Friend and RISD colleague Jan Baker passed away on April 28. I first met Jan in 1995 on an assignment for Quix magazine to photograph the interior of her Benefit Street home. She graciously let me wander at my own pace through her beautiful, art filled home. Her home was not only filled with art, it was itself a work of art. Jan’s sense of art and design seemed to be expressed in every corner of the house. This was, as I would soon learn was just how Jan lived her life, imbuing balance and beauty into everything she touched, a thoroughly artful lifestyle. Although our paths only crossed infrequently, Jan always greeted me like an old dear friend. Jan, your warm smile will be missed.
In case you missed it, the lovely Don't Take Pictures magazine did an online feature of my piece on baseball, photography and getting out of a rut. Take a look:
By demand and for my own necessities I have recreated my tried and true printing form. I made this years ago in some graphic program that no longer exists and have been making copies of copies all this time.
In use it's pretty self-explanatory. The diagram represents the enlarger with a line for the negative carrier (glass, full neg etc.) and a line for the lens used. I write the image size in the trapazoid shape, and there is a line for the enlarger height.
The boxes on the right are space to doodle the image (if necessary, mostly I just draw key features if at all) and most importantly the burning and dodging pattern. I found out quickly that the back of a print is a really bad place to store this information. I collect these sheets project to project and store them in the negative file, or if the print isn't part of a project, they just live in a file I keep in the darkroom. Not fancy but it works for me. Maybe for you too.
Five Frames with Erik Gould on Emulsive.orgRead More
A look at the unused spaces within Hope High School.Read More
Develop your own film? Here's a common development issue that can pop up from time to time. It's a streak of extra density running across the short dimension of roll film, visible especially in light areas such as the overcast sky seen this example. It can happen with both 35mm and 120 size film, this one is on some 120 Ilford FP-4+. I've cranked up the contrast a bit in the scan to make this devil more obvious.
What is the cause? This problem occurs during the initial seconds when developer is being poured into the developing tank, especially with 4 or 8 35mm reel size tanks. As the tank fills developer comes in contact with the film before the reel is totally immersed. The time between contact and full immersion is long enough for development to begin in the area of contact. This creates uneven density in an area where it should be uniform. Not good.
Happily I can think of many solutions to this problem. Let's dive in.
- 1. Get fundamental. First thing is to to check your pour technique. You should be aiming to have the tank filled within 15-20 seconds. Tip the tank slightly as you fill to allow air to escape and then pour pour pour. Then cap the tank and agitate with vigor. If that doesn't work:
- 2. Give up. Send your film off to a lab and let someone else worry about it. Upside: More time to do other things. Downside: additional expense and the loss of control over a crucial part of your work process.
- 3. Give in. Accept that an occasional streak or spot, bleep or bloop is just a natural part of an organic process and just proves that your pictures aren't made by an unfeeling machine but by a flesh and blood person keeping it real. Downside: some people won't get it and will just think you're sloppy.
- 4. Give over. Figure that it will happen once in a while so shoot only dark and busy images that will hide a random streak, or if you do wish to photograph some lovely light grey tone, take a page from your cousin the "professional" photographer and spray and pray. Downside: wasting film and becoming your cousin.
- 5. Modify. Change something in the hope that the problem will go away. For instance try a different film type. Maybe HP-5 will be ok if FP-4 wasn't. Downside: giving up on a film that you otherwise like, creating limitations for yourself as you eliminate film types one by one, still experiencing the issue since in fact you're not actually addressing the problem.
- 6. Slow down. Change your developer or developer dilution so it's less active. In theory this will give you more time before development begins. Downside: Development time is longer. There may be changes in image quality that you may not care for. Difficult to know how much dilution is enough before you risk exhausting the developer.
- 7. Scale down. Develop all your film one roll at a time in small tanks. Downside: takes much more time that you might wish to use to do other things.
- 8. Scale up. Get a processing machine like a Jobo. Downside: expensive, takes up more space, not very portable.
- 9. Presoak. You will find a fair amount of debate over the efficacy of presoaking your film in water. On the one hand the manufacturers say it's not necessary as modern films have incorporated surfactants to encourage even development. On the other hand many people have had complete success using a presoak, including Ansel Adams. Jobo recommends a presoak for their rotary process. The theory is that a presoak will encourage even development as the water absorbed by the emulsion will be displaced by developer slowly, with the added benefit of bringing the tank to the process temperature.
Personally I used a presoak for many years (largely because of Ansel's recommendation) with little issue. Oddly, one issue I did have was with X-tol developer in a rotary Jobo processor, I was getting the dreaded "wagon ruts", bands of uneven development running the length of the film. Jobo support recommended skipping the presoak which did in fact eliminate the problem. But I digress. For many years now I've not used a presoak but I feel pretty safe in saying that there's little risk if you do. Downside: one more step added to the process, some small adjustment in development time may be needed.
- 10. Get a lift. This one requires the fewest changes, but does require that you develop your film in an actual dark room and have a second developing tank on hand. A lifting rod is very useful, but not completely necessary. For the big 8 reel tanks (and larger!) this is the best method to ensure not only even development but to be certain that the film on the top of the tank is being developed for the same time as the one on the bottom.
How to? Place your loaded reels into one tank, using the lifting rod if you have one. Fill the second tank with developer. Turn out the lights, open the film tank and lower the reels into the developer, smooth and steady. Cap the tank and agitate as normal. Now you can switch on the lights and continue as usual. Downside: you need a darkroom.
Issues with film development can creep into the process of even the most careful worker, or lab. Hopefully one doesn't cost you a once in a lifetime image. If you take the time to understand the problem and to review the fundamentals you should be back up and running with confidence in short order.
A Christmas Eve post for all my friends at the FP-4+ Party & to good people everywhere.
Erudite Vulcan, quondam forger of alliances, uniter of distant lands, close confidant to power brokers and the crafters of contract, acquisition and merger. No boardroom portrait was complete with out you, shoulder to shoulder you stood with the principals, yet discreet, name never mentioned. There was a time when no wheel could turn on the nation’s rails without you, but that was long ago.
Now you find yourself struck from the masthead, unwelcome in the corridors of power, banished from the corporate style guide. You’ve been done in by the manufactured word, the brittle acronym, the awkward portmanteau. Reduced to sleeping rough on a park bench and to endure the worst indignity of all: spelling your name out in full.
How the mighty doth fall.
Proud to have an image included in the 2016 edition of NSEW by the Film Shooters Collective. This is a great collection of work, have a look:
Just in time for the holidays! I collected some trash and made a magazine which you can order on Blurb. What a thrill for you.
Jane Gerhard wrote a very thoughtful review of our performance of Silvered for the RIHumanities blog. Read the full post here:
Walking with ghosts along the Blackstone Canal.Read More
This Film Shooters Collective show closes today so it's high time I post about it! I am proud to have an image included in this really strong group show at the Kranzberg Arts Center in St. Louis.
Thank you to everyone who worked so hard to put this together.
Want to shoot large format hand held? Want to shoot wide open and large format and hand held? Want to rock it like it’s 1929?
For answers to these and other burning questions check out my introduction to the Graflex on the Film Shooters Collective.
Getting a problem wrong and then right.Read More
Earlier this year I did two things I never do. I entered a photo contest and I showed a contact sheet. This was for 120 Film Love Day. I don't regret it because not only did I win second place and get a 6x9 hoodie, but I also get the chance to share and connect with some cool people who run a great site with a great spirit based in Tokyo. Tokyo seems amazing to me, not only as one of the world's great cities but as a place where photography and film photography thrives. I hope to get a chance to visit one day.
They gave me a spotlight on their blog, for which I am thankful.