Passing Things Along

There is no need to mention to photographers the role that the negative plays. With exception to those dabbling in digital photography. Different story. Here, we talk negatives. My interest in this blog is simply passing along this tradition and trade craft of photography that I have come to love, and for which I have spent many years coming to know. I am not a purist, nor hard ass on how things should be done. Contrary to that position is that black and white photography is very malleable. There are many tools and controls a photographer has at their disposal to apply in any number of ways to bring about the pre-visualized image, to the final print.

My hope, and intent, is to showcase possibilities by showing the relationships between practices and visual outcomes. Pretty much bio-feedback. What I do not want to happen is slipping into a textbook, or lecture on black and white photo chemistry. All of which would be boring. I want to share with other serious photographers, who love black and white photography, shoot film and are curious, and want to explore other printing avenues. Once I began that journey, it became irresistible. It is the very tactility of the image, the textural quality and the depth and richness of the image that is captivating for me. To reach that is the process itself, each step shaped and controlled by the printer. For me, that's true printmaking.

This is not to disparage silver gelatin printing, as that remains a beautiful outlet for b&w photography.  I made a living specializing in black and white photography when I lived in Eugene, Oregon. I printed umpteen prints, mostly on Kodak or Ilford Bromide papers. I still love seeing a well printed silver gelatin print, and do regularly where I live. When I printed what I called my art back then, I printed on chloride paper. Kodak's Ectalure G. Soft white. Ectalure E was white base.

I am self-taught, as the vast majority of you reading this. I read books on photography circa 1930's to '50's, material on the black and white negative, what happened, the chemistry that made that happen and. That became the structure of the craft for me. The tools of the negative, and print. Then I became curious, and read "The Keepers of Light". When I made my first salt paper print, I was hooked. Which is why there may be benefit for readers expanding their knowledge of historic processes, such that it becomes deliciously enticing.... and the historical processes continue to live on. I am merely passing things along.

My hope is that there will eventually be feedback from those reading or following the blog. Not only does that let me know if I'm doing any good but will help direct the subjects discussed or how better to discuss subjects. I can also offer up some very good formulas that are easily mixed and inexpensive to buy. Perhaps I can make a difference.