My name's Carol Munder, a photographer and I use the process photogravure.

It's a 19th century process where I've taken image that I've photographed and through a process it's transferred to a copper plate, the copper plate is etched and then you print on a gravure press to get the final image.

It's a long process, it takes many days.

There's different stages of the process that have to be done days ahead of time, things I have to cure.

I work with raw chemistry, so that's mixed together.

So normally I soak it, you know, 24 hours ahead of time, because the water, I don't know, slowly goes into the paper, and it's absorbed and I can kind of pull it out and almost put it on the press right away.

It's a slow process and I love it 'cause it keeps me outta trouble .

The softness comes through a camera that I use.

I photographed with a Diana camera, and it was originally manufactured in the 70s as a toy.

You could buy it for $3,95 cents at the Dime Store.

It was sort of like the images were soft edged and it was something that spoke to me.

My father was a commercial lithographer, so that whole printing world maybe runs in my blood or something, I'm not sure.

But I had in my library of books a chapter in a book on photo gravure and happenstance, I had even highlighted part of the process in there years and years ago.

So if you're gonna do it, you have to be dedicated.

And I taught myself and I made every mistake in the book and then some.

So for some reason the first time you sort of ink a plate, it needs a second time around to really start grabbing the ink properly.

I don't know why that is.

Today, you can go online, you can watch videos, you can do workshops.

It was pretty limited back then on what was available, and I had out of print books that I taught myself and you're much better off taking workshops if you can because there's a lot of things they don't talk about.

The humidity is a real important factor for it, and they sort of didn't mention that in the books .

I used to photograph in museums a lot.

I was photographing Etruscan sculptures a lot, really close up through glass, so you would get refractions, you know, you go through a lot of different phases.

But now I'm photographing just with these wooden sculptures that we've been finding in flea markets that are anonymously carved almost like outsider art, anatomically incorrect sculptures that are just so soulful.

And I started photographing them 'cause I just loved them and it evolved over the years.

But now I montage an image because with my camera, it's limitations are, it's a plastic lens.

I'm limited by the size of something.

So I will photograph something that's, you know, six inches big and have to put it into a different environment.

And, you know, you have to adjust those to sort of play some sort of game of making it.

I mean, it's an unusual world that I'm creating.