If you are like me, scanning is a bit of a pain. Never an ecstasy. However getting it right is important to some workflows. In this post I set out what works for me on black and white films, much which has been learnt through trial and mostly error …
The general advice on choosing a film/developer combination is to select just one (or two) and to stick to this until you have learned its subtleties. The snag is that I enjoy experimenting, so I find sticking to this advice difficult. However, aside from some specialist techniques like infrared or pinhole, I seem to have settled on a few combinations that I favour …
I have a thing about taking photographs of statues, particularly in natural settings or cemeteries. It is hard to put into words but for me statues can evoke a sense of time stood still. It’s that influence from Atget.
This blog is about my efforts at learning film photography and silver halide/alternative printing.
Two steps forward, then one step back. Or is it one step forward, then two steps back?
For me, film photography and darkroom skills are two sides of the same coin, inseparable. Taking a picture fashions the options that you have in the darkroom. Printing a photograph tells you how you could have done better when taking that photograph. I could not do one without the other.
In fact, my time in the darkroom drives my black and white film photography. I would not consider digital photography or even film photography where I could not print my own pictures. They would not be mine.