturday’s 1pm – 4pm, or by appointment by emailing Beth — beth@bethdow.com. There will also be a conversation between the curator, Mary Bergs, and the artists on Saturday, June 25th.

Gallery 71
7161 France Avenue S.
Edina, MN 55345




Obsolete and Discontinued



I’m really happy to have been asked to contribute to this exhibition by Mike Crawford, another London printer, which is going to be part of the Revela-T photography festival in Spain during May and early June. I wrote about this project a while back but now it’s happening and hopefully will travel to another venue too.

The paper I chose was Kodak Royal Bromesko, a paper that was available between 1962 and the late 1970s, so at best, my paper is close to 40 years old. The image is from a series I have been working on titled Otherworld. Further information and other images can be found on my website here.


Otherworld O&D 564
Otherworld #01 — Scan from a print on Kodak Royal Bromesko


Here’s Mike’s account of how the project came about:

“In March 2015, a client gave me a quantity of old photographic paper and film. He had been clearing out his late uncle’s darkroom and decided I could either have it all or it would be thrown out. Over two visits I received a number of boxes and packets of material, the majority of which were papers that had ceased production many years ago. Most were at least 20 or 30 years old, indeed some far older. I sifted through boxes of familiar names such as Kodak Bromesko and Agfa Brovira considering what I should do with them.


Out of interest, I tested some of the paper in the darkroom. I was surprised at how well some of the older material printed. With further testing, it appeared that some paper, which was fogged and had proved useless with conventional developers, could produce quite interesting and compelling results using different processes such as lith printing. After conversations with fellow members of the London Alternative Photographic Collective, I decided it might be of interest to give out the paper to different photographers and artists to see what individual results each could produce.


Within a few months there were over 50 participants who had heard of the project and were interested in taking part. After testing and cataloguing the different papers, I distributed them to a wide variety of practitioners, not only in the UK, but also to many overseas. From this point it was down to their skill and creativity to produce work from the supplied paper and film.”


— Mike Crawford

The artists participating in this project are:

Joakim Ahnfelt, Andrew Atkinson, Laurie Baggett, Myka Baum, Molly Behagg, Daniel Berrange, Andy Billington, David Bruce, Jacquelene Butler, Andrew Chisolm, Mike Crawford, Beth Dow, Angela Easterling, Laura Ellenberger, Andrew Firth, Brittonie Fletcher, Hannah Fletcher, Asya Gefter, Claus Dieter Geissler, Robin Gillanders, Brian Griffin, JJ Hastings, Rosie Holtom, Nicola Jayne Maskrey, Melanie King, Morten Kolve, Ky Lewis, Jim Lister, Constanza Isaza Martínez, Hiro Matsuoka, Gabriela Mazowiecka, Sheila McKinney, Wolfgang Moersch, Helen Nias, Douglas Nicholson, Yaz Norris, Andrés Pantoja, Guy Patterson, Borut Peterlin, Almundena Romero, Bret Sampson, Debbie Sears, Holly Shackleton, Keith Taylor, Joan Teixidor, Evan Thomas, Madaleine Trigg, Sebnem Ugural, Tanja Verlak, Andrew Whittle, Guillame Zuili.

Projects or Single Images?

From Jörg M. Colberg‘s article in Conscientious magazine — “Why does it always have to be about something?” 

Every day, I’m being bombarded with a flurry of pedestrian pictures, grouped in projects that are “about” this or that. These days, photographs always have to be “about” something. Pictures can never be merely pictures.


Make no mistake, a group of pictures will have to add up to something. A group of random pictures that doesn’t add up to anything is just that, a group of random pictures. And I’m not more interested in that than in the pedestrian projects… The history of photography is filled with practitioners operating along the line of groups of single pictures.

I’m not one of those photographers who needs to be working with specific projects all the time; I’m at my happiest carrying a camera around and making photographs wherever I end up. At some point they start making sense together, as a group.

Newsletter — March 2016



Otherworld #01 — Gelatin silver print, 2015


If you’re in New York City for AIPAD in April, stop by the Verve Gallery booth as they’ll be showing a selection of prints from my new, and ongoing, series Otherworld. With the NASA Kepler Mission in mind, these small (7″ x 7″) gelatin silver prints imagine what other Earth-like planets might look like.

“The Kepler Mission, NASA Discovery mission #10, is specifically designed to survey a portion of our region of the Milky Way galaxy to discover dozens of Earth-size planets in or near the habitable zone and determine how many of the billions of stars in our galaxy have such planets.” — NASA

Dust Storm, Near Tucson, Arizona — Polymergravure print, 2015

Dust Storm, Near Tucson, Arizona — Polymergravure print, 2015


I am pleased to have had a print accepted into the 2016 Landscape show at The Center for Fine Art Photography in Fort Collins, CO by juror Natasha Egan, the Executive Director at The Museum of Contemporary Photography in Chicago. Both these organisations do a fantastic job at promoting photographers and photography.



For many of us it’s all about the print, or a tangible version of the image, being the final destination rather than just being seen online. Irving Penn was purported to have once said, “The print’s the thing,” and the INPrint call for entries by Rfotofolio recognises this. The deadline is March 22nd and the juror is Catherine Couturier. Full details are here with the entry fee going towards a worthwhile cause.

The INPrint call for entry puts the focus on the final product of the artist vision, the photographic print or object, not the jpeg on the screen. Rfotofolio wants to encourage and promote the art of making the photographic print.


This call for entries will be judged not only on the image, but by the craft, skill, and quality of presentation.


All media are welcome, including but not limited to traditional film, digital, collage, three-dimensional, encaustic, small books, and alternative processes. When you participate in our call for entry you are helping in growing the Rfotofolio Grant.

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I really enjoyed doing the last special print offer but it’s been a while, so it’s high time for another.

Prints will be shipped via USPS, insured etc. and well packaged. I want you to be as happy with the print as I am, so if for any reason you aren’t satisfied, return the print for a full refund (less shipping).

Title: Leaving Albuquerque.
Medium: Inkjet.
Image Size: 6″ x 6″.
Paper Size: 10″ x 8″.
Paper: Ilford Gloss Baryta.
Stamped and signed on reverse.
Price: $85 plus $8 shipping. (Plus sales tax for MN residents.)

“I want to make beautiful things, even if nobody cares.” — Saul Bass



Conservator’s Corner(s)

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Here’s a behind the scenes video with Jae Gutierrez, Senior Photograph Conservator at the Center for Creative Photography in Tucson. I was fortunate to be able to spend some time with Jae back in September, when I visited the CCP Print Room with friends as part of Depth of Field. She was incredibly helpful and answered in depth all the questions I had about silver prints, platinum prints, gravures, my workflow and the presentation of my work, and reassured me that I was following the best practices. I got the two thumbs up from the conservator!

But there’s one little trick she showed me that I immediately started to use. Apologies if this is known by most, but remember, I spend my life in the dark(room).

When I attach my images to the Museum board backing I use my own mounting corners that I make out of Tyvek paper, which is strong and archival, and I attach them with Filmoplast P90 Plus tape. This is the result of running out of the correct size self-adhesive Mylar corners late on a Friday night too many times. Also, it’s much easier and the prints feel more secure. But when using the Mylar corners you have to flex the print to remove or replace it; not good when you’re handling an Edward Weston print, for example. By attaching the corners a specific way, as Jae showed me, you can avoid all that. Simple!


Simple folded Tyvek paper corner.


Corner taped with flaps underneath.


Print inserted into corner.


Top corner with flaps showing.


Flaps allow print to be removed without bending.