It's been a year of many changes that came with a move from Istanbul to Düsseldorf. Photographically, without a darkroom, it's been a year of almost only digital photography with a single old DSLR. I've enjoyed and was often amazed by the capabilities of the digital sensor, and have tried to come to grips with raw converters and other software. For the time being I've stayed away from proper digital printing though, only using a Canon Selphy for the occasional 10x15 cm print of barely acceptable quality.
But at the same time, I've found a new appreciation for film and the darkroom. Simply because it can be completely, inherently detached from the MADNESS that social media and AI have become. Still, I'm a bit surprised that I don't miss film & darkroom as much as I thought I would. I was tired of having printed for decades, with the prints just piling up in boxes with no other use. That weariness still lingers. But we'll see: I find myself constantly searching Ebay for a good and reasonably priced enlarger, so the spark must still be somewhere inside me.
The only black and white film I shot this year was high up on the Anatolian plateau in Turkey. I was holidaying on the Aegean coast in the summer when I received some disturbing news which caused me to embark on a two-day drive across the country. On the second day, heading south on a meandering and deserted road I saw puffy clouds on the horizon. They were rising from the Mediterranean Sea, 1500m below that horizon line! I was so mesmerised by the view that I pulled over, set up the tripod and exposed several frames of FP4+ through my Leica M6 with the 50mm Summicron...similar to the iPhone pic below. That film is still in Turkey, waiting to be developed.
And that's about it. Next year earth will continue its journey around the sun, light and shadow will move across our lives in their own wonderful ways, whilst we go on about our own little journeys, hopefully in good health, with our loved ones around us.
Let me end with a quote from Montesquieu: "We must create a happiness that can follow us in every age."
Hi Omar - firstly, please excuse the tardiness in not having commented before now, but life has been up in the air since Christmas and I've no idea when it will come down again.
ReplyDeleteIt seems that you and Bruce are walking similar paths - yours through circumstance, his through choice - indeed his swing has been so intense and enthusiastic that I doubt he'll ever venture back into a darkroom.
But you though - you are a damn good printer - don't forget that; I know that printing can be difficult (not least because of the manufacturers assume that everyone involved in traditional photography is a bottomless pit of money) but in the end, that effort has to be worth something, if only as a testing of your own tenacity and spirit.
I find myself adrift on an empty sea of inspiration at the moment, but I am sure it will come back.
I think we have to remember as printers, the sheer pleasure of seeing that image emerge under the red light and then when the main lights are on, that realisation that we've hit it. OK, I know they're probably destined for boxes, but all the same, I think that if all there was for me was a digital camera, I would probably stop - I can't say more than that.
Stupid? Undoubtedly, but I've never been one to follow the herd and even if I do stop photographing all together, at least I am stopping on my own terms and not because, of I dunno, I can't open the file/the cost of storage has increased beyond my means/inks are now crazily priced.
Photography in the traditional sense is tough - a damn sight harder than snapping on your phone - I kind of feel the ease of doing that denigrates the purpose - the images lose all meaning to me.
Is this the meanderings of an old git? Who knows.
Anyway, it's nice to have you back - more posts please.
All the very best to you and the family!
Hi Phil. Thanks a lot for your thoughts. As always, much appreciated. I hope all is fine with you (and whatever is in the air lands pretty soon).
DeleteYou know, if someone would ask me "tell me just one thing you're really good at" I would without hesitation say darkroom printing, I'm that confident about it. I hope that doesn't sound like bragging; it would be my honest answer. Along that line, I think a darkroom will happen at the earliest opportunity, in my view it's just too beautiful a craft to be abandoned completely. But still I'm glad I'm doing this gap period. It gives me plenty of time to try out and evaluate other things.
I just hope that Ilford get their act together in the mean time, because I was despairing of those mottling MF rolls (still hearing from time to time that people continue to experience it).
Take care, and I wish you a speedy return of inspiration!
Hi Omar - firstly I think you have every right to use that phrase about yourself - I think you're a truly excellent printer - a master of greys, if you don't mind me using that term. There's something about your prints that reminds me of the golden days of printing and I can't pin my finger on it, but it is a classic look, superbly executed. You could easily work at it - we both missed our vocations don't you think?!
DeleteI hope you can set something up - those secondhand Meoptas are pretty damn good - the only thing in short supply these days are glass carriers. There's DeVere 203s too, or of course your Leitz.
I have a large stock of Ilford and I am too scared to use any of it - weird eh, but true. The mottling seems to be entirely random. perhaps for that reason and recent price drops I have started using more Kodak. Tri-X is still a lovely film with a classic look. It likes my new Fomadon R09 1+75 combo too.
Not sure what to do with the Ilford stocks though - probably around 50 rolls of various stuff!
This being said, I've not tried Kentmere 120 - I like the 35mm though so it is maybe worth a go. The Kodak backing paper is more plasticised than Ilford, therein could lie the answer.
Anyway, I've taken too much of your time - keep on fighting the fight and hopefully more posts please!
Hi Phil. You're not taking much of my time at all. On the contrary, I enjoy the exchange.
DeleteMeopta, yes, very decent enlargers. And very very good value for your money. As you know I've been using an Opemus 6 for 20+ years and have always been completely happy with it. But this time I'm on the lookout for a Magnifax. For example, Seconhanddarkroom in the UK have 3 in stock. But then, they also have other very good stuff. Omegas and DeVeres for example. Do you know whether the Devere 203 is 6x9 or 6x7? A google search says "The De Vere 203 vertical enlarger accepts all negative sizes from 110 to 6 x 9cm in B & W and 110 to 6 x 7cm in colour", which is weird.
As for film, for the time being I'd probably stick with Kodak as well. I also noticed the different plasticky backing paper of Kodak and thought that might be the reason Kodak film hasn't been effected from mottling.
Cheers!
Hi Omar - you should be able to find all DeVere info at Odyssey Sales in the UK (failing that I can send you pdfs) and also "Darkroom Dave" his site - as far as I am aware the 203 goes up to 6x9. My experience with the 504, VERY easy to adjust focus from baseboard level (as it has the two wheel adjusters on the baseboard model) - the Magnifax though is excellent - I still have mine - you have to adjust focus at head height though - they did make an accessory to enable lower adjustment but it is probably hard to find.
DeleteI think the colour B&W differentiation is down to light mixing boxes, but I could be wrong. They are incredibly sturdy machines. DeVere prices haven't gone too crazy - it's just things like lensboards that are surprisingly pricey - same with the glass carrier sets. I enlarge 6x6 with mine using 2 Magnifax glasses taped over the gap in a DeVere 6x9 metal carrier - again I can send photos if you want a look. Works really well.
Good luck with whatever you choose - sh darkroom are decent people though a little pricey at times!
Yeah, just ordered another 15 rolls of Tri-X - it was cheaper than Ilford, and the surety of that backing paper . . well . . .
In the UK TriX is cheaper? Wow. Here in Germany one 120 roll TriX costs 10,29 Euros whereas HP5 is 7,59 Euros. Even Delta 400 is cheaper at 8.98 Euros.
DeleteThanks for the other info. Let's see how it all pans out.
Cheers!
I got my last batch of Tri-X for £7.53 a roll including shipping - I did use a voucher though.
DeleteAnalogue Wonderland, Stuck in Film, and 21Studiophotolab have all been 'reasonably' priced over here recently - depending on where you shop HP5 can be similar and you are often getting hit with postage, so it takes it up again. PLUS there's now that uncertainty. I am still not sure what to do with my Ilford stock.