{"id":23627,"date":"2026-06-15T08:40:25","date_gmt":"2026-06-15T06:40:25","guid":{"rendered":"https:\/\/blog.hahnemuehle.com\/en\/?p=23627"},"modified":"2026-06-15T08:40:25","modified_gmt":"2026-06-15T06:40:25","slug":"confluence-2026-when-photography-becomes-craft-again","status":"publish","type":"post","link":"https:\/\/blog.hahnemuehle.com\/en\/confluence-2026-when-photography-becomes-craft-again\/","title":{"rendered":"Confluence 2026 \u2013 When Photography Becomes Craft Again"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=””]In a world where images are created in seconds and forgotten just as quickly, a handcrafted print plays by different rules.\u00a0Confluence Handcrafted Photo Prints Experience 2026<\/a> in India offers a deliberate contrast and brings photography back to its physical and handcrafted roots.<\/p>\n

From 28 to 31 May 2026, the Karnataka Chitrakala Parishath<\/a> in Bengaluru – a Gallery, Museum and College of FineArts – became a meeting point for artists and audiences. Over 60 handcrafted prints by six artists show how much time, care and material go into analogue and alternative printing processes.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=””]<\/p>\n

An Exhibition That Invites You to Pause<\/h4>\n

Confluence is not just an exhibition. It is an invitation to see images in a new way. Each print is unique, created through repeated manual steps using chemistry, light and patience. The works encourage you to slow down and engage with details that are often lost in everyday digital life.<\/p>\n

The participating artists – Debanjan Das Gupta, Raghavendra Udupa, Rajkumar Krishna, Ramesh Adkoli, Sabir Ahmed and Shankar Kiragi<\/a> – bring together diverse perspectives, techniques and themes. Together, they create a rare and compelling range of expression within alternative photography.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_single_image image=”23624″ img_size=”medium” css=””][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”23614″ img_size=”medium” alignment=”center” css=””][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”23623″ img_size=”medium” alignment=”center” css=””][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=””]<\/p>\n

Alternative Printing Processes \u2013 Photography as a Physical Practice<\/h4>\n

A key part of the exhibition is the range of alternative printing methods. These processes span more than 150 years of photographic history.<\/p>\n

Unlike digital photography, these works are made through direct interaction between light, chemistry and material. Artists coat paper by hand. They place negatives or objects onto the surface. Then they expose the work to UV light and develop it in several stages.<\/p>\n

There are two main approaches:<\/p>\n

Pigment-based processes<\/strong>
\nThese include gum printing. Artists build up images in layers. The results often feel painterly and tactile.<\/p>\n

Chemical processes<\/strong>
\nThese include cyanotype, kallitype, salt prints and silver gelatin. Here, the image forms through light-sensitive chemical reactions.<\/p>\n

Many artists combine techniques. They tone, layer and rework their prints. This creates depth and allows for a degree of unpredictability.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=””]<\/p>\n

Paper as a Creative Foundation<\/h4>\n

Paper is often overlooked, yet it plays a crucial role in these works. It does more than carry the image. It actively shapes how the final print looks and feels. The exhibition deliberately uses high-quality, archival fine art papers. These support the handcrafted nature of the processes.<\/p>\n

Some works are created on Hahnem\u00fchle Lanaquarelle<\/a>. This classic watercolour paper works particularly well for hand-coated techniques. Its textured surface absorbs emulsions evenly and enhances the organic, expressive quality of the image.<\/p>\n

The exhibition also highlights how important the right paper choice is for alternative processes. Materials must be chemically stable. At the same time, they need to hold subtle tonal values.<\/p>\n

This is where Hahnem\u00fchle Platinum Rag<\/a> comes into play.<\/p>\n

While it is not used for every work on display, it is widely considered an excellent choice for many of these alternative processes and techniques, including kallitype, cyanotype and palladium printing. Its matt surface, high purity and stability create ideal conditions for precise results and rich tonal depth.<\/p>\n

This reliability becomes especially important in complex, multi-layered processes. The paper supports the work without drawing attention to itself. It remains a quiet but essential factor in the quality of the final print.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”23617″ img_size=”large” alignment=”right” css=””][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=””]<\/p>\n

Between Tradition and Innovation<\/h4>\n

What makes Confluence<\/a> special is its balance of history and experimentation.<\/p>\n

The exhibition features classic techniques such as:<\/p>\n