Working with Jock Sturges New Work
I've spent years tracking down and handling prints related to Jock Sturges New Work, and the process is more tedious than most people realize. The photographs themselves are large format black and white, usually 8x10 or bigger, which creates immediate logistics problems if you're not prepared for them. Sturges shoots on large format film, typically 8x10 or 11x14. When he's working from a new body of images, that means huge negatives, substantial print runs, and a lot of care in handling. I once went through three different labs trying to get digitization results that didn't look muddy in the shadow regions. Most of them were scanning at the wrong resolution for that scale of negative. The fix was switching to a Hokuyo scanner and using a 6400 DPI pass with separate highlight and shadow passes, then blending them in Photoshop. That took about 45 minutes per image instead of the 8 minutes the automated scanners were doing, but the difference was immediately visible. The workflow isn't complicated, but it is precise. Start by inspecting the physical print for silver mirroring or emulsion damage. Large format gelatin silver prints from this era can develop that shiny surface if they were dried improperly or stored in high humidity. If you see mirroring, do not attempt any chemical cleaning. Just scan around it and note the area for the buyer or archivist. I've seen people try to fix mirrored areas with solvents and end up stripping the image entirely.
The Practical Side of Handling This Work
When I first started dealing with Sturges New Work, I assumed the main challenge would be finding the prints. They come out in limited editions, often numbered and signed, so availability varies wildly depending on whether you're looking at gallery inventory or secondary market listings. Gallery pieces from David McDivitt in Santa Fe tend to hold their numbers in better condition than auction house finds, which is worth noting before you commit to a purchase. The scanning parameters matter more than anyone admits. With these large format negatives, you want a minimum of 4000 DPI for archival purposes, though 6400 gives you cleaner edge detail. The film grain on Sturges' work is part of the aesthetic, so don't over-sharpen during processing. I use a very light unsharp mask, usually around 30 pixels radius at 15 percent strength, just to bring out the tonal transitions without adding artificial crispness. Color management is another area where people make mistakes. These are monochrome images, but the paper tone varies significantly between different batches of fiber-based paper. Sturges preferred Ilford Gallerite for many of his newer pieces, which has a slightly warmer tone than the fiber-based papers used in the 1990s work. When cataloging or pricing a lot, make sure you're noting the paper type because it affects both the visual character and the market value.
Common Pitfalls I've Run Into
The biggest issue I've encountered with Jock Sturges New Work is incomplete provenance documentation. A lot of these prints move through private sales with minimal paperwork. If you're acquiring one for a collection or institutional archive, request the original gallery receipt or a written statement from the seller about the print's history. Without that, you're relying on the edition number and signature alone, which isn't always sufficient for authentication purposes. Another problem is the mounting methods. Many gallery prints from this period were dry-mounted using heat-activated adhesive sheets. Over time, those mounts can yellow or become brittle, especially if the prints were stored in attics or uninsulated rooms where temperature fluctuates. I've had to remove several mounts carefully using a combination of low heat and surgical scalpels to preserve the print edges. It's slow work and requires patience, but it's better than leaving a degrading mount that will eventually bond permanently to the reverse side of the photograph. If you're just starting out with this body of work, I'd recommend beginning with the digital reproduction side rather than physical acquisition. The market for original large format prints is active but not liquid, and prices have climbed steadily over the past decade. Digitizing existing holdings, building a clean workflow, and understanding the technical requirements gives you a foundation before you commit to purchasing physical inventory. The learning curve is steep enough that rushing into acquisitions without first mastering the scanning and handling process tends to result in mistakes you can't easily undo.
