I began this blog not long ago due to a series of interconnected events that led me to a path back to something I dearly love. Something I had had to give up thirty years ago. In life, life happens. I had not realized how much a part of me photographic printmaking had become, for my artistic senses. Having a darkroom space made available to me opened up a floodgate of desire for once again brushing pure silver onto a rag paper, and watching the image print in. But then I'm preaching to the choir.
I have learned a couple of things about blogging, having been blogging on writing and independent publishing over the past six years. That helped fill in for what I would rather have been doing all along. What I have noticed is the visitor interest for different blog posts. The obvious spike in viewership was for the posts focusing on view camera work and functional photo chemistry. Which certainly works for me being those are my two favorite subjects outside hand coated processes. What would be very helpful to me, and reciprocally beneficial for the visitor, is leaving your comments or interests so I can focus on those subjects, or answer a specific question.
Much of the material I am addressing at this time is focused mostly on the salted silver (salt paper) print, with examples from the only remaining prints I have in a portfolio, printed thirty years ago and kept in a wooden presentation case. Work is ongoing, albeit way too slow for my desire otherwise. I am currently in the design stage, laying out a custom printing room which is soon forthcoming. What is currently a good sized workshop will soon become a fully functioning print room, with 6' sink and 24"x14" custom UV printing light. My own small slice of paradise. I am convinced that "out there" lies more than one old timer art photographer with urges to hand print their work again, in the era of high tech digital processing and printing. My message is simply this; use the tools of the new digital era to create an enlarged negative for printing in historical processes. No more need for enlargers and special lighting conditions. It is possible to keep things as simple as using natural sunlight, as I did for years back in the day.
Being digital negatives are new to me too, I am in the process of testing digital negatives on hand coated silver, in both the salt paper and Kallitype formats. For now this process is dragged out over time being of time/distance to the darkroom I get to use until my own is ready. When I have a predictable exhibition quality print in hand I will be making it the focus of posts. I will also explain how I arrived at the final print. There are a list of variables that all need to be tested, as well as their interrelated influences upon each other. Reporting on all the failures along the way would chase most of you away quickly.
I remain hopeful that I will hear from photographers at some point, whereupon a real conversation can being on sustaining and enjoying black and white photography in general, and historical hand coated processes in particular. A discussion on materials needed for hand coated processes as well as where those materials are to be found is a good forum to play with. But until someone participates I am left to writing about having a great time making photographic art through traditional photographic printmaking processes. Here's to that endeavor wherever it is taking place.
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