SidewaysEye

Film photography and darkroom practices

Category: The Darkroom

Split grade printing – again

I have written a few posts on split-grade printing before (here and here) but I thought that I would revisit it again in more detail. The reason for this is that I am having some problems with it, so a post like this forces me to re-evaluate what I am doing, starting with the basics and trying to understand where I am going wrong.

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An evolution of a print

Today in the darkroom I set out to produce the best image that I could in two hours….

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Early steps into Bromoil

After my initial foray into Bromoil I decided to switch papers from Slavich Unibrom to Fomabrom Variant 113 to see whether it inked more easily. This post describes how I got on …

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My first Bromoil experience

Bromoil was made for us neo-pictorialists. The long attention to a single image perhaps stretching to several days; the impressionistic rendering of a scene; the knowledge that what you do is connected to the many pioneers of photography such as Alfonso Louis Poitevan, John Pouncey and G. H. Rawlins to mention only a few; these reasons are sufficient to want to keep this old photographic process alive.

But it’s not easy … Continuing the spirit of this web-site, I share my mistakes.

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Preparing for Bromoil

I like to play at both ends of the expressive scale: silver gelatin photography in the straight style at one end and something much more expressive at the other, such as Bromoil.

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Split-grade printing

There is no better way to learn photography skills, and in particular darkroom skills, than copying the style of a photographer or photograph that you much admire.

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Chemistry as the limiting factor

It is getting increasingly hard to source some chemicals in the UK.

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Lith Printing

Last year I went to North Dakota USA, courtesy of Tillman Crane, to photograph abandoned farms. I had seen some wonderful photographs on the internet in all styles: digital and colour film, photo-gravure, straight monochrome prints, and of course Tillman’s own beautiful platinum/palladium prints. I first heard about Tillman through chatting with André Goulancourt at the Inversnaid Photographic Centre in Scotland in about 1998, now sadly closed. So it was great to actually meet him after all this time.

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