Negatives printed by someone else?

[Andrew O'Neill]

I used to print for a railroad photographer that specialized in steam. Beautiful work that he did in China, before diesel took over. Anyways, it got to the point where I was spending most of my time working on his stuff rather than on my own. That was the end of that. For my own work, I wouldn't dream of having someone else printing for me... while I'm still alive, anyways!

[Jerzy Pawlowski]

It is individual as well as type of photography matter, however based on your post and question formulation I think a large portion of your enjoyment and artistic input would be realized during darkroom hours. I would keep shooting negatives and for time being I would just produce contact sheets (this type of setup in the kitchen should not drive you crazy). Hopefully in near future situation will change and you will find space for darkroom. Anyway, think positive: it is bad to have no real darkroom but it is real frustrating having nice darkroom and not too many negatives to print.
You are in interesting area for landscape photography. I have a friend who travels there quite often to take B&W photos.

[IanG]

I have been printing for **others** since 1976 when I graduated from photo school, I also print for myself.

Believe it or not there is over 40 different printing styles one can learn. The best printers IMO learn the different styles, and like the chameleon change their printmaking to match
a photographers wishes. A good printer does not try to place his/her stamp on others work, in fact that is the kiss of death if you plan to make a career out of printmaking.
For my clients who wish I will sign on the print that I made it .

Like Bob I started printing for others in the 1970's in my case about 5 years earlier, I printed for one photographer for over 30 years until ill health meant he was no longer mentally capable and in hospital.

I'd echo Bob as well about printing style, in fact it's fun printing in ways you might not use for yourself.

Ian

[BrianShaw]

I'd echo Bob as well about printing style, in fact it's fun printing in ways you might not use for yourself.

That is one of the benefits I enjoyed by having someone else printing for me. I liked seeing the print as I instructed, but often I'd get a second print done completely differently... in a way I might not ahve ever imagined. Sometimes I liked it and sometimes not so much. In one situation my printer friend asked if he could keep the version I rejected to put on the wall of his home. That thrilled me.

[Lungeh]

I can't believe that no one has used the quote "The negative is the score, the print is the performance".

For print/publication, we always printed each other's stuff, that's one of the styles: a print where the faces are visible, tones that can be shot on half-tone screens. Any competant darkroom hand would turn out the same prints.

For art, the print is the final and crucial step in the presentation. If you are OK with sharing the stage, that's fine. The rest of the band should get credit also.

On a practical basis, I think it's important to know what your negative look like and if/how they are printable. You may think "I was there, I took the picture, I know it should look better than this", when you should be learning to improve your whole process (framing, exposure, depth of field, whatever).

Just my two cents.

[John Olsen]

When I lived in Japan I had no choice but to find a master printer for my photos. After several disasters I found a master technician a mere 8 hours round trip from me. Kubo-san did beautiful work and doubtless is a far superior darkroom technician compared to me. However, his vision was at a lower contrast than mine. As much as I appreciated his work, I didn't acheive my vision of certain shots until I returned to the US and built another darkroom. The lesson is, you won't be executing your vision until you do the whole process from start to finish. This is harsh, but if you don't do it yourself, it's not your work.

[Brian C. Miller]

Should I focus on making negatives and let him make the prints?

It is true that someone may be a far better printer than you, and you will never be their equal. Thing is, though, is that you should develop enough printing skill so that you can rough something out, like a sketch. Then you can take that sketch over to your friend for final printing. Once you do that, you will have far better input on the final product.

[Jody_S]

I was lucky enough to find (and be able to afford) a master printer when I was doing nature photography in 35mm. I don't think I would have kept at it more than a few months if all I ever saw were crap prints from Wal-Mart (I've never really printed color). I don't feel that the resulting photos aren't 'mine' in some way.

[BrianShaw]

i was lucky enough to find (and be able to afford) a master printer when i was doing nature photography in 35mm. I don't think i would have kept at it more than a few months if all i ever saw were crap prints from wal-mart (i've never really printed color). I don't feel that the resulting photos aren't 'mine' in some way.

amen!

[Daniel Stone]

Many well-known photographers have had "their" printer(s) work for them over the years. Some folks just can't do the darkroom portion, but the capturing, that's their specialty.

A guy I have a assisted a few years for now, here in LA, had "his" printer at a pro-lab back in the film days. He knew how he liked his stuff printed, and the 'default' print that was returned was usually correct, this included some minor dodging/burning if necessary(to the printer's eye).

I've done some prints(b/w and color) for others before, simply because I use a communal darkroom, and others saw me using it. I charged for time and materials, but the people who asked me to print for them got back results they liked, so I guess I did alright ?

-Dan