Back to printing

Got back to printing full time in the darkroom this week. It feels like forever since I’ve been at it. Or at least forever since my intention was anything other than trying out a new script. Settled for now are the countless negative adjustments that have been driving me crazy since before the summer. For now, I’ve made my peace with the digital part of my old school process.

When I was at Rehoboth, a neighbor at the Art Show mentioned the Analog Photography Users Group. And he added that I wouldn't be eligible to join since I'm a hybrid. It startled me at first. I had no idea. A hybrid.

The gum bichromate process was developed in 1855 but my negatives are digital. Which reminded me of the two kinds of wet plate photographers. There's the Sally Mann types who let come what may and the other type that dress up in Civil War outfits. Photography is the most democratic of arts!

A few weeks ago I printed 3 negatives using a script that I thought might be pretty close to right. Prints from two out of three negatives were excellent. So with a vague sense of confidence, I launched 8 new negatives earlier this week using that same script. I’m not convinced I won’t continue to tweak but … honestly, I just had to move on and get back to making prints. Enough with the digits already.

As usual, the first few coats are used to build shadow detail and not much more.

Those negatives represent a couple of different series I’ve been putting together over time. 3 images are from Ireland, adding several new images from my 2012 trip there.

Also, a new series taken from my theater work with Manbites Dog Theater Company over the past 25 years. I’ve thought about gum printing a select few images for a while. I’m aiming for a dozen or so images that transcend their theater origin and speak to more universal human experience.

Starting to look like photographs

See my website:  woodsedge.net