Quality Papers

[koraks]

I don't hear people talking about it much, but I lover Bergger Warmtone VCB Semi-gloss. I love the ivory tint and deep, rich blacks. While I haven't tried all the papers out there–nowhere near–I wonder if it's a somewhat unique product?

As it happens, I just did a test print on it yesterday. Indeed it seems like a very capable paper; I'll have to take a close look at it by daylight but my first impression is very good.

[dwross]

This might be the best time ever for silver gelatin papers. Sure, they're VC and costly, but there are not only choices, but very high quality choices. Everything has its season. I'm going extinct myself someday.

I feel a whiff of extinction breeze myself sometimes.

There is no doubt that older photographers are less inclined to learn new skills. Digital has been a steep enough climb! Let's face it. We're just about done for. And, as you say, right now is a good time for materials. Anyone who's been around for a while knows that is unlikely to persist.

My hopes are that a few younger photographers, still developing their lifelong vision, will recognize that control of their materials is the only way to build a lifelong portfolio. Others will understand the value of a niche to call their own. Some will simply want to go deep-in learning analog photography. Making handmade silver gelatin emulsion prints is no different from making Pt/Pd, carbon, gum, cyanotype, albumen, etc. Each informs us of the rich history of photography as an art form, which in turn can inform our own art. 2 cents, d

[koraks]

While I really like going through the motions of making things myself and learning new techniques, I realize very well that every hour spent on doing these things is not spent on the image itself. I think most artists are wise enough not to get lost in technique and use whatever is available to their advantage. Now is a good time for silver gelatine because it's there. In the future, there will be other things.

[bob carnie]

I feel a whiff of extinction breeze myself sometimes.

There is no doubt that older photographers are less inclined to learn new skills. Digital has been a steep enough climb! Let's face it. We're just about done for. And, as you say, right now is a good time for materials. Anyone who's been around for a while knows that is unlikely to persist.

My hopes are that a few younger photographers, still developing their lifelong vision, will recognize that control of their materials is the only way to build a lifelong portfolio. Others will understand the value of a niche to call their own. Some will simply want to go deep-in learning analog photography. Making handmade silver gelatin emulsion prints is no different from making Pt/Pd, carbon, gum, cyanotype, albumen, etc. Each informs us of the rich history of photography as an art form, which in turn can inform our own art. 2 cents, d

Hi Denise

I think that if I was a young artist starting out today, hand coated emulsions would be the route I would take now in 2019 vs relying on the Manufacturers to supply me the product. I say this for Gum, Pt Pd, Carbon Transfer, Cyanotype and Silver.
I have just been introduced to Gum Oil printing and I think I would go down this route if I had to start again.

You hit the nail on the head regarding a life long vision, this is what curators , gallerists and collectors are looking for and not flash in the pan groping for the next best image on Vellum with cardboard backing.. I see this as a problem for serious workers as they try to be current and really never learn how to control any one process.

I feel its taken me 40 plus years to learn CPrint, Inkjet, Silver , and now am cutting my teeth on Gum and pd.
You are exactly right on with your methods and am pleased to know you are still making your emulsions and I hope people buy your books and support all your efforts and hand coated silver is indeed a process worthy to be included in the great processes.
Bob

[Tim V]

Dry down is pretty large like other warmtone papers, but when the print is right it's amazing IMHO.

[dwross]

Hi Bob,

I agree completely with your observation about what curators, gallerists and collectors are looking for. I wish I had had your advice when I was starting out. Of course, most photographers want nothing more than the latest digital camera technology and the best inkjet materials available at any given time. Totally rational and understandable. My hope for them is that they find a vision that truly transcends technology and available commercial materials. It may be harder than most photographers starting out realize. But, there are a LOT of really talented, determined young photographers. I hope I live long enough to see the mature portfolios of a few of my current favorites.

[bob carnie]

Hi Bob,

I agree completely with your observation about what curators, gallerists and collectors are looking for. I wish I had had your advice when I was starting out. Of course, most photographers want nothing more than the latest digital camera technology and the best inkjet materials available at any given time. Totally rational and understandable. My hope for them is that they find a vision that truly transcends technology and available commercial materials. It may be harder than most photographers starting out realize. But, there are a LOT of really talented, determined young photographers. I hope I live long enough to see the mature portfolios of a few of my current favorites.

You and I both grew up in photography during the silver era, and during this period Kodak was not quite open about the archival capabilities of C print and for some of us Me, I spent thousands of hours making prints that today are not around, it was almost enough to make me want to quit. From 1991 on I started on a quest to find more permanent solutions starting by building a small silver printing shop, which today includes gum, pt pd and ink on paper (inkjet) . I am hoping that my work will last the test of time so I do all my personal work with gum over palladium, and over the last 9 years am on a long term mission to create a body of work that I can leave behind.
I spend a lot of time these days with younger artists and am please to see some of them working in very permanent processes and making the print from scratch so to speak.

[Corran]

I spend a lot of time these days with younger artists and am please to see some of them working in very permanent processes and making the print from scratch so to speak.

Unfortunately these days younger photographers/artists are hard-pressed to be able to afford equipment and materials for making silver prints. I was lucky to get in early before the real resurgence hit and bought most of my DR gear and cameras before the prices went up. It's increasingly difficult to find good used enlargers, and new ones are astronomically expensive. Couple that with the common plight of being unemployed or underemployed, and folks just can't swing it. Not to mention the necessity of a home darkroom for most not living in a big city that has a community DR (which still costs $$$).

And of course paper is very expensive, once one acquires the space and equipment to print!

I personally know many young photographers who cut their teeth on silver printing while in college, working on a BFA, who would love to do more, but simply can't afford it and/or don't have the space. I occasionally offer my DR to friends to come use so they can continue printing, and also develop b&w and color film for them to help them keep shooting film.

This is why lower-priced cameras and DR gear is interesting and popular - think the Intrepid line, soon to have an enlarger "system" in conjunction with their 4x5 camera. Hopefully innovation continues in the market to further help those who want to pursue this can, without spending a fortune.

[dwross]

Yes, unfortunately photography can be an expensive endeavor. Digital cameras, inkjet printers and ink are all expensive. Any good printing paper, silver or inkjet, is expensive. However, if a photographer "upgrades" his or her camera every year or so, the cost of digital can easily outpace film.

One last reflection on all this: analog photography isn't all or nothing. Sure, there are photographers who are quite ideological about analog. "Film! Do or Die!" types. However, most of us own digital cameras, even if our camera is also a phone. Digital files, no matter the number of megapixels, can make splendid digital/inkjet negatives for contact printings any of the alternative processes. None of the processes, including silver gelatin, actually require a full time, full scale darkroom.

I guess what I'm trying to say is that money and/or space are not limiting resources for making (non-digital) prints. The drive to do the work? Yes, that can definitely be a limiting resource. At the end of the day, we make the art we truly want to make. None of us would want it any other way.

[Drew Wiley]

The average gallery or curator seems a lot more interest in the latest rank gimmick than bothering to do their homework, and can't tell the difference between a xeroxed image and a hand-coated emulsion on the back of a rusty shovel. Do what enjoy and do well. If it pays in the long run, great. But don't count on it. It's all relative. Silver is expensive, gold is expensive, platinum is expensive. Ink is cheap but gets marked up 4,000%. I'm cooking up a cheese sauce for 8-ply matboard for a new pizza franchise, unless some curator thinks it's fine art first.