Don Worth...film developer?

[steve simmons]

This is the type of question that is all to often asked. There is always the search for the golden formula. It is the same as asking how long should I develop my film in X or Y, or what is the best film, or what EI should I use, etc.

I am sure that over the years Mr. Worth has used a variety of developers. None of them were the magic formula.

If you want to do work the quality of Worth or other masters you have to do a lot of hard work. You have to do your own film speed tests and your own dev. time tests. You should stay with the same film, film developer and paper for a long enough time to learn how they work. Joining the film of the month club, or the developer of the month club won't help. Also, go to exhibits and see how much a good black and white print can glow.

Then devote yourself to the craft for many years. Mr. Worth has been working at this for 40+ years.

steve simmons

[Michael Veit]

Sorry, Steve, but I find that silly. Nothing wrong with asking what tools went into some kind of work -- even getting the answer won't tell you how to use them. That's where the hard work comes in.

I was just marveling at some of the multi-exposure work you've done in the "samples" section of your View Camera book. Amazing stuff. But knowing that several exposures were necessary at different times of day or under different lighting conditions didn't hand me any kind of "magic bullet" at all. I'd still need your kind of hard work and experience to get comparable results.

[Mark Sawyer]

I suspect that whatever developer he used on a particular negative, you wouldn't be hard-pressed to find ten thousand embarrassingly bad negatives made by other photographers, and probably a few by Mr. Worth, using the same developer.

(But I just know I could play guitar like John Hiatt, if I could only find out what strings he uses...)

[steve simmons]

Michael,

I just find a lot of questions in these groups about what is the best film, how long should I develop my film, what EI should I use, etc. when I believe that people need to do their own testing. I also find people asking these questions just before they go on a trip.

steve simmons

[Wayne]

I am going to do something I rarely do -agree with Steve. While he's right, its still a perfectly legit question, and his is only one of many legit answers. Well it isnt really an answer, but a legit comment. Still, most people have to find out for themselves that even after they copy all the techniques of the Masters, they still arent one. Who here hasnt tried it? Thats how we find out that technique is a great ingredient but it sure isnt a meal.

[Bobby Sandstrom]

I find it extremely frustrating to have to explain myself to people who put words in my mouth and assume they know my work ethic. I asked a simple question. If you don't know the answer, keep your thoughts to yourself. Otherwise you risk sounding like a fool.

Here's what I didn't ask.

1) How can I make images like Don Worth's?
2) Should I stay with the same film/developer/paper for a long time?
3) How can I join the film of the month club?
4) How can I join the developer of the month club?
5) Should I go to exhibits to see glowing prints?
6) Should I devote myself to my craft?

I recently performed the Tchaikovsky Piano Concerto here in Los Angeles. You might say I know a little bit about music. Steve, if I happen to prefer the sound and playability of a New York Steinway vs. a Hamburg Steinway, should I play the Hamburg piano until I like it? Until I can make it sound kinda like the New York? Or, once I discover I like the New York model, should I make a note of that and use that for my concert. I know both Piano's are awesome, both have helped countless great musicians produce beautiful music and that simply by buying one Mark, you're not going to play like Horowitz. However, that doesn't make them less different. Give me a friggin break here. You guys insult my intelligence. I asked a simple question here. You lead me to believe I'm to assume you married the first girl you met because you wouldn't think of looking around a little to try and find someone compatible with qualities that please you. Afterall, a woman's function is the same from one wife to another. You can tease those special qualities out of her right Steve? Take a look at your friends' wives. See what they do, and make your wife do the same thing.

I tried to pose my intial question in order to avoid any know it all answers. But, I guess I failed.

Eric, Merg, and Michael.. thanks for your help. And Merg, that's what I kinda expected he used and why I asked.

[steve simmons]

Bobby

If you back up a little and read my answers without any emotion you will see that i was responding to a bigger question than just yours. I was trying to make a point that asking such things as...... really is little value. You took the answer more personally than I intended it. If you were insulted I apologize.

steve simmons

[Bobby Sandstrom]

Steve I accept your apology. I believe a person that is committed and passionate about his craft, about his photography soon discovers the pitfalls of constantly changing, films developers and papers. How quickly one can become tangled and lost in all of the variables really never knowing where you stand. So, you learn control. You learn how the curve of the film relates to the curve of the paper. You learn how to control these curves through various means, and you start by narrowing down the variables, ie, the film, developer, and paper. And then you continue learning and trying new things for the rest of your photographic life. Because I've noticed a certain aesthetic with regards to prints I've seen made with Pyro, I've been toying with the idea of using it myself. However, because of all the information and misinformation floating around the web with regards to it's toxicity, and because I have small children nearby, I've avoided trying it. However, I've recently purchased an 8x10 camera and am now starting to put it to work. I just returned from a trip up to Carmel and having stopped in at the Photography West Gallery, I was shown Don's soon to be released book. For those who haven't seen it you're in for a real treat! His images glowed like no others I've seen before... from anyone! Anyway, because I'm now getting serious with my 8x10, I figured I'd standardize on a film/developer combination that would probably be different than what I'm using for my 4x5 stuff being as I plan to contact print. This opens up some new doors for obvious reasons. I had a feeling that Don's negs (from the book) might have been processed in pyro. And, if I discover they were (I put a call into him) then I will do the same. I must admit I hope they weren't as this would save me from making the decision to work with pyro. Experience is what you get when you don't get what you want. I'm a firm believer in discovery, in trying things yourself. You learn a lot that way. However, because this is a safety issue, I'm approching it in a little different way. Besides, I see nothing wrong with standing on the shoulders of giants when you can.

[Patrick Raymore]

Hi Bobby,

Don is indeed a wonderful, intense and somewhat reclusive photographer. At the time he made most of his plant photography he used a 8*10 camera, and plus-X developed in HC110. Most of the word was done with a 240mm Fujinon, with a few with a 300mm, and 480mm fujinon. A 600mm Apo tessar was used for his long landscapes. He regularly exposes his low values as high as Zone IV and pulls his development so his high tones go no further than Zone VII or VIII. I hope this was helpful.

[Kerik]

I am so glad to hear about this book! Don Worth is one of my faves and it's about time his work got some more attention.