Hi Jnantz,
It does not answer my question per se but it is still a great answer. It opens the question up even further to consider different aspects of the decision making process. Still, it is the most immediate technical decisions that interest me the most. Those technical questions are what I am working on now.
-Andrew
I would just state that in general, exposing one stop more than the film speed suggests (i.e., set your meter
to one-half the stated box speed), and developing gently (less than the usual recommended time from the
manufacturer) may be a good starting point. Sensitometry and fine art photography are two separate things,
though each are worthy activities.
If it's "in the negative", or in other words, if you have good density in the dark areas, and the highlights aren't blocked
from overdevelopment, you can usually make it look any way you want in the printing process. YMMV and good luck.
hi AndrewOriginally Posted by Andy F
you might consider making a flow chart to show all the decisions you might or might not have to make
it could open your eyes to parts of the process you hadn't thought about.
cause there are a TON of decisions..
I used to read people on a different site and every sheet/roll of film was different, a different brand. a different light meter, a different camera a different lens, a different way of interpreting the light / exposure, a different way they developed it (agitation scheme or no agitation at all ) different developer and developer dilution ... a different paper and developer combination, straight silver, Lith, different toning techniques ... it was dizzying to watch, there was no constant in their work, no consistency of process. some (the photographers) got extremely frustrated, others had a blast. you probably have read/heard people suggest using 1 camera 1 lens 1 film+developer and paper combination for a year and to be actively making photographs as often as you can. To be honest I think this is the best way to learn. "talent" whatever that means can only peek through once using the camera and technique is 2nd nature. its probably also the reason why someone who is always quoted said "your first 10,000 photographs stink" ( I paraphrased ).
good luck! and
don't forget to have fun..
Last edited by jnantz; 4-Sep-2023 at 07:45.
Well, if that is the case you would be better off going digital and getting it over with in a couple months.its probably also the reason why someone who is always quoted said "your first 10,000 photographs stink" ( I paraphrased ).
good luck! and
don't forget to have fun..
maybe that would be helpful regarding composition and framing and if one is mindful of what they are photographing that is a big part of what photography tends to be, but if the point is to use film and make paper prints
than it's not going to be much help, unless those paper prints were done with digital negatives on platinum or VDB or cyanotype or albumen or salt or ... . Then that detour takes time and practice…
but as you know dijital is not quite the same, and not sure but with digital it probably is like 50,000 since 15 seconds of fame is now like 2 seconds ..
Last edited by jnantz; 4-Sep-2023 at 13:39.
At our house, we have a copy of a Sommer monograph published by the CCP (which holds his archives). It was a new copy; when I unwrapped it I realized that the book is an art object itself and should be handled with white gloves on, in true conservator's style. Which I have yet to do; perhaps it's time. I'm not completely unfamiliar with his work- I well recall several images on display at the Eastman House long ago- but this thread has reminded me to take a closer look.
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