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Without Samy, there would be no Darkroom Cookbook. Sadly, Ira passed away on April 9, As I was wrapping up the content for the third edition, a remarkable event transpired.
Reece in turn introduced me to Michael Andrews, Richard C. Miller and his daughters, Janice and Margaret. Even though they were in the process of creating their own portfolio of this work for reproduction they generously granted permission to reproduce the notes with the formulae and a photograph of Brett.
This is a gift from Richard and his daughters to all photographers for all time. Introduction Today everybody seems to be a genius, but nobody can draw a hand anymore. Tripping the shutter only freezes a moment in time.
The moments recorded by Cartier-Bresson have become images only after they have been developed and printed in a way they can be presented and shared with others in magazines or through books and exhibits.
If your interest in photography does not go beyond recording moments in time, there is no reason to practice darkroom techniques. The question to ask yourself is, do you wish to become a creator of images?
If you do, then you must learn to develop and print your own work. Wynn Bullock was fond of saying that photography was 20 percent in the camera and 80 percent in the darkroom. Many of these skills have been overlooked by contemporary darkroom workers. Through The Darkroom Cookbook you will learn methods to alter and improve published formulas.
If you take the title of this book literally, you can think of yourself as either a cook or a chef. A cook follows a formula; a chef creates formulas by adding or subtracting ingredients according to taste. Some of the greatest practitioners have been cooks. Paul Caponigro still mixes and matches formulas to suit his taste.
Edward could be considered a cook, Paul a chef. Cook or chef? It is not important which, only that you are able to obtain the results you desire. To what end? To give to your work a life and expression that is not always possible and, at the very least, is seriously curtailed by dependency on packaged formulas.
But even packaged formulas can be used by a chef to great advantage. The manufacturers do not suggest this in their literature, but then the manufacturers are not artists.
The formulas and techniques in this book, while not exhaustive, have been chosen to aid the photographer attempting to express a personal vision. Some photographers may be surprised to learn there are so many.
I assure you this only scratches the surface. Why are so many developing formulas necessary? After all, if you get to know one or two formulas what else do you need, right? In the early stages of learning the craft this is a good idea. Complete knowledge of one or two developers is important, but knowing what else is available and how to make use of it to create the image you want is vital. Paper developers also abound in The Darkroom Cookbook. Each developer formula varies slightly in its rendition of blacks.
It is a good idea to select one warm-tone paper and one cold-tone paper and, over a period of time, test each of the other print developers. Keep a book of the resulting prints, which can be referred to when a given tonality is desired.
Keep a book of these also. These reference sources will greatly enhance your ability to communicate through your images. I hope you will never need to use it, but I have included it just in case! There are many others, but this one is a start.
If it should ever come to pass that silver papers are no longer available, this may be one way to continue hand-making prints. A simple procedure.
But without the necessary darkroom skills the image might not have survived. Seattle Street Photography, Courtesy of the artists. Bruce Barnbaum was drawn to photography through his love of the landscape, and as time passed his interests expanded into architectural subjects, to abstracts, and anything that he considered visually interesting. Although he photographs and prints both black and white and color, he is most well known for his black and white work as it is his area of prime interest.
He has been teaching workshops since , founding the Owens Valley Photography Workshops in and the Photographic Arts Workshops in He served on destroyers and submarines while in the Navy. After retirement he changed a photographic hobby into a career. His images are in black and white in the West Coast tradition and tend toward minimalism.
Jay Dusard Chapter 11—Print Bleaching. After teaching photography for seven years at Prescott College, Arizona, Jay Dusard was awarded a Guggenheim Fellowship to do view camera portraits of working cowboys, buckaroos, and vaqueros from Canada to Mexico.
The darkroom was a large closet in his home in Webster Groves, Missouri. At about the same time he began taking oboe lessons. His photographic hobby waxed and waned through moves to New York City, Parkersburg, West Virginia, a short stint in the Army Corps of Engineers, and back to his birthplace in Morgantown, West Virginia, to study engineering. His photographs of conductors, musicians, and guest artists appeared in many program booklets. He is retired and living in Tanner, West Virginia.
Richard Garrod Chapter 1—How safe is your Safelight? His photographs have been printed in photography publications, including books, magazines, catalogs, corporate annual reports, cards, calendars, posters, and appointment books. Henry makes photographs merely for the enjoyment of it and considers himself as the audience.
His work keeps him seeking the light, the design, and the order that is important to him. He set up a primitive darkroom in the cellar and was soon making contact prints. This kindled a life long love of black and white photography. After much experimentation, he created a new pyro developer he called PMK. About he had a one-man show and photographers who saw it immediately began to clamor for a workshop with his new developer.
Gordon taught many workshops during the s and decided there might be enough interest to write a book on the subject. The Book of Pyro was published in and was immediately successful.
Gordon has written for various photography magazines, predominately View Camera magazine. He has had numerous shows around the country and his work has been published here and in Europe. Sandy King is landscape photographer who prints primarily with alternative processes, including carbon, kallitype, and palladium. He is a well-known carbon printer and has conducted numerous workshops on carbon printing, both in the United States and abroad.
His black and white prints are held in museums and private collections throughout the world.