Simplicity and the Silver Process

[Merg Ross]

Frank's query regarding a sheet film washer renewed my thoughts on how really simple the large format process can be. In reply, I commented that my negative washer for the past fifty-nine years is an inexpensive tank with a hole in the bottom. I still print my early negatives, some that passed through that washer in 1953, and can assure their archival worthiness, at least archival in my lifetime, which is all that matters for negatives. Prints are a different matter, and they have always received the currently accepted archival treatment. I periodically check with collections housing my work, and my early prints chosen by Beaumont Newhall for Eastman House in 1959 are reportedly in fine shape, as are subsequent purchases elsewhere.

My advice regarding the process of photography has been, "keep it simple". Simple in process, and also in choice of equipment. The latter is simply a case of choosing equipment capable of capturing the vision of the photographer. For many years I made my living at photography, most notably as an architectural photographer with a very fine list of clients. During that time, I was using several inexpensive Calumet view cameras of differing nomenclature. To complement them were the best lenses of the day, but not the most expensive Linhof or Sinar camera available; the latter would not have made a bit of difference to me while in the field, nor to the clients purchasing my work.

As this thread title implies, I am addressing the silver process. It is the only process that I know, so my advice of simplicity will be of little value to those seeking or using alternative methods for presenting their vision. However, if you are a novice in this niche, let me suggest placing the greatest emphasis on the finest lenses, film and paper. Developers will always be available by your own hand, either from existing formulae or experimentation.

Keep the process simple, and spend the bulk of your time making images. Have fun!

[Daniel Stone]

amen

[Gem Singer]

That's exactly what I am referring to when I tell folks that "photography is not rocket science".

Follow the principle of K.I.S.S. (Keep It Simple Stupid!).

Thank's for the reminder, Merg.

[Merg Ross]

That's exactly what I am referring to when I tell folks that "photography is not rocket science".

Follow the principle of K.I.S.S. (Keep It Simple Stupid!).

Thank's for the reminder, Merg.

Thank you Gem, I think we all need the reminder now and then. The process can be as simple as one wishes, and there is no "silver bullet".

I was thinking of you (and Sandy) this afternoon while souping new negatives in Pyrocat HD. They look good, the proof will be after printing in the morning tomorrow.

Best,
Merg

[Jim Fitzgerald]

Merg, It really is simple if you think about it. Learn your craft! Make it part of YOU! It really is simple if you keep it that way and do not over think things.

[Henry Ambrose]

I also love the "directness" of darkroom work and can't really add much to what Merge wrote.

[David Karp]

So simple that an 11-year old can do it, and continue to do it for year after year.

Thanks for the reminder Merg.

[John Kasaian]

I like working with the silver process. I think the enjoyment I derive from working within the medium is a genuine part of the finished print, perhaps unseen but a part of the print none the less.
The simplicity is something I find very attractive and that played a major factor in getting me interested in LF---there is less "stuff" to get in the way when shooting and making contact prints from 8x10 negatives compared to all the pricey gizmos I had or felt I needed to have (but didn't) when I was married to the Hasselblad system.

[bob carnie]

Yesterday I went into the darkroom at 4 in the morning , I am exposing a lot of film lately, using a 100 year old century camera and then solarizing two 8x10 sheets at a time, using a 60 year old point source light , some old 8x10 hangers and a few stainless steel tanks, all chemistry was mixed from scratch. With the music on, knowing probably no one in my neck of the woods was working I had great satisfaction of the simplicity of what we do to create images.


Merg, I am dying to ask you this.. Is it true that Brett Weston would print at night because he could open the doors and let the fresh air come into his house while listening music?

I seem to recall this story about him , and I always remember mental image of him printing and how I would someday like to live in the country , open the doors and print all night.

[Merg Ross]

Merg, I am dying to ask you this.. Is it true that Brett Weston would print at night because he could open the doors and let the fresh air come into his house while listening music?

Bob, it is true that Brett was always an early riser. When I first met him he was usually up by 4:00 am, and when at home, started work in the darkroom (after some very strong coffee).

Later, when he was living in Hawaii, he started getting up even earlier, often at 2:00am. So, his so-called night sessions were in fact early morning sessions. In this early darkness he did open the darkroom windows and door while printing.

The music was reserved for the main part of the house to not disturb the sleeping guests. He had a fine sound system, and Bach and Vivaldi were among his favorites.