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

The beguiling negative.

     I should have known better.

     A few years ago, and for the first time since I made my very first gum print in 1991, I felt like I was really starting to get it. Really getting on top of the process. I thought about the old adage about mastery coming after 10,000 hours, or in my case, maybe after brushing out my ten thousandth layer of gum mixture. After all the ups and downs of working with the process, I felt like I was really in control. I was the boss of it, as children are wont to say.

     Ah, the pride before the fall…

     The gum process involves a complex cast of materials as well as a host of other physical variables that, when played out well, produce stunning photographic prints. Otherwise, it's not hard for gum prints to turn into a muddy mess. Like Demachy, the gum master, wrote: “No process under the sun…can be responsible for more complete inartistic effects than the gum bichromate process.”

     Ok, so a few years back I’m starting to feel really good about my printing. I’m playing with the variables in unprecedented ways from one coat to the next and I’m getting interesting, replicable results.

But there was one final frontier I wanted to conquer. I've never really felt that great about the negatives I work with. There’s a saying in the mountains of North Carolina, particularly around the ski slopes, that if you can ski NC slopes you can ski anywhere.

     I’m not a skier but I’m pretty sure that’s because the conditions are so lousy there that you learn lots of coping skills that really come in handy when you get on a decent slope in say, Vermont or Colorado.

What I'm saying is working with my negatives has made me a more skilled printer over the years

     Gum prints are contact prints. That means the negative is the same size as the finished print, hence the “contact." That's unlike a standard silver gelatin print that's made from a camera negative then placed in an enlarger in the darkroom and printed. With gum, there is no enlarger. So, I have to make an enlarged negative from the original negative if my finished print is going to be larger than 2 ¼” square, which is the size of most of the film I work with.

     Making that enlarged negative was tricky enough when I made them in the darkroom but about 7 or 8 years ago, the last large dimension duplicating film factory in the world had shut down and the possibility of continuing to make enlarged negatives in the darkroom using old school chemistry and all that that entails was coming to an end. I bought what I could find, but the end was clearly in sight.

I’d heard of digital negatives before then but only scoffed at the notion. But time and conditions can change a person. Dan Burkholder had written a book in 1999 called, Making Digital Prints for Contact Printing. I bought a copy and before long had purchased my first pack of Pictorico OHP. I’ve been wandering in the desert ever since.

See my website:  woodsedge.net