zilvergelatinedruk

My Work is Finding Empty Walls

Since I have built my darkroom things are tarting to fall into place for me and my work. I now finally can show and produce and more important sell my work. Real Photographs, no computers or ink involved. Just light and Chemicals. Selling my work is the best feeling!

All my Photographs are Handmade in the Darkroom by myself. Stamped, numbered and Signed at the back.

Do you have questions about my work, looking for art advice or do you want to start collecting or investing in Art contact me. Or take a look in the webshop

This work out of Homo Anonymous is Sold to a Collector in Italy.   My muse Judith de Back Printed on Fibre Based Oriental Paper

This work out of Homo Anonymous is Sold to a Collector in Italy.

My muse Judith de Back
Printed on Fibre Based Oriental Paper

Linda for my Project ‘Homo Anonymous’ is shipped out to Berlin.   Silvergelatine Print on Ilford Multigrade IV Paper

Linda for my Project ‘Homo Anonymous’ is shipped out to Berlin.

Silvergelatine Print on Ilford Multigrade IV Paper

Layla for my Project ‘Homo Anonymous’ is shipped out to Madrid.   Silvergelatine Print on Ilford Multigrade IV Paper

Layla for my Project ‘Homo Anonymous’ is shipped out to Madrid.

Silvergelatine Print on Ilford Multigrade IV Paper

Homo Anonymous in Print

Three days in a row, sounds like start of a good song. It was yesterday I heard music in my ears while working in the darkroom. Getting a good result for the first time after nine hours of trial and error making a wet print.

I started last Sunday, making as much mistakes as possible while having my eye on the troubleshooting list. I discovered some flaws in my workflow. Last monday I changed some things I the workflow, for example focusing one making one good print instead of ten different prints without any good results. Again having my eye on the troubleshootlist. It turned out the paper was bad, I ran a papertest and it came out all black. So I did throw away the box (placed it in the drawer, maybe I can use it some day for another purpose).

Yesterday I ran a couple of more tests: another papertest of a new box (opened a long time ago) it came out white, so that’s a good thing. I also ran a safelight test, by placing objects on a piece of paper, after replacing the bulb with a new one with some sort of plastic ring on it.

A safelight bulb is never completely painted towards the base of the bulb. This test worked great the safelight was now completely safe.

So now it was time to make the best possible print to my ability. Making good notes by every step. Something I need to learn to be consequent about it so I can reproduce prints afterwards and learn my process.

Turned out I needed 10 steps (read: ten times printing ± 3 hours of work) to get a print that was very fulfilling.

00) Installing a timer for controlling the enlarger
01) Paper test in complete darkness
02) Paper Safelight test
03) Lightening time test, setting a base for paper en enlarger
04) Testprint with the best time out of the previous test
05) After controlling the testprint, make another lightening test using a 2.5 contrast filter.
06) Testprint with lighteningtime found in previous test.
07) ‘Shiny side up’ of the negative turned out to be bullshit, after discovering the print was a mirror image.
08-10) Making contrast adjustments

The key to a good print is controlling contrast. This will take a lot of testing and practising. Overall I love the process of making a good print out of my 4x5” negatives. So I can work completely analogue now.

Homo Anonymous Model: Femke  Sinar P2 Kodak 320 TXP 4x5” Negative  Print: Agfa Multicontrast Glossy 17 x24 cm 18 seconds using 2.5 contrast filter  This is a scan of the print.

Homo Anonymous
Model: Femke
Sinar P2
Kodak 320 TXP 4x5” Negative

Print: Agfa Multicontrast Glossy 17 x24 cm
18 seconds using 2.5 contrast filter
This is a scan of the print.

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