Now that I have calibrated my paper speed to my light meter and my development snatch point (see here), I am now ready to look at the corners and recesses of my house. I am interested in the tonalities rather than the textures.
One of the reasons for buying a large format 5×7 Walker camera was to learn the craft of paper negative photography. In my last post on paper negatives I discussed the control of contrast. However I am finding Ilford WarmTone paper a little too slow for indoor portrait work so I decided to test Ilford Ilfospeed RC De Luxe in grade 2 with a pearl finish. This post records how I got on …
At a recent exhibition of Rembrandt’s printmaking techniques I was struck by the similarities between Etching, Bromoil and Paper Negative printing. All show the hand of the artist. All share a certain sensibility.
When in Berlin, I’m often drawn to Louis Tuaillon’s bronze statue of the Amazon. It is situated in-between the Altes and the Neues museums. Perhaps it has something to do with its composure and austerity, providing an antidote to the Baroques sculptures that adorn the area? …
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.