magnachromagnon

The Alternative Journal of Medium and Large Format Photography Storm Cloud OverComb Ridge©2007 DonKirby PARTING SHOT: REVIEW VISION: FEATURE: ROUNDUP: CENTERFOLD: PORTFOLIO: INTERVIEW: PROJECT: 4-SQUARE: HOT MODS: SOAPBOX: Focus onBlack&White VOLUME 1,ISSUE 3,BUILD2

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S.K. Grimes S.K. Allen Rumme:Markings Bernhard Hartmann The Carbon Foundry Foreman Foundry Ebony SW23 Four FocusingHoods Parallels: 16Photographs Don Kirby&JoanGentry Oscar Reina The ContemplativePhotograph B.A. Bosaiya:AngelsandInsects B.A. B.A. Bosaiya:AngelsandInsects B.A. The Carbon Bernhard Hartmann Allen Rumme:Markings Grimes S.K.

Builds theWhatsitcam Transfer Process

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[THE SOAPBOX] The Contemplative Photograph

hat separates the “wholeness” which only comes Great photographs, on the oth- makes for better photographs merely good photo- by way of dedication to the er hand, stand the test of time, than complicated equipment. graph from the great? quest and acceptance of all the much like a deep relationship. Having the latest and greatest And what does that hardships it entails. In fact, the photograph itself and newest and badest equip- Whave to do with shooting with a can be considered an expres- ment won’t help you one bit in The other half of oneness in- BIG camera? sion of the commitment of pho- getting pictures that count. In volves empathy with your sub- tographer to subject. In gener- fact, it probably will prevent I’d argue that the key to great ject. Empathy involves curiosity, al, the greater the photograph, you from getting there since photography is simply this: be- gained knowledge, and active the greater the investment and you’ll inevitably be more con- coming one with your subject. investigation. In short, true commitment (unfortunately for cerned about scratches and empathy demands an invest- Whether it is a lonely vigil walk- most of us, the opposite is not wear and tear on your expen- ment in time getting to learn ing the empty grasslands and true at all!) sive new toys than investing and understand the true nature wheatfields of the American yourself in your subject. In a of your subject. Last but not least, it is impor- West or staying up late to cap- very real way, less is more. tant to realize that simple ture the rotating stars or zoom- A quickie snapshot is always equipment So travel light, go where your ing in to the microscopic worlds distant from its subject — no heart takes you, learn to re- of the unseen, the dedication matter how close the cam- spect and love your subject, involved in lugging and setting era is to the and make art for yourself and up your big equipment pretty subject. don’t worry if there is a mar- much guarantees that you are There is no ket for your photos or not. already half-way there to be- investment The reward is the quest itself. coming one with your subject. other than The universe will reward you for being in the J Michael Sullivan your arduous quest. right place at the right I’d also suggest that the ease time. One with which one can pocket a could reason- small camera puts you at an ably compare immediate disadvantage since a snapshot to there is no “skin in the game” a one night (i.e. there was no effort in- stand — per- volved in “getting there”) — in haps full of the end photographs taken with passion but in small cameras are mostly about the end devoid skill (and a bit of luck). of any deep But the kind of photography meaning since I’m talking about embodies a there is none. photo by Megan Sullivan CONTRIBUTORS v 1.3

J Michael Sullivan Lance Keimig Sandy King Don Kirby & Joan Gentry Boston-based J Michael Sullivan has Lance Keimig is a Pembroke, Mass- Sandy King is a photographer and In retrospect, striking parallels been writing about scanning, design, sachusetts based photographer who photo historian. He has published emerge in the photographic lives of and digital photography for nearly is best known for his night time pho- several scholarly books on Spanish Joan Gentry and Don Kirby. Grow- 18 years. His first digital scans were tographs of the built environment. Pictorialism, including El impresion- ing up in New Mexico, Joan complet- made in 1989 using Photoshop v1.0. Keimig has been photographing pri- ismo fotogáfico en España: Una histo- ed BA and MA degrees in photogra- He is the author of one of the first marily at night since 1984, when he ria de la estética y la técnia de la foto- phy at the University of New Mexico layperson’s book on flatbed scanning first picked up a 35mm camera. grafía pictorilaista and Schmidt de in the mid-1970’s. For the next 20 How to Make Your Scanner a Great Lance Keimig has been teach- las Heras: Fotografías 1944-1960. years she photographed in New Mex- Design & Production Tool which was ing photography since 1997, at the Sandy is also a landscape pho- ico and northern California. published by North Light Books in School of the Museum of Fine Arts tographer who works primarily with In the mid-1970’s Don built his 1994 and reprinted as a second edi- and the New England School of Pho- large format and ultra large format first darkroom and self-studied pho- tion two years later in 1996. tography in Boston, as well as leading cameras and prints with alternative tography with workshop support. Formerly a Contributing Editor workshops in California, Massachu- processes, including carbon, kalli- For the next twenty years he photo- at HOW Magazine, he also has ex- setts, Ireland and Scotland. In 2003 type and Platinum/Palladium. graphed throughout the west. tensive experience lecturing at Mac- Keimig founded the Mono Lake Photo He is the author of a book on car- Don and Joan met in 1992, World and The Seybold Seminars Workshops in California, to promote bon printing, The Book of Carbon and joined lives and photographic ven- throughout the 1990s. interest in the fragile ecosystem of the Carbro, and has conducted numer- tures, and lately moved to Santa Fe As editor and publisher of MAGNA- Eastern Sierra through photography. ous workshops in the US and abroad where they continue to pursue their chrom he feels nothing rocks more After successful programs in 2003 on carbon printing. photographic interests. than a BIG camera. Mr. Sullivan has and 2004, Keimig and Nocturnes been shooting professionally with founder Tim Baskerville co-produced B.A. Bosaiya Oscar Reina medium and large format equipment the 2006 Night Photography Confer- B.A. Bosaiya is a self-taught, award- Mr. Reina’s relationship with photog- since the late 1970s and owns a ence at Mono Lake. winning, internationally recognized raphy dates from his school years. bunch of big cameras. Eric Biggerstaff fine art photographer who special- After a long hiatus during college, he izes in large format photographs of picked up photography with deep- Eric Biggerstaff has been engaging unusual subjects. “I enjoy finding er interest in 2004, working in the his interest in photography since he the beauty in the overlooked and street and documentary field using was eleven years old. He first used discarded, exploring the extraordi- 35mm rangefinders. In part due to his camera to record the many back- nary world that is all around us ev- his interest in classic cameras, his packing and rockclimbing trips he ery day. The world is still mysterious first step into medium format came made as a young man and later, after and full of surprises; I hope to help in the shape of a USSR made Lubitel, college, began working with medium people rekindle that sense of won- He currently splits his time between format and large format cameras to der.” Bosaiya’s first book of photog- his job as a computing engineer and explore the world in a more artistic raphy Here There Be Dragons, avail- his photographic projects, which way. Since 1995, Eric has used a able from Amazon.com and others, have turned towards scenics and na- 4x5 camera almost exclusively and includes a foreword by photographic ture, with a special interest in por- is a dedicated traditional darkroom luminary and master printer Dr. Tim traying the vanishing traces of past worker and a frequent contributor to Rudman. human activity in rural areas. 1.3 View Camera magazine. hatever we come upon that is great, beautiful, significant, can- not be recollected. It must from the first be evolved from within Wus, be made and become part of us, developed into a new and better self, and so, continuously created in us, live and operate as part of us. — Goethe

e careful and do not imprudently strain yourself in this work. Rely more on joyful enthusiasm than sheer brute force. B— The Cloud of Unknowing About MAGNAchrom: Advertising with MAGNAchrom: How to Print MAGNAchrom on your inkjet printer: MAGNAchrom is an advertiser-supported, hybrid magazine published bi- MAGNAchrom offers advertisers a monthy, six times per year. It is available for free to registered users by choice of four ad sizes based on the A4 While you can certainly just hit the downloading from our website at www.magnachrom.com. paper format oriented horizontally. “print” button, the result will not be a  magazine, but rather a bunch of indi- You are encouraged to download it, save it to your harddisk and print it Artwork should be supplied either as vidual pages. We suggest the following on your printer. However, you may not resell it, nor put a copy of any is- RGB EPS or RGB PDF or RGB TIFF simple procedure to improve the over- (flattened, no layers) TIFF format @ sue on any network where it would be accessible by someone browsing all visual experience of each issue. 300dpi using the dimensions indicated the internet. Additionally, you may not translate it, nor create derivative below. We do not offer scanning nor 1. First, be sure to use an opaque versions of any of the articles, photographs, illustrations nor of the issue ad layout services at this time. Do not paper as you will be printing back to in part or in its entirety. Doing so will make us very mad. And trust us, send CMYK “color separated” files. We back. There is nothing worse than you don’t want that. Instead, you may place a link to the MAGNAchrom reserve the right to refuse any adver- seeing the type from the following website and let people download it for themselves. tisement that we deem inconsistent page show through a nice photo. with our target audience. The full Terms of use can be found at www.magnachrom.com/MClegal.php 2. Now you are ready to print. In your Full Page (A4 horizontal) print dialog box, select Reverse Or- At the end of the first year, the entire Volume 1 (all six issues) will be 210mm height by 297mm wide der and Sequence: Odd Pages Only. printed in a limited edition, high-resolution, bound volume and available 49p7.28 height by 70p1.89 wide Then print. Only the odd pages

forMAGNAchrom v1.3 sale. 8.267” height by 11.693” wide (starting with page 1, the front cover, will print) This issue and all the content in it is © 2007 MAGNAchrom LLC. All rights 2480 pixels height by 3508 pixels wide reserved. 3/4 Page 3. When your odd pages have finished 210mm height by 217.986mm wide printing, take your entire output, 49p7.28 height by 52p2.917 wide flip it over, and re-insert it into your EDITOR/PUBLISHER: 8.267” height by 8.592” wide printer with the back of the cover on the top of the paper stack. J Michael Sullivan 2406 pixels height by 2575 pixels wide 1/2 Page 4. In your print dialog, select Reverse CHIEF TECHNOLOGY OFFICER: Order and Sequence: Even Pages Bob Kuszewski 210mm height by 145.324mm wide 49p7.28 height by 34p3.945 wide Only. Then select print. This will ADVISORY BOARD: 8.267” height by 5.721” wide print the even pages onto the back Banefsheh Etehmam, Lance Keimig, Liz Haywood-Sullivan 2480 pixels height by 1716 pixels wide of the previously printed odd pages, starting with the inside front cover. LEGAL COUNCIL: 1/4 Page 5. When you are done bind the output Alesia Flemming, Esq. 210mm height by 72.662mm wide 49p7.28 height by 17p1.972 wide using whatever method you have WEBSITE: 8.267” height by 2.861” wide available (we suggest wire-o binding www.magnachrom.com 2480 pixels height by 858 pixels wide along the left-hand edge) ADVERTISING: Note: text copy or borders should be 6. ENJOY! www.magnachrom.com/MCadvertising.php no closer than 1 pica from any edge. Also, you can optionally bleed any PORTFOLIO PROPOSALS: background color or image an addi- www.magnachrom.com/ContributorRegistration.php tional 1 pica beyond any edge. KUDOS & CRITICISM: To inquire about current ad rates, [email protected] please send email to: [email protected] 

Volume 1, Issue 3 ©2007 MAGNAchrom LLC. All rights reserved. Contents of this issue:

SOAPBOX: The Contemplative Photograph HOT MODS: S.K. Grimes Builds the Whatsitcam 4-SQUARE: Oscar Reina PROJECT: Allen Rumme: Markings INTERVIEW: Don Kirby & Joan Gentry PORTFOLIO: Parallels: 16 Photographs CENTERFOLD: Bernhard Hartmann MAGNAchrom v1.3 FEATURE: The Carbon Transfer Process VISION: B.A. Bosaiya: Angels and Insects REVIEW: Ebony SW23 ROUNDUP: Four Focusing Hoods PARTING SHOT: Foundry Foreman Storm Cloud Over Comb Ridge © 2007 Don Kirby [HOT MODS] The Whatsitcam? lex R. Jones is a commercial photographer and digital tech in Pittsburgh, Pennsylvania. Alex has been working in the field for twenty-one years. His work primarily depends on keeping Athings such as focus and depth of field, firmly in hand. However, he is always open to new approaches to traditional situations. One of the greatest things about what Alex does for a living is the singularity of each day. There is always room for creative solutions to problems, because if a commercial photographer or digital tech didn’t work on their feet everyday, they would be roadkill. Alex has always liked the look of Holga images, but confesses their commercial viability is fairly limited. He wanted to produce images with the Holga look, but with a medium format back, but didn’t find anything out there to fulfill his goals. Alex was intrigued when he read an entry on Flexframe, an Imacon/Hasselblad users Yahoo Group, from Ted Dillard of E.P. Levine. Ted wrote about an idea to rubber band and gaffe tape an Imacon digital back to a cut apart and milled out Holga “toy camera”. The idea tumbled around in Alex’s mind until it had to be tried. He created a crude but working device that was enough to make machinists like Adam Dau and his brother Joel shudder. Alex had worked with the team at S.K. Grimes before. He had found their responsiveness to innovation and their The Whatsitcam (cont.) “can-do” attitude refreshing. The words epoxy and  Velcro made the Dau’s cringe, but Alex’s prototype worked. Alex submitted a concept sketch to Adam who was receptive to the project. The Hasselblad 903SWC and TrueWide were the inspiration for the shutter configuration and body style, while the Holga “toy camera” lens was the motivation for the project. Adam, Joel and their assistant Lauren Paul created what Alex dubbed the Whatsitcam to Alex’s specifications and great pleasure. MAGNAchrom v1.3 Alex uses a Hasselblad/Imacon 132C digital back with the Whatsitcam. At present, he uses the modified Holga lens, but he is interested in experimenting with some other things. The present configuration does not use full lens coverage so some minimal post- production is necessary to finish off the Holga look. Alex’s motivation has never been the pursuit of a purist ideal of how things were “meant-to-be”. Rather, Alex wants to create beautiful images in the context of where he lives. The Whatsitcam is lightweight and beautifully simple to shoot. It has the wonky viewfinder idiosyncrasies and aberrations he loved to see on Holga images, with the beauty of a digital result to be viewed on set or site so you know if the desired product has been obtained for a paying client. Blurry pictures with aberrations aren’t that appealing if you don’t get the shot a client is after. Alex’s original notes to S.K Grimes Other Cameras that Alex Owns: The Whatsitcam (cont.) 10MEDIUM FORMAT DIGITAL Alex feels lucky to have  Hasselblad 555 ELD with Has- found someone as re- selblad/Imacon 132c sponsive and enthu-  22MP capture (50MB 16bit RAW FFF, 64MB 8 bit RGB,) siastic in helping him  30mm FishEye (older style) pursue some of his cre-  40mm f4 CFE ative endeavors as S.K.  50mm f4 CF Grimes. Solving prob-  80mm f2.8 CF lems, albeit self-invent-  120mm f4 Macro CF ed ones, is part of what  150mm f4 CF makes it all worthwhile  250mm f5.6 CF MAGNAchrom v1.3 10 & 21mm Extension Rings for him. He believes  2000 FCM (Focal Plane Shut- you must continue to ter Body) max sync with digital do some things, just to back is 1/90th sec. do them. Commercial  501CM viability is great and is  Four A12 Film Backs and Pola- roid Back always a welcome bene- OTHER CAMERAS FOR MEDIUM fit, but if it turns out to FORMAT DIGITAL USE be his only photograph-  Arca Swiss 6x9 Classic View ic goal, Alex thinks it’s Camera with Kapture Group probably a good indi- sliding/stitching back  Hasselblad 903SWC 38mm cation that it’s time to Biogon roll up the shades and  Horseman Digiflex II strike the set.  Kapture Group TrueWide examples of some portraits taken with the Whatsitcam.  16mm Fisheye Nikkor  14mm Nikkor Janice R. Jones Lower right:  24mm Olympus shift (Nikon F The S.K. Grimes gang. mod.)  35mm Nikkor shift  35mm Ukrainian tilt/shift f2.8 “Boris 35” MC 4-Square*: Oscar Reina 11 Four, square, medium-format photographs by Oscar Reina of Spain, one of our registered users. You can see more of Oscar’s work at www.singlecoated.com MAGNAchrom v1.3

* 4-Square is a new, regular feature of MAGNAchrom and is only available to registered medium-format users. See page 15 for details 12 MAGNAchrom v1.3 4-Square: Oscar Reina Gavà beach, Barcelona Film: FujiSuperia 100:1/250@f16-22 Lens: Industar 75/4.5 Camera: Lubitel166U www.singlecoated.co Sant Boi,Spain Oscar Reina Autocord. Lubitel 166U, andaMinolta Specifically: a Yashica D, a Lens Reflex) cameras. old, square-format,TLR(Twin photographs usingrelatively point ofview, Ishotallthese In keeping withtheunusual fishermen. is aroundtheworldofsurf document howmuchlifethere In particular, Isought to return onceagaintothebeach. when thefirstsummervisitors from thatmomentandupto some ofthequiethappenings This projecttriestocapture beach seasoncomestoitsend. T Off Season Portfolio: last touristleaves and the different rythmoncethe beachgetsintoavery he

m lgo cambia en la esencia de una playa cuando la temporada 13 A llega a su fin y el último bañista del verano se marcha. Este proyecto intenta reflejar parte de la quietud y los pequeños detalles que, casi de manera inadvertida, toman posesión de nuestras playas desde ese final del verano y hasta que los próximos turistas acuden de nuevo, llamados por el calor de la nueva temporada. En especial, y dado que fue lo que en primer lugar llamó mi atención, MAGNAchrom v1.3 el proyecto gira en torno a la ima- gen, tan contrapuesta a la que nos ofrecen los turistas, de los pescado- res de playa. A la par con el inusual punto de vista, estas fotografías han sido re- alizadas con cámaras binoculares de formato 6x6 relativamente an- tiguas, concretamente una Yashica D, una Lubitel 166U y una Minolta Autocord. Oscar Reina Sant Boi, España www.singlecoated.com 4-Square: Oscar Reina Oscar 4-Square: Gavà beach, Barcelona Camera: Yashica D Lens: Yashinon 75/3.5 Film: Fuji Acros 100: 1/250 @ f16-22 14 MAGNAchrom v1.3 4-Square: Oscar Reina Gavà beach, Barcelona Film: FujiAcros 100:1/250@f16-22 Lens: Yashinon 75/3.5 Camera: Yashica D © 2007Oscar Reina Oscar’s three TLRcameras.

Submit your work to 4-Square! 4-square is a new, regular article 15 in MAGNAchrom that will feature four medium format, square pho- tographs of one of our registered users. The images must be shot with a medium-format camera and rollfilm and must be square. Large format film cropped square will be disqualified. To be considered, send email to [email protected] with the following information: About you: Your Name ______MAGNAchrom v1.3 Your MC email ______Your Website ______For each of four square images: Title ______Camera ______Rollfilm ______Exposure ______Lens ______Year taken ______Location ______Link to photo ______

If chosen, you will need to supply four photographs sized to 2030 x 2030 pixels in RGB JPG (high quality) format. Images should not have any borders. FTP informa- tion will be supplied to those that win. If you are not chosen, please submit again for the next issue — there is no limit to the number

of times you can submit. Winners Reina Oscar 4-Square: however must wait one year before Gavà beach, Barcelona Camera: Minolta Autocord L submitting again. Lens: Rokkor 75/3.5 Film: Fuji Acros 100: 1/250 @ f16-22 MC Allen Rumme: Markings ll over the world, examples of ancient man’s desire to communicate the events of their time by creating markings can be found. From Europe to Africa to Australia, Asia, ASouth America and North America rock paintings and carvings have been found depicting early man trying to survive in a world not always open to his presence. In the United States, the best known examples of this communication form can be found in the desert southwest where the ancient Anasazi people recorded the events of their communities on the cliffs and boulders that surrounded their desert homes. More recently, the American settlers carved their names and the names of loved ones in the rocks and buttes that dotted the landscape as they made their way to new homes and new lives in the west.

Like ancient man, modern man work is the message contained mark the walls and ruins of our continues the tradition of marking in the markings. Where ancient society. “I have long considered the landscape with pictures people used them to highlight myself a landscape photographer and words in an attempt to events in the community, today and I’ve always been drawn communicate the events they feel the messages are more personal; to wide open spaces”, notes are important in their lives. Today they are about fear, anger, love, Allen, “however, as the signs of of course, we consider much hate and searching for a greater human interaction with land have of this to be graffiti and seek to meaning in the world. increased, so too has my interest clean it from our environment, Fine art photographer Allen in these signs and symbols that but in many ways the present Rumme has found inspiration in I refer to as “Markings”. I now day markings are a direct link the signs and symbols of modern incorporate evidence of human By Eric Biggerstaff back to the ancient times, and man and for over twenty years has impact as an element in my the ancient tradition of rock art. turned the lens of his large format images, or just as often, as the What is different about today’s camera towards those things that primary subject”. Allen first became interested in markings ing or offensive, but I feel this is important to 100 film and Kodak D-76 developer. I prefer while out looking for landscape images. One understand and communicate.” Tmax 100 as it permits achieving significant day he set up his camera on what he thought At first glance, the photographs seem to be tonal expansions with very minimal increases would be an interesting landscape and began simple recordings of words or pictures painted in Film Base + Fog and reciprocity failure is waiting for the light to change (something on walls of abandoned or run down structures. much less of a problem than with other films. 1I 7 most landscape photographers can relate to). But if the viewer takes a few moments to see develop the film using straight D-76 in a Jobo While waiting, Allen glanced over to a nearby more clearly, the markings are often layered processor and Jobo Expert Drums. Achieving structure and saw a drawing of a disembod- one on top of the other, one message partially large expansions often requires that the film ied head on a wall; “There was something hidden by another. It is this layering effect that be processed for 40 to 60 minutes and the Jobo haunting about it and needless to say I made gives many of the photographs their visual and equipment allows me to consistently produce no landscape images at that site. After that, emotional power. In addition, Allen has been the results that I desire.” I started paying attention to the signs that careful to choose compositional elements that Allen Rumme is having an ongoing folks left on the environment. I was imme- serve to strengthen the message contained in conversation with the markings he finds in the diately taken with the huge amount of raw a particular marking and amplify the impact. world around him and it is a project with no emotion contained in many of them, and the Lastly, by adjusting the tonality of his black clear conclusion. By choosing to approach the fact that I reacted so strongly to often difficult subjects of these much of it”. markings, Allen is discovering Choosing which marking he will Allen Rumme is having an ongoing more about the people who make MAGNAchrom v1.3 photograph is a decision based on conversation with the markings he up our communities, the emotions the emotion he feels when looking they feel about the world around at them. His attention is drawn finds in the world around him and it them and about himself; “All I towards the most emotional and hope is the viewer will engage raw markings as he feels it is im- is a project with no clear conclusion. each image and give themselves portant to confront this work and an opportunity to respond to attempt to understand why, with all the mod- and white imagery, Allen can help direct the what is presented. I don’t intend to tell them ern forms of communication at our disposal, viewer’s attention to those elements in the what they should see; instead I hope each the maker felt the need to leave the message marking he feels should be engaged. viewer will walk away with their own thoughts they did, why they needed to pour their emo- Capturing these images can be a challenge and impressions. I think that is all any visual tions out in public the way they have. By pho- as much of the material is located in dark, artist can ask”. For thousands of years man tographing these markings Allen is able to con- cramped areas and long exposures are has left his mark on the land in an attempt front his own reactions to them and discover common. When Allen locates a marking he finds to communicate the events of their time, to more about himself, they act as a springboard interesting, he sets up his Canham 4X5 Wood create a visual record of the world for others. to personal discovery. Allen states, “These are Field camera, usually with a Schneider 210 Like ancient man, modern man continues this not easily approached images as they present mm / f5.6 Symmar S, composes and meters tradition and as long as markings are left, Allen some of the more difficult and disturbing as- the scene with a Zone VI modified digital spot Rumme will use his camera to explore their pects of the human condition; they are about meter. Often the subject brightness range is deeper meaning. life, death, love, hate, anger, frustration and only 1 ½ to 2 stops so Allen knows that, in Zone To view more of Allen’s work, please visit terror. The markings are about aspects of the System language, he will need to expand the www.allenrumme.com. human condition most people would rather not tonal range by providing “plus” development, confront and can make people uncomfortable often to N+2, N+3 and beyond; “My tools of as many contain elements that are threaten- choice for this environment are Kodak Tmax 18

Oriental +Dr.Pratt’s TMax 100+D-76 4x5 Corpus Christ,Texas 1988 Marking #1 MAGNAchrom v1.3 Markings Allen Rumme:

Oriental +Dr.Pratt’s Allen Rumme: TMax 100+D-76 Marking #90 Bryson, Texas Markings 1998 4x5

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Oriental +Dr.Pratt’s TMax 100+D-76 4x5 Grafton, Massachusetts 1994 Marking #75 MAGNAchrom v1.3 Markings Allen Rumme:

Oriental +Dr.Pratt’s Allen Rumme: TMax 100+D-76 Marking #59 Lincoln County, Markings New Mexico 1993 4x5

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Oriental +Dr.Pratt’s TMax 100+D-76 4x5 New Mexico Lincoln County, 1992 Marking #134 MAGNAchrom v1.3 Markings Allen Rumme:

Oriental +Dr.Pratt’s Allen Rumme: Polk County,Iowa TMax 100+D-76 Marking #99 Markings 6x4.5 1991

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Oriental +Dr.Pratt’s TMax 100+D-76 4x5 New Mexico Lincoln County, 1992 Marking #135 MAGNAchrom v1.3 Markings Allen Rumme:

Lincoln County,NewMexico Oriental +Dr.Pratt’s Allen Rumme: TMax 100+D-76 Marking #27 Markings 1992 4x5

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Oriental +Dr.Pratt’s TMax 100+D-76 4x5 Nueces County,Texas 1995 Marking #81 MAGNAchrom v1.3

Tularosa, NewMexico Oriental +Dr.Pratt’s Allen Rumme: TMax 100+D-76 Marking #28 Markings 1992 4x5

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Oriental +Dr.Pratt’s Pan F+D-76 6x7 Gonzales County,Texas 2002 Marking #100 MAGNAchrom v1.3 Markings Allen Rumme:

Oriental +Dr.Pratt’s Allen Rumme: Marking #90 Markings Central Texas Pan F+D-76 2001 6x7 MC

MAGNAchrom v1.3 29 [INTERVIEW] Don Kirby & Joan Gentry 30 MAGNAchrom v1.3 MAGNAchrom: We are here in beautiful, northern New Mexico. My phy were you doing, since it sounds like it might have been first question for the two of you is a simple one: How did you one of your first experiences being out in the wilderness? first meet? JG: Through the years I had camped out plenty in New Mexico, Joan Gentry: Well I guess I should start. The two of us almost but never in Utah. We did the canyons around the Escalante 31 didn’t meet. I was working in Silicon Valley. There happened area. Hiked down, checked out the colors and incredible to be a photo opening at a gallery so a girlfriend and I de- shapes. It’s a very beautiful place. cided to go but we didn’t much care for what we saw. I was MC: But I’m specifically interested in what kind of photography in the back of the gallery and I saw a Bruce Barnbaum work- were you doing there? shop brochure. It was an old one and I asked if I could have it, and the gallery owner said sure no problem. The handout JG: I was trying to make a landscape. Up ‘till then I was doing a mentioned a workshop in Utah and I thought this could be whole lot of neat stuff with cityscapes — “hard edges” as I really cool. While I wouldn’t go camping by myself, I would call them. I didn’t know much about landscape work. be willing to go on a workshop. So I signed up. Took MC: So the instructor was pretty good, huh? some vacation time off, drove up there, promptly got lost and saw some men standing on the JG: Well he didn’t like my light meter, but other than porch of a motel having a beer. And I thought that he helped me a lot. He helped me to see, you well, that may be it. So I walked over and know, get the exposures right. MAGNAchrom v1.3 said something stupid like “is photography MC: That’s an odd statement: “didn’t like your light spoken here?”. And all of a sudden these meter”. Was it an incident or a spot meter? hands came down to shake mine and then there’s this blue shirt and an arm, I follow DK: No, she had one of those light meters that’s the arm up, I saw this beautiful white beard, a computer with limited optics. And there was no big smile, his blue eyes, I thought wow. way to make a correct exposure. Very simple light Later I found out he was the instructor so I meters are much preferred — which she finally has. thought forget it, I’m not a groupie! But she still uses the old one because it’s paid for. MAGNAchrom: Don, what was your take on your first MC: So Don, in spite of all these beautiful colors in the meeting? world you prefer to shoot in black and white. Aren’t you ever tempted to shoot color? Don Kirby: Well I thought things were definitely looking up for that workshop because we had twelve students, eleven guys DK: I do shoot some color, but I don’t think I see to compose and one gal — and I’d never met the gal. She shows up in a in color very well. I’m not very enthusiastic about the color four wheel drive, red and white Bronco. She steps out, she work that I’ve done in the past frankly. My first photography looked she was about seven feet tall, skinny, long blonde was color slides, documenting where I was and my friends, hair and I thought mmmm, this is most promising. but when I started doing more expressive work, it’s been black and white primarily for me ever since. And that’s thirty MC: Just goes to show that photography really can be beneficial two years ago now. to your well-being. MC: Joan, what about yourself? When did you first do any black DK: Absolutely. and white — get your hands wet? MC: What did you do on that first outing? What kind of photogra- JG: Well, I started college as a thirty five year old freshman at the University of New Mexico, with the idea of learning all I MC: It’s interesting that you’ve gone after a kind of hidden world could possibly learn about photography. with both your abstract work as well as this shoot from the hip project. Don, you keep going out to these fields, going MC: Day one they put you in the darkroom I’m sure. out to these canyons, basically have to hike to see some- 32JG: Well, before then we had a little minuscule home darkroom thing that most normal people wouldn’t ever see. Is that a that didn’t allow much printing, other than small prints. But thematic thing with you, you’re trying to find and uncover at least I was somewhat familiar with the chemicals and something that hasn’t been seen before? what happens. DK: Well it’s not an intellectual thing or necessarily an artist thing MC: Did the University of New Mexico program encourage you to either. It’s simply that the camera went with me doing things experiment and get “outside of the box”? Is that where some that I like doing. And I liked mountaineering, climbing, back- of your abstract works comes from or is that just from within packing, outdoors stuff which kind of kept me sane while I you? was living and working in the city. So the camera went along JG: It’s pretty much within and then ideas flowed from what I saw there. me. But outside of the box MC: Were you recording your I did some cyanotype and adventures then?

MAGNAchrom v1.3 gum bichromate prints And all of a sudden these hands came down to shake DK: Well no. That’s what I and actually did street did back when I was shooting shooting. mine and then there’s this blue shirt and an arm, I slides. Ever since I moved to MC: Urbanscapes? follow the arm up, I saw this beautiful white beard, black and white, my photogra- JG: Well, you know, the Uni- phy has been about seeking a versity is on Central Ave. big smile, his blue eyes, I thought wow! - JG composition of something that and I would take my has an idea behind it, expres- morning bus ride all the way downtown, and catch people as sive form behind it, something the old night owls are going in and the new ones are coming to say. I don’t think a photograph necessarily “speaks”, be- out, and people waiting on buses and various things. I really cause it doesn’t have a language. But I do think it has some- had a ball, in spite of the fact that I’m rather shy. But when thing it expresses. I put up that camera, everybody’s asking me “take my pic- MC: There must have been a transformation with you because ture”. like many people you started off with slides and you docu- MC: Oh. So these were more portraits rather than “decisive mo- mented your adventures and ostensibly it sounds like the ment” kind of photographs? reason to leave the city was for your soul, for your brain, to clear your mind. Thus the camera came along as a compan- JG: Possibly, and then one summer I took a 35-mm and I did hip ion. shooting only with a wide angle lens. I never looked at the viewfinder. And that revealed some very disturbing subjects. DK: That continued. As for subject matter however, with the very first exposure I made on 35 mm black and white in the cam- MC: Well you’re looking up, there’s distortion, they’re not aware era, the subject matter quickly changed. you’re taking pictures. MC: And at that moment you were no longer going out to get JG: That’s right. away from the city, but rather you were going out explore who you were as an artist? doesn’t make art like that. DK: Both. MC: Now Don, your family, same thing or… MC: Joan, is photography something that cleanses your soul or is DK: No, I’m the black sheep there. There’s no history of any form it something that just because you studied it professionally of art once or ever. 33 is a natural fit? Meaning there’s not necessarily any intellec- MC: So you made your own way then? tual reason for doing it? DK: Yes, I was self taught and then I realized that I was pro- JG: Well, I’ve kind of been selective, but I see something and I gressing kind of slowly after about five years. I made about know I want a photograph of it. I don’t ask why, I just know one year of progress in five years and then I started taking I must photograph it. workshops with other good photographers and my progress MC: And that was true when you lived in Southern California? accelerated remarkably. At the time I was living in southern California. JG: Oh yeah. MC: Did you do the trek to Yosemite and all that or did you tend MC: What was the beginning of your photographic journey? to avoid that? JG: I was working at Sandia Labs in the sixties and then I saw

DK: I’ve been to Yosemite. I’ve never really photographed there. MAGNAchrom v1.3 all these people with college degrees making all this money I like to go to places that are off the beaten track. and I was doing their work and I thought there’s gotta be something better. So I started saving up money and saved MC: How do you feel about being in a location when you know enough for four years of college. I began with the idea that the tripod has been set before and then you’re either com- I’m going to learn all I can about photography. pelled to take a picture or to not take the picture. Have you had that experience? MC: Now that’s a very curious thing. You were working with PhD’s and what not, and then the next thing you go for photogra- DK: Oh sure, it can be somewhat intimidating I suppose, But I phy. What drew you to that? don’t worry about it too much. I know for instance about a subject I photographed, and I knew it had been photo- JG: I’ve always loved photography. My mother was a painter but graphed by a real good friend of mine, Ray McSavaney — in also did photos of the family in black and white. I’ve always fact I owned some of his photographs. I took great care not enjoyed it and I enjoyed taking slides. And with a Brownie to rip him off. So it doesn’t concern me much. Hawkeye during junior high years, terrorizing all my friends, running around taking their pictures. MC: Well, isn’t it true that if I were to stumble on that same scene we’re looking at here in your living room that I MC: You mentioned your mother — does art run in your family? wouldn’t be able to reproduce it anyway? JG: I think she was gifted, but she never had the opportunity to DK: I think that’s true. I let students use my camera if they don’t get her work out or even devote the time she should have have the equipment to do what they want to do. Even on mostly because of family circumstances, illnesses, 2nd World a scene that I might have done, I assure them their prints Wars, you name it. won’t look like mine because their interpretation is going to MC: What about brothers and sisters? be different. JG: I have a younger sister who is an incredible craftsman. She MC: Now you two travel a lot and photograph a lot, so it seems can make anything with her hands. However, visually she as that you must have a lot of experience where you’re at in the same location with the same lighting at the same time there to continue next year. So it became a project. The and perhaps only separated by 10 or 20 feet and yet the same thing happened with the Anasazi when I started seeing pieces come out similar yet quite different and the eye I see ruins and canyons in southern Utah. Then I started look- between the two of you is remarkably different and yet I can ing for them. I’d go out to the canyons purposely and find 34 sense some sort of companionship. Do you ever copy each them. So those projects grew out of positive experience in other or do you avoid that at all cost? Or do you ever say getting photographs I thought were interesting to me. But “let’s take a picture and see who can do better”? the grasslands I found out about as I was looking for a state park campground, got on the wrong website, realized that DK: No, we don’t. We rarely ever copy each other. Sometimes I there are 20 National Grasslands in the United States that can remember shooting, well, like this one, I mean the sun I didn’t even know. I thought wow, I wonder if they might coming through the trees — she did her exposures, I did be as interesting as the wheat country. I expected a differ- mine. And while they are very similar they’re also very dif- ent challenge because the wheat country has nice graphics, ferent. pretty easy subject matter to work with. So I resolved to MC: I agree — the look, the lighting, even the way you approach visit some of these grasslands when I got a chance. We’re the subject. Clearly each is unique. Would you say that if 20 exploring New Mexico anyway, so I made plans on one of people were there with our trips to include a short trip

MAGNAchrom v1.3 you they would end up through one of the grasslands, with 20 different pieces? the Comanche National Grass- DK: I should certainly hope so. As for subject matter however, with the very first land. I saw some possibilities and I made a couple exposures, MC: Your treks: Solo? Or to- exposure I made with 35 mm black and white in the made a print and I liked the gether? result and I thought, hey this is DK: I used to do them solo. I camera, the subject matter quickly changed. - DK going to be challenging, it’s flat would just pick an area: and featureless land in many typically in southern Utah, but sometimes Arizona, or the cases, but, I know real useful work can done there. So I California desert. Just pick an area on the map where I’d think, why not give this a go? And it’s turning out to be very never been. Camp out and hike into canyons or the back interesting. country wherever it is and photograph all day. We still do MC: I would imagine the subject itself changes you as much as that. We sometimes lead groups because we run a workshop how you change the negative. It’s not just that you’re in the program and we teach together. We take groups on week darkroom and you’re looking for it to communicate, rather, long backpacks in Grand Gulch Utah. So that’s a regular what I’m seeing in your work is that the way you have print- journey for us. We travel a lot together to go places and try ed the grassland pieces is actually quite different than the to see what we can find. way you printed the wheatcountry pieces. MC: What compelled you to approach the grasslands? DK: Oh, there’s no doubt about it. In fact that’s part of the chal- DK: Well, there’s a bit of history. This is the first intellectually lenge. You have to plan on how to change what can be fea- pre-defined project that I’ve ever done. Both the Anasazi tureless land. You have to do something that’s interesting work and the wheat country work resulted from seeing the to see in a photograph, so I’ve expanded the techniques for land, the wheat country, just passing through and making a negative development beyond what is taught by anybody as photograph and liking the result and resolving to get back far as I know. To try to get the print from the material that was out there. MC: Now, the Zone system is naturally more difficult to do with medium format. Do you tend to shoot 220 or 120? What I’m MC: Are you approaching your negatives differently too? getting at is the longer the roll, the higher the chance that DK: Absolutely, just the negative. You get the most benefit out of you’re not going to be able to be “in the zone” for all the controlling the negative. negatives. Do you deliberately try to use those lessons from 35 MC: So you use the Zone System or… Don and apply his techniques or are you a little bit looser with it and let the roll speak for itself? DK: I use the Zone system, but primarily I have invented and used techniques to greatly extend contrast. It’s all relative to JG: Well, I think about it. I use 120 film the most. I look at the the negative. scene, the lights and darks and sometimes I’ll pull out a light meter, sometimes I use the one on the camera, depending MC: Joan, you seem to see things that other people don’t see, on what’s happening. By then I have a real feel about how to for example, you see the possibility of some pattern on a make the photograph, and go with it. scrapped piece of photographic paper in a stainless steel sink and you seem to have no qualms about experimenting and MC: So each roll is in the same zone and as you move to a new seeing what’s there. Where does that come from? subject, you’ll take some notes and use a brand new roll? JG: Yes. JG: I don’t let anything stop me if I get an idea or if I see some- MAGNAchrom v1.3 thing happening, stay with it and see what else is happen- MC: Obviously you’ll come to a flat scene and then you’ll encoun- ing. So experimenting is one of the things that drives me. I ter a contrasty scene. think it’s a down right good time. JG: Well, because it depends on how I see it, yes that’s true. MC: Were you that way as a child? MC: You don’t manipulate the negatives as nearly as Don does? JG: No, I was always in trouble as a child. JG: I’m impatient. I want that negative right now. If it’s not per- MC: I see. Pushing the envelope? fect, I’ll deal with the rest of the negatives and duke it out in JG: Only my parents thought so. the darkroom. MC: So Don sees the possibility in some flat grasslands. You see MC: Interesting, so is it that his skies are dark and that’s who he the possibility in these hidden patterns. To me I see some is as an artist and that doesn’t necessarily appeal to you? parallels, but still quite different. Do you approach your JG: It’s hard to pin down the ever-changing landscape and what negative and your print in a similar vane, or are you more in it grabs me to make a photograph. And I have to think it “shoot from the hip” and more experimental? through about how I feel about the light, and then make the JG: Well, I learned a lot from Don about getting a good nega- exposures. tive, because if you don’t get the negative, you don’t get the MC: Would one of your goals be to obtain a straight print, rather print, it’s very simple. So he has slowed me down a little bit, than a manipulated print? get out that light meter and really consider what’s going on JG: That would be nice, but most of my prints are manipulated. in the scene. So that’s a change, that’s a really good change in my mind, ‘cause I’m getting better results. Other than DK: Mine too. I was a little more happenstance and sometimes happen- MC: Tell me, where do you see analog going? Ever thought about stance happens, so something usually turned up but there it before? were a lot of failures. DK: We made a final decision about a year ago, maybe two years you have a different take on it? ago now, because we were getting closer and closer to going JG: I think I walk in there expecting more. Now if something digital, what was happening with the paper companies going good happens I’m really happy. I just go in there, expecting out of business, that sort of thing. Getting closer and closer to work on some negatives that probably were not previous- 36 and I realized it would take me probably three years to get ly printed. In fact I’m going through my archives now and up to snuff so I could produce the kind of prints I wanted to keep finding promising negatives not ever printed.. I can’t produce and I’m not that young any more, so I says, I’ve got wait to see what happens. If I can end my day with 2 or 3 so much that I want to do with the techniques that are avail- new prints I like, it has been a good day! able. So as long as there is paper, various films, I’m going to continue with analog. Not that I have anything against digi- MC: Have you ever been absolutely frustrated in the darkroom tal. If I could get there fast enough to get the quality I want and given up or are you determined to solve something, and if I were much younger, I would be much more willing to even though a negative may not be doing what you want? make the switch. Joan has no interest in going digital, so the JG: I’m delighted when I can get a good print, because I was de- decision was actually easy. lighted with the scene when I took the picture. In a perfect MC: It is interesting that you say that, because it suggests to me world every negative would be perfect, but they’re some- that you recognize that times not. Being frustrated is MAGNAchrom v1.3 any technique really does counterproductive — I just put take years to master. Is the offending negative away for that based on your own I made about one year of progress then I started another day and do something experience then? taking workshops with other good photographers else. DK: No, I was familiar with MC: Is it getting easier and Huntington Witherill’s and my progress accelerated remarkably - DK easier as you go on, more natu- transition to digital. He ral or are you just sticking your made a 6 month commitment to getting into the digital pro- neck out more and more and making it equally as difficult cess, then two plus years later he started showing prints. So each time you go out? it took a while and he’s one of the smartest men I’ve ever JG: I like to think it is getting easier because every time I get known. one of those horrible snags, I cross a hurdle, and I learn MC: There is no doubt that some people believe digital will give from the experience. them that push-button easiness. In my opinion that’s cra- DK: The two of us work completely differently in that respect zy because if you’re going to do it right, you better study because she’ll try 2 or 3 prints or even 10, she’ll go on to and take lessons and master these tools and unfortunately something else and she’ll set that aside. Nothing can come there’s a lot to master. out of the darkroom for what seems like weeks. Then I’ll be DK: Well, I run Photoshop and I do scans, so I’m a little bit into off on a 3 day trip, maybe photographing, and when I get digital as it is. However, there is nothing more precious than home, there’d be 5 or 10 new prints waiting on the table. a day in the darkroom. It’s just a marvelous experience that Me, on the other hand, if the print doesn’t work, it probably can not be replicated in a computer. will never be printed. I go onto another one. I wrap it up on the day I’m printing. It’s almost invariable, it’s either I suc- MC: Joan, you showed us you love the darkroom, you love being ceed or it’s sayonara negative. there. Is it an equally Zen experience for you as well or do MC: You’re together as a couple, you’re often together when you JG: It’s being there, the seeing and the taking. And then if the photograph, but then the darkroom is very private then and making turns out, then that’s the real joy. you each do your own thing. MC: Maybe in your case the making is the icing on the cake and JG: Afterwards, we do look at each other’s work and I’ll ask him, the cake is the taking and there’s a pre-visualization or will- 37 “what’s going on with this or that”? Or I’ll just kind of horn in ingness to experiment, to see what may happen here when I on him see what he’s done lately. So we do have an interac- do this thing that’s never been done before. tion after the prints are done. JG: I would say that’s typical of me. MC: Do you see the final print in your minds eye before you push MC: Which picture, if you had to choose one would you be most the shutter? proud of or that represented the most joy? JG: No, but I have a sense of what the light was like and how I JG: I would have to say the one at the end of the hall, Gateway exposed the film One. I shot it in Los Angeles in the underground station. I MC: How about you Don? saw this gorgeous, unbelievable ceiling and I had a good camera with me equipped with a 75mm, which was the wid- DK: Absolutely. I think I know what the print will look like. est angle I had. I squeezed myself into a corner on the floor,

MC: It takes an investment in “seeing the print” before one clicks and focused the camera using the back. Anyone seeing me MAGNAchrom v1.3 the shutter. Not everyone can do this. You have to feel it, probably thought I must have been an aberration! I only sense it. With the instant feedback that digital affords you no had time to take two exposures as the security guards were longer are required to do that. One can go click, click, click. waiting for us the leave! Then inspect. Then click again. MC: No tripod? DK: Some people use Polaroid’s in the film world for that pur- JG: Yes, I used a tripod. We were all sitting around on the floor. pose and I always cautioned my students. If it looks good on And it came out exactly the way I saw it. Polaroid, it sure as heck won’t look good as a final print. So you’re really hurting yourself. MC: You are definitely drawn to the graphic. That beautiful wall that’s there, the nine pieces together most done with graphic MC: On these excursions, do people bring Polaroid’s? shadows etc… Is that a theme in your work, a graphic look DK: Some do, sure. We encourage people to do that in classes at the world? because it is useful. You can see what a filter does and you JG: And those are strange shadows. I see that kind of light in can see what their composition is a little better. But I think those graphics just, I almost lose it, I’m so thrilled. it’s totally impracticable in the field. MC: Don, has her joy in graphics affected you, because your MC: It certainly slows you down, not only do you have to set it high-contrast, beautifully toned landscapes have that kind of up and pull it out but you have to wait 60 seconds. Then you graphic nature to them as well? have this pola-garbage that you have to stash in your bags. We surely don’t want that in our environment. DK: I’m not really aware that it has affected my work. DK: I know. MC: In this piece here, most people would see that as a pure landscape yet I see nothing but shapes really but it turns MC: Joan, It’s obvious you gain joy through the whole process. In out to be both. Joan’s work is clearly graphic but I don’t see your photography, what gives you the most satisfaction: is it a direct connection between the two. However I certainly the taking, the making, or what? sense there’s some sort of synergy. Joan, what about you? JG: At the university there were three instructors I really appre- Do you use a computer? or not at all? ciated for their patience and encouragement. One was Tom Barrow another was Betty Hahn and yet another was Beau- JG: I’m an unfriendly user of a computer. mont Newhall. Now my main supporter is Mr. Kirby. 38MC: So, when you show your work in a magazine, do you let Don MC: What about the Internet? Has the camaraderie of photogra- do the scan? phers expanded because of the Internet? What do you think JG: No, I’ll scan. I’d rather do the dull work, that’s enough. But of all those photography-related websites? to go play with something and try to manipulate it, no. It’s DK: I hardly ever go to photography websites on the Internet. enough get the right dimensions and put it on a CD. What technology has done has made the process of being a MC: Are you happy when you scan new prints that they look teacher very rewarding, because I get daily communication reasonably close to what you had attempted on a computer from my students and people who have been my students. screen or are you unhappy with that? Some of them have become real fine photographers and so JG: I don’t think I really notice. If something comes up, I’m the communication aspect, the email aspect is irreplaceable pleased. For the most part it just a picture and I scan it. as far as I’m concerned. MC: So rather than teach some-

MC:MAGNAchrom v1.3 Don, who are your muses as a photographer, as an one and you never see them artist? It doesn’t have to However, there is nothing more precious than a day again for the rest of your life. be a photographer, just a Instead, now many of these person who has inspired in the darkroom. It’s just a marvelous experience people have connections for you through your life and years. continues to inspire you. that can not be replicated in a computer. - DK DK: Oh, for years, yes. Many of DK: Well, I have some truth my students keep in touch. This tellers that have helped me a lot. I get them to tell me the has been going on over 20 years. truth about my prints. That helps me get better. MC: How do you react then, when a student has perhaps learned MC: Can you name one of them? all too well and started copying you? That must have hap- pened in 25 years — find somebody almost mimicking your DK: Oh, of course. Jay Dusard probably understands my work look, your style whatever. Or has that never happened? better than anybody else. Ray McSavaney was most help- ful starting out. Bruce Barnbaum has been a big help to me DK: I can’t recall any instance that ever happened. over the years. Huntington Witherill out in California. Stu MC: I think that’s unusual. Perhaps because I’ve seen it happen Levy, who I teach with have been instrumental. with my wife who teaches pastel. MC: It sounds almost like a cabal. DK: Oh, I’m sure they could if they wanted to. When I teach I DK: It is, yeah. Other photographers whose work I admire. Mi- don’t teach people to do photography like I do. I try to find chael Kenna is certainly one of my favorites, Brett Weston, out what it is they want to do and learn how to do that better. Frederick Sommer whose work and life is astounding. Sebas- MC: Find their own voice? tiao Selgado and Mario Giacomelli’s work has recently made DK: Absolutely, I like to start with their work. I like to see what me rethink my approach to landscape. they’re doing and make it better. I mean there’s lots of dif- your take on drawing the student’s inner art out? Is that ferent ways, all perfectly valid and central to photography something that you have such a really good skill with be- and habits and techniques that would work for me that cause you are sensitive having been there yourself at one wouldn’t work for Joan and don’t and she doesn’t use them point through school etc… or is there something that’s differ- and wouldn’t work for any other photographer. So the key ent or being in contrast with something you just said? 39 thing is take a student from where they are and take them JG: Well, you already know what the student does and this is to where they’re going. mostly in the classroom situation. When we’re out in the MC: Now these workshops that you’ve been leading. Have they field, walking around, everybody has an opportunity to inter- changed over time or has the methods more or less stayed act with us. We talk about what they’re doing and I look at the same? the scene through the camera view finder, and say well, did DK: The basic approach has remained constant. The technology you know you have a little extra leaf hanging or something changes, films, papers, so one must stay current, which is and is it what you want, and that kind of stuff. I want to talk a big advantage of teaching. Digital technology is causing with everybody in the class one-on-one as often as possible. changes. MC: And that’s a good team work. MC: Because you can review things instantaneously? DK: Well, the key thing is to… You can’t teach anybody by start- MAGNAchrom v1.3 DK: Oh, we don’t do that. I think that’s really a false way to ing with bad works on their part. So the key thing is catching teach. To think you can go to a workshop for two days or a somebody doing something right and making that known to week and to think you’re going to get a good photograph them. during that period of time. It’s a wildly optimistic assump- MC: Do they sometimes not know they’re doing it right? tion. What we do and have always done is a thorough cri- tique of existing work the student brings to the workshop… JG: Well, I think they’re so hung up from the workshop and hearing all this stuff about their prints that their minds are MC: At the beginning? just going every which way. I can relate to that. Things DK: Beginning, as early as possible in the workshop. We try hard eventually settle down and then we talk about it. to find out what they’re doing, how they’re doing it, take a MC: Why then, do you not request a portfolio submission prior to look at their work and critique it in the sense of making posi- allowing someone to your workshop. tive suggestions for improvement. DK: Oh, I think that’s ridiculous. It suggests that I only want to MC: Are your workshops solely black and white or are colors al- teach somebody that’s already skilled. And the fact is that lowed or what? people that learn the most are those who are just starting DK: Oh, anything. Color, black and white, digital, alternative pro- out. You can mix skill levels in a workshop very easily and cesses. I do workshops that involve hands-on printing. I do the beginners learn from more advanced students so they one-on-one workshops here in Santa Fe. Often, somebody have several teachers there. Sometimes they get misled but wants to work in color or they just want to work on composi- then the workshop tutorials can correct that. So I see no tions that sort of thing. This is fine with me, so anything. reason to put limits on the skill level of the student on preor- der. So all I ask is that they work diligently in the workshop MC: Joan, you’ve led workshops too, right? and have some enthusiasm and energy to add to the thing. JG: Yes, I work with him and others. MC: Thank you both for your time and hospitality. MC: You work together… You teach together… of course. What’s [TOOLKIT] Don Kirby & Joan Gentry’s Darkroom

Don’s darkroom is his shrine. Well-appointed and perfectly arranged 40 for maximum efficiency, he has no problem at all spending an en- tire day working on his prints which he can produce up to 30”x40” MAGNAchrom v1.3

Darkroom photograph taken with a Gaoersi 4x5 w/ 47mm Schneider XL, Horseman 6x12 back, and Portra 400NC film. f8 @ 1/2 sec [TOOLKIT] Don Kirby’s Linhof Technika IV Outfit

Rangefinder mysteriously disappeared 150mm Fujinon W lens Unique patina to die for Classic, no frills tripod 41 Custom stained leatherette

Never a slave to fashion, Don MAGNAchrom v1.3 Kirby prefers his “old reliables” to any new-fangled technology. 50% of his photographs are taken with his 150mm with the remainder divided between 58mm, 90mm, 300mm lenses. As for his camera: “I just throw it in the back of my car and don’t worry about it too much”. Indeed. PARALLELS: Don Kirby & Joan Gentry 42 MAGNAchrom v1.3 GLF Don Kirby: Bandon Beach Spire

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Don Kirby: Bluegrass II Harvard Rd WA Don Kirby: Bluegrass Valley Chapel Rd WA

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Don Kirby: Popo Agie River Basin WY Don Kirby: Storm Cloud Over Black Mesa 4

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Don Kirby: Wheatfield Gashaus Road Basement, Cargill’s Grain

Don Kirby: Bluegrass Jackson Road

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Don Kirby: Wheatfields Steptoe Butte Don Kirby: Wheatfield Ping Gulch Road WA

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Don Kirby: SunFogTrees Cape Arago OR 53 MAGNAchrom v1.3

Joan Gentry: UNM A Closer Look #8 Joan Gentry: UNM A Closer Look #1 54 MAGNAchrom v1.3

Joan Gentry: UNM A Closer Look #2 Joan Gentry: UNM A New Look #2 55 MAGNAchrom v1.3

Joan Gentry: UNM A New Look #3 Joan Gentry: UNM Another Look #14 Don Kirby Don Kirby Bandon Beach Spire Storm Cloud Over Black Mesa Year: 2005 Year: 2004 Camera: Linhof Technica IV Camera: Linhof Technica IV 56 Location: Oregon, USA Location: New Mexico, USA Film: TMAX-100 Film: TMAX-100 Lens: 150mm Lens: 150mm Exposure: 1/8 @ f32 Exposure: 1/4 @ f32

Don Kirby Don Kirby Bluegrass II Harvard Rd WA Wheatfield Gashaus Road Year: 2000 Year: 1999 Camera: Linhof Technica IV Camera: Linhof Technica IV Location: Washington, USA Location: Washington, USA Film: TMAX-100 Film: TMAX-100

MAGNAchrom v1.3 Lens: 58mm Lens: 58mm Exposure: 1/2 @ f32 Exposure: 1/4 @ f32

Don Kirby Don Kirby Bluegrass Valley Chapel Rd WA Wheatfield Ping Gulch Road WA Year: 2001 Year: 2000 Camera: Linhof Technica IV Camera: Linhof Technica IV Location: Washington, USA Location: Washington, USA Film: TMAX-100 Film: TMAX-100 Lens: 150mm Lens: 150mm Exposure: 1/2 @ f32 Exposure: 1/8 @ f32

Don Kirby Don Kirby Popo Agie River Basin WY Wheatfields Steptoe Butte Year: 2005 Year: 2001 Camera: Linhof Technica IV Camera: Linhof Technica IV Location: Wyoming, USA Location: Washington, USA Film: TMAX-100 Film: Technical Pan Lens: 58mm Lens: 300mm Exposure: 1 sec @ f32 Exposure: 1/8 @ f32 Don Kirby Joan Gentry Bluegrass Jackson Road UNM A Closer Look #2 Year: 1997 Year 1973 Camera: Linhof Technica IV Camera: Nikon F Location: Washington, USA Location: Albuquerque, NM, USA 57 Film: Technical Pan Film: Plus X Lens: 58mm Lens: 24mm Exposure: 1/2 @ f32 Exposure: 1/125 @ f5.6

Don Kirby Joan Gentry Sun/Fog/Trees UNM A New Look #2 Year: 2005 Year: 1996 Camera: Linhof Technica IV Camera: Nikon F Location: Oregon, USA Location: Albuquerque, NM, USA Film: TMAX-100 Film: Plus X

Lens: 58mm Lens: 24mm MAGNAchrom v1.3 Exposure: 1/8 @ f32 Exposure: 1/125 @ f8

Joan Gentry Joan Gentry UNM A Closer Look #8 UNM A New Look #3 Year: 1973 Year: 1996 Camera: Nikon F Camera: Nikon F Location: Albuquerque, NM, USA Location: Albuquerque, NM, USA Film: Plus X Film: Plus X Lens: 24mm Lens: 24mm Exposure: 1/125 @ f5.6 Exposure: 1/125 @ f5.6

Joan Gentry Joan Gentry UNM A Closer Look #1 UNM Another Look #14 Year: 1974 Year: 1973 Camera: Nikon F Camera: Nikon F Location: Albuquerque, NM, USA Location: Albuquerque, NM, USA Film: Plus X Film: Plus X Lens: 24mm Lens: 24mm Exposure: 1/125 @ f5.6 Exposure: 1/60 @ f8 [STATS] Who Are MAGNAchrom Readers?

PHOTOGRAPHER'S MACHINIST ell, after only two issues we are begining to get a good Gender: sense of who our audience is. The really great thing is Male 96% Going digital, that as of late, we are seeing readership increase on but still need Female 4% a daily basis, so whatever you are doing to promote compatibility? Give us a call! WMAGNAchrom to your friends and co-workers must be working! (keep up the good work) English speaking countries: As you might suspect, MAGNAchrom readers are largely male en countries 60% Products and English-speaking. But what is interesting is that in spite of no non-en countries 40% • World’s Best Lenscaps advertising, nearly 40% of our readership hails from non-English • Original Spanner Wrenches • New Copal Shutters speaking countries. This worldwide interest in medium and large Regions: • Extension/Recession Tubes format photography is just as we predicted and we are pleased to see so much international interest in our publication (note that the North America 48% • Custom Threaded Adapters Rest of the World 52% • Slip-On Adapters 4th issue of MAGNAchrom due in April 2007 will be dedicated to • Focusing Mounts international photography). • Mounting Flanges Top ten LF brands: What is also interesting is how much detail people willingly gave • Retaining Rings Linhof 17% • Lens Boards and Adapters us regarding their equipment usage. As might be suspected, Sinar 16% • Unique Bracketry there were a handful who didn’t provide anything. But from the information we have obtained to date, it is clear we have a bunch Toyo 11% Services of true camera lovers as readers. In fact, 81% of all registered Speed Graphic 10% • Barrel Lens Adapted to Shutters users willingly gave us information about what equipment they Cambo 9% • Prototyping and Design Shop use. We are also pleased that the mix of medium to large format Shen-Hao 7% • Shutter Repairs and Clear, Lubricate, users is 94% MF vs. 78% LF, with 60% of readers who indicated Arca Swiss 7% and Adjustments equipment choices owning BOTH medium and large format Ebony 6% • Lens Board Mountings equipment — exactly the kind of reader we were hoping for. Tachihara 5% • 35mm Conversions Other LF Brands 66% Where would we like to be one year hence? Well, obviously we’d like to see more women involved with medium and large format photography — we know you are out there! To that end, we will Top ten MF brands: continue to actively seek out women to feature within these pages. Mamiya 38% We also want to expand the readership in both North America as Hasselblad 26% well as the rest of the world. Ideally we’d like to see something Rollei 20% closer to a 33/67 percent mix of readership with two thirds of our Bronica 11% readership outside of North America. We believe this is where the Pentax 9% real growth in medium and large format is likely to remain. Fuji 9% Only time will tell... Yashica 9% Kiev 5% www.skgrimes.com tel: 401-762-0857 fax: 401-762-0847 Bernhard M. Hartmann was born in Frankfurt, Germany in 1955. Submit your work to Centerfold! His love of photography was growing from childhood till nowadays Centerfold is a new, regular feature and he believes that the photographic art of expression is the of MAGNAchrom that will showcase essence that keeps him alive. one panoramic photograph printed large, in a double-wide spread. You Bernhard’s educational background is shaped by his studies of law must be a registered user of MAGNA- and his accompanying work as a photographer for some major chrom as well as a member of German magazines like Color Foto and Foto Creativ. www.panorama-gallery.com. A couple of years ago he moved with his beloved wife Birgit and To be considered, send an email to his daughter Leonie to Upper Bavaria and is living near Lake [email protected] with Starnberg, where King Ludwig II (he was the one who build the the following information: romantic castles) was drowned. But he claims himself a good About you: swimmer and therefore he has confidence that his pictures will Your Name ______continue to be shown in serious European black and white Fine Art Your MC email ______Magazines as well as in leading German Galleries. Bernhard’s work Your Website ______is widely exhibited and you can also find his pictures in collector Describe your panorama: portfolios in Europe and in the United States. Title ______Camera ______His work can be seen at www.bernhardhartmann.de Film or back ______Exposure ______Lens ______Year taken ______Location ______Link to photo ______

... and a paragraph (or two) de- scribing the photograph, technique, and/or your artistic vision.

If chosen, you will need to supply a Piscina Al Mare II, © 2007, Bernhard Harman single image sized fit inside the fol- lowing pixel box: 7000 wide x 2500 I deeply admire the romantic paintings of Caspar David tall pixels in RGB JPG (high quality) Friedrich, William Turner and Eugene Delacroix. I can not draw, format. Images should not have any nor can I paint, but I can express my feelings and emotions, borders. FTP information will be sup- my whole creativity, with another wonderful medium: the Art of plied to those that win. If you are not chosen, please submit again for photography. I don’t know any other way to do so. the next issue — there is no limit to “Therefore my pictures can be seen in the photographic tradition of the the number of times you can sub- 19th century Pictorialists. By viewing these pictures you should feel a mit. Winners however must wait one connection between the physical and spiritual world, your fantasy and year before submitting again. your imagination should be activated. CENTERFOLD

x” CENTERFOLD Piscina Al Mare II, © 2007, Bernhard Harman [FEATURE] The Carbon Transfer Process

62 HISTORY OF THE CARBON PROCESS by Sandy King he carbon transfer process is considered by most persons who know it to be one of the most beautiful of all photographic processes. Carbon prints are capable of a wide range of image characteristics, they can be Tvirtually any color or tone, and the final image can be placed on

MAGNAchrom v1.3 a wide variety of surfaces, including glass, metal, paper, as well as various kinds of synthetic surfaces. When the final support has a smooth surface carbon prints have a highly unique quality, a discernible relief which gives them a real dimensional quality, especially prominent when the photograph is held sideways to the light. Carbon is without question the most distinctive and stable of all photographic processes, with the capability of presenting images with a wide range of image characteristics, of virtually any color or tone, on a wide variety of surfaces. Finally, carbon transfer prints, which are made up of inert pigment(s) suspended in a hardened gelatin colloid, are the most stable of all photographic prints. a pigmented-gelatin W. Swan. Swan used apapersupport,coated ononesidewith use, having beenintroduced in1864by theEnglishman Joseph The carbonprocessas practiced today hasalong historyof shoulder withDmaxof over 2.0. 1.50, andthesilver curve hasashort butvery pronouncedtoeand curve withvery longtoeandshoulder andDmaxofjustlessthan toe andshoulder, andDmaxofover 1.80, thePt./Pd.curve hasa The carboncurve hasavery linearstraight linecurve, withlittle Figure 1.FamilyofCurves.Carbon,Pt./Pd.andSilver typical carboncurve withtypical silver andPt./Pd.curves. the deepestshadows.Compareinfollowingfamilyofcurves a completely lineardistributionoftonesfromthehighestlightsto negatives withlongdensity ranges, resultinginaneven and line printing. Carbonhasalongtonalscaleandexcellent straight- Tonal reproductionisalsooneofthestrongpointscarbon characteristics, qualitieswhichallowstheuseoffullydetailed solution, known ascarbontissue. After the 19 Carbon was widelypracticed inEuropeandtheUSA throughout made tissueinthreecolors,black,sepiaandpurple-brown. began marketing carbonmaterialsin1866,offeringhisready- pigment imagewas transferred toitsfinalpapersupport. Swan temporary support sensitization andexposurethistissuewas transferred toa manufactured tissue. ways different fromthedirectionsgiven here for usewithhome directions provided by themanufacturersincethey areinsome its use.Ifyou usetheB&Stissuebesuretofollowworking on thehomemanufactureofcarbontissue andinstructionsfor attempting tomake your own.However, thisarticlewillfocus carbon printingtoworkfirstwiththeB&S carbontissuebefore I stronglyencourage anyone interestedinexperimentingwith other surfaceimperfections. and uniformcoating,iscompletelyfree ofthebubblesand $4.00 persquarefoot.Thetissueisofgood quality, withasmooth supplied insheetsof36”X60”atanapproximate costofjustunder Forest Green,Nut BrownandRenaissance Black.Thetissueis New Mexico. B&Sproduces the tissueinseveral colors,including the USisthatmanufacturedby BostickandSullivan inSantaFe, As ofearly2007theonlymonochromecarbontissueavailable in years agomaterialsfortheprocessarenolongeravailable. popularity asahigh-endcolorprintingprocess,butofseveral of thecolorreliefs,was introducedinthe1990sandenjoyed some process basedontheuseofdigitalnegatives andpinregistration work until around 1990. Ultrastable, a modern carbon color printing carbon tissueandtransfer papersformonochromeandthree-color Hanfstaengl for carbonmaterialsallbutdisappearedinthe1950s,although other processes,includingpalladiumandplatinum.Themarket prints typically costmuchmorethanthoseproducedby any ofthe the aristocrat ofallprintingprocesses,andcommercialcarbon th century andwellintothe20 of Germany continuedtoproducesmallquantitiesof for development. Whendrytheresulting th . Itwas consideredby many

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when drythan wet. a richer, morebrilliantlook dry, carbon printsusuallyhave much ofitswetbeauty when a pt./pd.print,whichloses pt./pd. orvandyke. And,unlike with processeslike kallitype, nothing like whatweexpect increase indensity ofacarbonprint on dry-down, though itis Depending onthefinalsupportoneshould expectsomeslight paper supports. paper butmay alsobeglass,metal,orvarious kindsofsynthetic transferred toafinalpapersupport.Thesupportisusually the polyester orpolyvinyl family),andafterdryingtheimageis is firstdeveloped onatemporary support(usuallyaplasticof support. Indoubletransfer thesensitized andexposedtissue sensitized andexposedtissueisdeveloped directlyonitsfinal process: singletransfer anddoubletransfer. Insingletransfer the There aretwomajorvariations ofthemonochromecarbontransfer MAGNAchromaway fromthesupportleaving areliefimage. the supportanddiscarded.Theunhardenedgelatinslowlywashes pigmented gelatinhasbeguntomeltthetissueispeeledfrom to atray ofwater atabout105°Ffordevelopment. Oncethe After about30minutesthetissueonitssupportistransferred water, thensqueegeedintocontactwithapaperorplasticsupport. v1.3the highlights. densities, i.e.thetissueishardenedmoreinshadows This causesthegelatintohardendirectlyin sheet ofcarbontissueandexposedwithanultraviolet lightsource. C OVERVIEW OFTHEPROCESS image anegative isplacedin contactwithasensitized placed onafinalsupport,usuallypaper. To make this image thatcomprisesapigmentsuspendedingelatin arbon isacontactprintingprocessthatgives afinal Afterexposurethetissueissoaked brieflyincool

photographic processes all ofdistinctivestable mostand the question without is Carbon proportion tonegative than in 2. 1. The majorstepsinmakingacarbonprintarethefollowing. information ontheprocess. the sourcesinrecommendedbibliography formore detailed discussions toonlyoneortwoofthemajor variations. Consult multiple methodsthatwork.However, inthisarticlewemustlimit printing isavery flexibleprocessandinevery stepthereare We willnowdescribeeachofthesestepsindetail. Carbon 6. 5. 4. 3. Sensitize anddrythetissue. Make thetissue. support todryandthentransfer ittoafinalsupport For doubletransfer, allowtheimageontemporary plastic This isthefinalstepforsingletransfer. and develop thereliefby washing away theinsoluble gelatin. Transfer thesandwichoftissue/supporttoatray ofwarm water 20-30 minutes. of plateglassover the paper, and leave it undisturbedforabout Cover thesandwichwithasheetofblottingpaper, placeasheet transfer) orwithatemporary plasticsupport(doubletransfer). squeegee thetissueintocontactwithfinalsupport(single the latterinwater atabout 65°F for45-50seconds,andthen After exposure,separate thenegative fromthetissueandsoak and exposewithalightsourcerichinUV. Mate asuitablenegative withtheemulsionsideoftissue

SUPPLIES AND MATERIALS: THINGS YOU WILL NEED

n order to make carbon prints you will need the following Equipment chemicals, materials and equipment. Most of the basic  A few pieces of plate glass, ingredients are readily available locally, and inexpensive, a fact 1/4” thick and two inches that will be much appreciated by those used to the high cost larger on all sides that the Iof processes that use precious metals such as gold, palladium and largest print you intend to platinum. make.  Chemicals and Things  UV light source  Alcohol and/or Acetone  Contact Printing Frame or  Ammonium or potassium dichromate — Sensitizer Vacuum Frame  Sodium bisulfite or sodium metabisulfite — Clearing Agents  Rubber squeegee  Sugar — Plasticizer  Plastic trays about two inches larger all around than  Glycerine (optional) — Plasticizer for arid climates. the largest print you intend  Thymol (optional) — Preservative to make  Pigment — India or Sumi Ink, tub watercolors and numerous  Drying screens other pure pigments in aqueous dispersion.  Access to Running Hot and Cold Water  Scale for measuring chemi- cals and gelatin Banish the Test Strip!

Materials  Carbon Tissue  Final Support Paper  Thin Mylar sheets

Figure 2 – Some of the essential materials needed. 66

STEP 5—Add water totop offthesolutionto 925 mlandthen of glop. contrast). For your firsttry, useabout15-20gof pigment perliter you want inthetissue(themore pigmentyou add,thehigher the both onthespecific pigment itselfandonbothhowmuchcontrast give avery neutral toneblack.Theexactamountneeded depends and Ivory give awarm blackcolor, whileIndiaInkand Lampblack or atubewatercolor suchasIvory BlackorLampblack.BothSumi this formulaIamgoingtorecommendeither SumiorIndiaInk, almost any pigmentthatdisperseswellinwater canbeused.For Many different kinds of pigment can be used. With some exceptions STEP 4—Addthepigmenttogelatinsolution, andstirwell. drying outtoomuch.. can beaddedinadditiontothesugarprevent thetissuefrom In aridclimatestheadditionof5-10ml glycerine perliterofglop pliancy tothedrytissueandprevent itfrombecomingtoobrittle. in 50gofplainwhitesugar. Thepurposeofthesugaristogive STEP 3—Whenthegelatinsolutionhascompletelyliquefied,stir completely liquefy. gelatin solution(initscontainer)inthewarm water andallowitto container, withwarm water ataround115-125°F. Placethe STEP 2—Fillasmallicechest,orsomeothertype ofinsulated MAGNAchromstore worksfine. to sitforaboutthirty minutes.PlainKnox gelatinfromthegrocery g ofgelatin(Bloom175-250),tothewater andallowthesolution wide-mouth container, eitherglassorplastic.Whilestirring,add80 STEP 1—Pour 900mlofdistilledwater at65-70°Fintoaclean v1.3even monthsinthefuture. session sinceitcanbefrozen andusedatalaterdate, weeksor or theequivalent. Itisnotnecessarytousealloftheglopinone amount ofsolutiontomake about10-15tissues8X10”insize, I STAGE ONE:MAKINGCARBONTISSUE point formany existingformulasandprovides anadequate in oneliterquantities.Onegives aconvenient reference solution, whichIwillcallhenceforthinthisarticlethe“glop,” t isrecommendedthatyou preparethepigmentedgelatin

bubbles stirredupduringmixing.. for atleastanbeforecoating.Thisshouldgetridofmostthe STEP 6—Leave thecontainerofglopinwater atabout115-125°F water tooneliter. Alcohol asapreservative. Finally, topoffthesolutionwithdistilled to serve asasurfactant,and1mlof30%Thymol inIsopropyl stir gentlyforaminuteorso. Thenadd50mlofIsopropyl Alcohol 4. 3. 2. 1. Simplified CoatingProcedure the duration ofthecoating. way, make surethattheroomtemperature isatabout68-72°Ffor flexible magneticused over asheetofgalvanized steelplate.Either base andspreadingitwithyour fingers,or by theuseofaframe of can coateitherby pouringthewarm glopdirectlyontoanoversize Multi-Media Vellum orYupo, asyntheticpolypropylene paper. You be usedforthetissuebaseIrecommendaplasticsuchasDenril STEP 7—Coatasuitablebasewiththeglop. Althoughpapercan drying. drying room,andwhether ornotafanisusedtoaccelerate thickness ofthecoating, thetemperature andhumidity of the dry. Drying timewillrange from3-24hours,dependingonthe the tissueandplaceit onadryingscreen,andsetitasideto The coatingwillsetin 5-10minutes.Whenitsets,pickup coating area. very quickly, spreadtheglopwithyour fingers over the8X10” all oftheglopontocenterbase. Then,working the warm glopintoasmallbeaker. Gentlybutrapidly, pour For coatinganareaabout8X10”insize, pourabout50mlof plate glass,andblotoffwithacleantowel. area. Wet thetissuebase,squeegeeittosurfaceof at leastonetotwoincheslargeronallsides thanthecoating the size oftheareayou want tocoat.Thebaseitselfshouldbe Draw onthetissuebasearectanglewith permanentmarker largest tissueyou plantocoat. Level apieceofplateglass,largerby several inchesthanthe free handmethodof coating. running outofthecoatingareaassometimes happenswiththe This canbedonevery quicklyasthereisnoriskoftheglop with your hands asevenly aspossibleover thearea oftheframe. Pour thepigmentedgelatinonsupportandrapidly spreadit Wipe offexcess water withacleantowel. gelatin fromflowing, keeping itentirelyconfinedwithin the frame. through thethicknessofpaperwithenough forcetokeep the mask over thepaper. Themagneticmaterialwillsticktothesteel squeegee ittothegalvanized steelsheet.Placethemagnetic and level it.Next,placethetissuebasebrieflyin water andthen To coat,firstplacethegalvanized steelplateonaflatsurface the desiredsize andtapingthesidestogetherwithducttape. also usestripsofmagnetictape,cuttingthemtoformaframe of material slightlylargerthetissuesize you wishtomake. You can 1.0mm. Preparethesheetingmaterialby cuttingout a frame inthe .040” materialwillgive awetcoatingthicknessofapproximately own work.Assumingyou fill uptheframe completelywithglopthe approximately .060”. Iusethe.040”thickmaterial formostmy Magnetic signmaterialisavailable inawiderange ofsizes upto and keeps thecoatingsolution confinedtotheareaofframe. or witharod.Themagneticsheetingmaterialserves asadamn glop ispouredover the paper, and thenevened outeitherby hand flexible magneticsheetingmaterial over thesupport.The warm squeegee thetissuesupporttometal,andplaceaframe of steel. Withthismethodyou firstlevel asheetofgalvanized steel, is theuseofmagneticsignmaterialover asheetofgalvanized An alternative tothefreehand methodofcoatingdescribedabove Coating withMagneticFrames Figure 3 – Pouring the glop within the frame of flexible magnetic sheeting. magnetic flexible of frame the within glop the (Image courtesyofMikeRobinson) Pouring – 3 Figure with this method glass after coating will be as smooth as surface of the tissue Done correctly the

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as glass after coating with this method. When the gelatin sets, run solution. Done correctly the surface of the tissue will be as smooth any bubbles that may be on the surface of the pigmented gelatin the gelatin as it passes over the glop and dissipates on contact evenly with just one passage of the rod. The heat of the rod melts one should be able to distribute the pigmented gelatin solution be rigid enough so that it does not sag in the middle. With practice enough too completely cover the cutout of the frame, and it must will even out the coating over the base. The rod needs to be long over the glop from one end of the frame to the other. This action by the thickness of the magnetic sheeting material on each side, 2/3 of the surface to be coated. Then, roll the rod or tube, supported the glop at one end of the frame and quickly spread it over about threaded rod, preheated to about 125°F, over the glop. First, pour It is also possible to even out the coating by rolling a steel tube or MAGNAchrom v1.3 (Image courtesyofMikeRobinson) Figure 4–Spreadingtheglopinframe.

Figure 5–Spreadingtheglopwithaheatedtube. edges of the mask, life the tissue and transfer it to a drying screen. a sharp point such as a toothpick or sharp lead pencil around the amount. you pourintotheframe beslightlyinexcess ofthecalculated area. Remember, tousetherodrequiresthat amountofglop determine howmuch coatingsolutionshouldbeusedforagiven sheeting ofotherthickness justmake the above calculationsto sheeting beingusedfortheframe hasathicknessof.032”. For height of.032”. Thisassumes,ofcourse,that theflexiblemagnetic about 100mlofpigmentedgelatinsolution toachieve awetcoating material). For example,foratissue11X14”in size you willneed then multiplywidth*lengthdepth(thickness ofthesheeting the rod,firstconvert allof your dimensions tocentimeters, fill theframe andallowsomeexcess, which isnecessarywith To determinehowmuch volume ofglopisneededintocompletely plastic, i.e. thehighlights,willnot comeincontactwith thegelatin will notexpand sufficientlyand certainpartsoftheimage onthe plastic support.Ifthe gelatinofthepapersupportistoohardit necessary forcomplete transfer of theimagefromtemporary of gelatinthatwillexpand considerably whenwetted out.Thisis transfer procedureshouldbecoatedwitha relatively softlayer Double TransferProcedure is usuallyrequired. For goodresults,twoormorecoatings,withdryingbetween each, When thegelatinsets,hangpapertodry. 3. 2. 1. hardened gelatin.Follow thedirectionsbelow. Drawing andwatercolor papersmustbesized witha coatingof 20 minutes. for 5-10minutes,thenwashed thoroughlyinrunningwater for15- Photographic papersare preparedby soakinginahardeningfixer not doneproperly. procedure andcanleadtomuchfrustration inuseifthesizingis as thesizingofartanddrawing papersisafairlycomplicated photographic paperfor thefinalsupportduringlearningphase final surfacedesired.Irecommendthatbeginnersusefixed out gelatin. Any goodquality papermay beused,dependingonthe watercolor paperthathasbeensized withahardenedlayer of can beeitherafixed-out photographic paperoradrawing or Single TransferProcedure PREPARING FINALSUPPORTPAPERS using acleanfoambrush. solution, pourthesolutionover thepaperandspread evenly beaker, addafewdrops ofa40%solutionformalintothe Pour about80-100mlofthe3%-5%gelatinsolutionintoa surface. minutes inwarm water, thensqueegeeitontoalevel, flat Soak thedrawing orwatercolor papertobesized for5-10 directions formakingcarbontissue. Make up1000mlofa3%-5% gelatinsolution,followingthe —Thefinalsupportforsingletransfer —Papers usedforthedouble

prepared asforsingletransfer withoneimportantdifference:in Drawing andwatercolor papersfordoubletransfer may be this may leadtoanincompletetransfer. make contactwiththeimage onthetemporary plasticsupport, and since thegelatinofthesepaperswillnotnormallyswellenoughto photographic papersarenotrecommendedfordoubletransfer of thefinalsupport,resultinginanincompletetransfer. Fixed out solution. in 900mlofwater, etc.),thentopoffto100mlor1000 oftotal 3 grams ofpotassiumdichromate in90mlofwater (or30grams example, to prepare a 3% potassium dichromate sensitizer dissolve dissolved inwater tomake afinal volume of100mlsolution. For volume (w/v), indicatinghowmany grams ofachemical aretobe is expressedasapercentsolution,anexpression ofweightper low as1/4%tohigh4%-6%.Thestrength ofthesensitizer and theDRofnegative, the usefulstrengthmay range fromas contrast negatives. Depending onthenative contrast ofthetissue, for highcontrast negatives, solutionslowindichromatefor range) ofthenegatives: solutionshighindichromateareused dichromate concentration ofthesensitizer totheDR(density The contrast ofacarbonimageiscontrolledby matchingthe E SENSITIZING CARBONTISSUE image onthetemporary plasticsupport. formalin orglyoxal, thusallowingcompletecontactwiththecarbon alum willswellmuchmorethanthatofpapershardenedwith coating solution.Thegelatinofpapershardenedwithpotassium water, thenaddabout5mlofthissolutiontoevery 75-100 mlof Mix twograms ofpotassium alumdissolved in100mlofwarm place offormalinorglyoxal usepotassiumalumasthehardener. ither ammoniumorpotassiumdichromatecan sensitizing. tray sensitizingandammoniumdichromateforspirit to sensitize thetissue.Iusepotassiumdichromatefor

be used

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diluted 1:2withacetone. Figure 7–Tissuespiritsensitizedwitha4%ammoniumdichromatesolution, MAGNAchrom v1.3 diluted 1:2withacetone. Figure 6–Tissuespiritsensitizedina2%ammoniumdichromatesolution,

diluted 1:2withacetone. Figure 8–Tissuesensitizedwitha6%ammoniumdichromatesolution, accompanied by aloss ofcontrast. Theeffectis least inacold,dry consequence ofthedarkeffect is agradual gaininspeed, of thegelatinsensitized, unexposedtissue. Thepractical kicks intogear. Darkeffectiscausedby aslowinsolubilization As soonasthetissue isdryaphenomenonknownas“darkeffect” sensitizing andbecause itisvery efficientinuse ofmaterials. sensitizing becausethesensitized tissue driesfasterthanwithtray monochrome workwhenusedproperly. Ipersonally preferspirit methods arecapableofgivingexcellent andrepeatableresultsin will dryandbereadyforprintingwithin15-30 minutes.Both tissue takes upto1-2hoursdry, whilespiritsensitized tissue such asalcoholoracetonedirectlyonthe tissue. Tray sensitized brushing asolutioncontainingdichromate andafastdryingspirit by soakingthetissue inatray containingthesensitizer, or;2)by In actualpractice carbontissueissensitized inoneoftwoways: 1) only tothespecifictissueusedfortests. obtained above withthe 2%,4%and6%sensitizers wouldapply Carbon tissuecanvery greatlyincontrast sotheexposurescales

periodically renewedorreplenished. printing propertieschangewithtimeandit musteitherbe The potassiumdichromatese yellow bug light. screen. Drythetissueindark,ora room illuminatedby a the tissuefromplasticandhandtodry (ordryonadrying clean sheetofacrylicplastic.Squeegeeout thesensitizer, remove to drain forafewseconds,thenplaceitemulsionsidedownon a After threeminutesremove thetissuefromsensitizer, allowit of thethreeminutesensitizingperiod. Place thetissueinsensitizer andagitategentlyfortheduration has beenstoredflatthisstepcanbeeliminated. before transferring thetissuetosensitizingbath.If flatten outbeforesensitizing.Squeegeetoeliminateexcess water place itinatray ofcoolwater foraminuteorsoandallowitto If thetissuehasdriedoutexcessively itmay benecessarytofirst absorbs thesameamountofsensitizer. temperature andtimeofsensitizingsothatthetissuealways is necessarytostandardize thisoperation intermsofsolution for aboutthreeminutes.For consistent andrepeatableworkit at about55-50°F. andthetissueshouldbeleftinsensitizer illumination orwithabuglight.Thesensitizingbathshouldbeused Carbon tissueshouldbesensitized underlow-level tungsten Tray SensitizingofCarbonTissue tissue towithin5-10minutesoftheendsensitizingstage. humidity ofaround50% RHandalways timetheexposureof maximum consistencymaintaintheworkingroomataconstant environment, andatamaximuminwarm, humidcondition.For nsitizer canbereused,butit’s (Image courtesyofSamWang) Figure 9–Pouringthedichromatesensitizerovertissueintraysensitizing. brushing. Then, pinthe tissuetotheboard tokeep itfrommoving when First, placeseveral sheetsof newspaper onacorkorfoamboard. alcohol). solution ofdichromate with2partsofthespirit,eitheracetone or dichromate stocksolution of6%.Then,dilute1partthestock For example,ifyou needafinalstrengthof2%prepare Prepare adichromatestocksolutionof3X the strengthnecessary. carbon tissuedothefollowing. should onlybedilutedwithacetone.To spiritsensitize asheetof stronger dilutions.Potassium dichromatecanalso beused,but either alcoholor is recommendedforspiritsensitizingbecause itcanbedilutedwith amount ofdichromatesolutionisneeded. Ammonium dichromate and isalsomoreenvironmentally friendlysince onlyavery small Spirit sensitized tissuedriesmuchfasterthantray sensitized tissue Spirit Sensitizing acetone andthestocksolutionscanbemixed at 7

MAGNAchrom v1.3 1 72

and finallybrush over onthediagonal. long dimension;thenrepeattheprocesson theshortdimension; the tissueandbrushiton:first,with parallel strokes onthe excess. Then,pourtherequiredamountofsensitizer directlyon To coat,firstwetthe brushinclean water andshake outthe larger. for 8X10”tissue,andathree-inchwidebrush fortissue11X14and inch widebrushfor4X5”and5X7”tissues, atwo-inchwidebrush Brush thesensitizer onthetissueusingafoambrush.Useone- MAGNAchrom v1.3 (Image courtesyofSamWang) Figure 10–Pinningdownthetissueinpreparationforspiritsensitizing.

workshop inToronto.(ImagecourtesyofMikeRobinson) Figure 11–Theauthorbrushingonthespiritsensitizerinsubduedlightata Mark Nelson’s PrecisionDigitalNegative systemand print on greatly increase productivity. Inmaking digitalnegatives Iuse digital negatives allows onetostandardize procedures andcan Much ofmy presentworkiswithdigital negatives. Theuseof one-half over themanufacturer’s ISOrating ofthefilm. should alsobeincreased slightly, generally aboutone-fourthto increases shadowdensity theEFS(effective filmspeed)ofthe similar lightingconditions.Sinceincreased development times also as longwouldberequiredforsilver negatives exposedunder normal lightingconditionsshouldbedeveloped about1.5times As ageneral rulenegatives forcarbonprintingexposedunder the toeandintostraight lineofthefilm’s characteristic curve. should besufficienttogetasmuchshadow detailaspossibleoff of about1.8(witharange fromabout.30to2.10)andexposure with therighttype oftissue.Theoptimumnegative willhave aDR also maximizes thereliefpotentialof themediawhencombined line characteristics ofthecarbonprocess.Thistype ofnegative density range whichmaximize thevery longscaleandstraight- however, thebestnegatives forcarbonarethosewithahigh C NEGATIVES FORCARBONPRINTING damage tothenegative. negative, otherwisethetwocouldsticktogether, causingserious it mustbecompletelydrybeforeisplacedincontactwitha Whether thetissueissensitized inatray orwithaspiritsensitizer the tissue. to dry. Dryingcanbeaccelerated by directingtheairfromafan on After thesecondcoatingplacetissueonadryingrack orhang other sizes. an 8X10tissue,using4mlforeachcoating.Adjustaccordingly To coattwiceyou willneedapproximately 8mloftotalsolutionfor Allow thetissuetosurfacedryandthenbrushonasecondcoating. as highlog2.7andeven higher. Inmy experience, widely varying density ranges, fromaslowlog0.9to of thedichromatesensitizer allowsforusenegatives with arbon printingisquiteflexibleandchangingthestrength

EXPOSING THESENSITIZEDTISSUE in-camera negatives. with digitalnegatives closelyapproximates thequality Igetfrom Pictorico OHPwithanEpson2200printer. Thequality ofmy work frilling duringwarm-water development. edge ofab the edgesofnegative withlithographic tapetocreateasafe pressure tomaintaingoodcontactwiththe negative. Maskaround vacuum easel.Thedrytissuecanbevery stiffandrequiresalotof frame capableofexerting very firmpressure,orbetter, witha Sensitized carbontissueshouldbeexposedwitha contactprinting information. garden andhomesupplystore.Consultthereferencesformore put togetherorassembledfrommaterialsavailable atyour local number ofrelatively inexpensive artificiallightsourcesthatcanbe properly allarecapableofgoodresults.For thehandytherearea Each systemhasitsadvantages anddisadvantages, butwhenused continuous wave xenon plateburnersmadeforthegraphic arts. tubes vapor andmetalhalidelamps,banksofBL(black-light) fluorescent exposed withasourcerichinUVlight,suchasthesun,mercury sensitivity toorange andredlight.Inpractice carbontissueis C , andtothecarbonarc,metalhalide,pulsedxenon and rapidly inthegreento about515nm.Ithasvirtuallyno Its sensitivity intheUVandvioletat about350-420nm. arbon tissuesensitized withdichromatehasitsmaximum out 1/4”. Failure tomaskthenegative may resultin sensitivity extendsthroughtheblue butfallsoffvery

7

MAGNAchrom v1.3 3 7 4

as fastthan thebankofBLtubes. The AmerGraph ULF-28prints on average slightlymorethantwice three tofifteenminutes, withthemajor variable thetissueitself. times forwell-exposed anddeveloped negatives range fromabout Continuous Wave Xenon. Undertheseconditions typical printing at about4”fromthe printing frame, andanAmerGraph ULF-28 light sources,aUVbankoftwelve 48”BLfluorescenttubes to tissuetype andlightsource.Iexposecarbonwith twodifferent Exposure timesincarbonprintingwillvary significantlyaccording UV tubes,leastwithsemi-collimatedandpoint-light sources. be anticipated,greaterwithadiffuselight sourcesuchasabankof necessary toreverse thenegative somelossofsharpnessshould negative is placed incontactwiththeemulsionoftissue.Ifitis final orientationoftheprintwillbecorrect iftheemulsionof base sideincontactwiththeemulsion.In double transfer the final image. To reverse thenegative, justsandwichitwithits the negative shouldbereversed forcorrectorientationofthe If thefinalimageistobemadewithsingletransfer process MAGNAchrom v1.3 (Image courtesyofSamWang) Figure 12–Maskingthenegativewithasaf-edge.

spaced

Xenon light. Figure 13–ExposingcarbontissuewiththeAmerGraphULF-28ContinuousWave

TRANSFER TO FINAL OR Figure 14 – Under water mate the tissue with its final support, emulsion to Photographers’ TEMPORARY SUPPORT FOR emulsion. (Image courtesy of Sam Wang) Formulary DEVELOPMENT Do you ever feel like your fter exposure the printing blind? carbon tissue must be th transferred to a final 19 Century Workshops or temporary support Summer 2007 Afor development in warm water. The support on which For all your fine art the carbon image is developed photographic chemistry and must be somewhat larger than alternative processes. the tissue. Paper supports should be soaked for a minute or so in a tray of water at about 60-65°F before mating with the sensitized and exposed tissue. After exposure, place the carbon tissue in the tray of cool water, along with the final or temporary support, and allow it to soak for about a minute. The tissue should be brought into Figure 15 – Squeegeeing the exposed and wetted tissue to its final support. Juan De Santa Anna© Blind Printing the Blind (Image courtesy of Sam Wang) contact under water with the We are offering classes from final or temporary support, then beginning black and white the sandwich is removed from photography to alternative the water and allowed to drain processes. Featuring Sandy for a few seconds. Place the King teaching Carbon, sandwich on a sheet of plate Kallitype and more as well as glass, tissue uppermost, and many more instructors all tops squeegee out the excess water, in they’re fields. Learn the skills of hand-crafted applying gradually increasing photography, including but not pressure with the squeegee. limited to bromoil, emulsion Blot off the water from around making, pinhole, collodion, the edges, place the sandwich platinum, palladium and on a sheet of clean blotting Daguerreotype. paper, cover with a sheet of Please check us out at: place glass and let stand under www.photoformulary.com pressure for about 20-30 you will be glad you did! minutes. 1-800-922-5255 m

We Y BIG!

Artcraft Chemicals, Inc. 12009 NY, Altamont, POB 382, Scaling and Kits, Custom Bulk Chemistry, Great & Quality. selection www.artcraftchemicals.co 518.355.9121 Fax: 800.682.1730, “Our Chemistry Solution.” Your is

Figure 16 – Place sheet of blotting paper over the tissue/final support sandwich. (Image courtesy of Sam Wang)

The Alternative Journal of Medium and Large Format

Specializing in Photographic Supplies in Photographic Specializing Photography

Figure 17 – Placing plate glass and weight over the tissue/support sandwich. (Image courtesy of Sam Wang) away andyou willhave agoodviewoftheimage. water todrain forafewseconds.Afterabout4minutesmostoftheinsolublegelatinwillhave washed agitate itinthewarm water withagentlerockingandshakingmotion,occasionallylifting itfromthe At thispointyou willnotseeanimage but amassofmelting,oozingpigment.To cleartheimage development. (ImagecourtesyofSamWang) Figure 18–Transferofthecarbontissueonfinalsupporttowarmwaterfor Discard thetissue. T WARM WATERDEVELOPMENTOFTHECARBONIMAGE starting atonecorner, liftthetissueandgentlypullitoffsupportwithanupward motion. start toooze outattheedgesoftissue.You shouldnowstripthetissuefromsupport: warm water atabout110-20°F. Inaminuteorsothesolublegelatinwill begintomeltand he nextstepisdevelopment inwarm water. Transfer thetissue/supportsandwichtoatray of

(Image courtesyofSamWang) Figure 19–Striptissuefromsupportinwarmwaterdevelopment.

MAGNAchrom v1.3 77 78

h in thecool water for 2-4minutestoallow thegelatintoset, then lifting itoutofthewater several timestodrain. Leave theprint of coolwater (50-60°F.) andcontinue agitationforaminuteorso, After development isjudgedcompletetransfer theprinttoatray final print. the highlightsarejustabit nearly asmuchPt./Pd.Therefore,continue development until Carbon printshave somedrydown,thoughrelatively speaking not reduce thedensity oftheprintby asmuch1/2toone fullstop. extended development of30-60minutesitispossibletofurther development inthewarm water untilitlooksrightto the eye. With printing soiftheprintistoodarkafter6-10 minutescontinue There isnopreciseendingpointtodevelopment withcarbon which pointthedrain water shouldbeclear. to drain. Theprintshould befullydeveloped in6-10minutes,at Continue toagitateasbefore,liftingtheprintfromtime MAGNAchrom v1.3 (Image courtesyofSamWang) Figure 20–Mostoftheinsolublegelatinhaswashedawayabout4-6minutes. ang itupto dry. lighterthantheyshouldappearonthe CLEARING THEPRINT rubbing theseareaswithacleansponge. borders oftheprintmay beremoved fromtheprintby carefully Veiled marginsandotherpigm paper support toremove all water. Placeblotting paperoraclean paper support uppermostandgently squeegeetheback ofthe into contactunderwater. Transfer thesandwich toaflatsurface, for 30-45secondsin the sametray ofwater, thenbringthetwo the transfer. Now, soakthe imageonitsplastictemporary carrier be recognized by a soft, slimy feel tothepaper, itistimeto make 70° Ffor5-10minutes. Whenthegelatinhasswollen,whichwill make thetransfer, firstsoakthefinalpaperin wateratabout65- with alayer ofrelatively softgelatin,aspreviouslydescribed.To W SUPPORT TRANSFER OF THE IMAGE FROM TEMPORARY TO FINAL plastic support. require Carbon reliefsdeveloped on plasticwiththedoubletransfer donot mounted forpresentation,unlesssomeretouchingisrequired. 10 minutes.Theprintisnowchemicallystableandreadytobe After clearing,rinsetheprintinrunningwater at60-70°F. for5- agents, andblisteringorreticulationoftheimageispossible. delicate followingdevelopment, isfurthersoftenedby theclearing to drybeforeclearingbecausethereliefimage,whichisextremely minut P es, oruntilthedichromatestainclears.Always allowtheprint clearingasthedichromatehasnoway ofleechingintothe sodium bisulfiteorpotassiumm remove thisstain,soaktheprintina3%solutionof overall yellow stainfromthedichr developed onafinalpapersupportwillhave an rints double transfer proceduresisapapersupportsized to afinalsupport.Themostreliablesupport forthe must transfer thereliefonitstemporary plasticsupport hen printingwiththedoubletransfer procedure we

ented gelatinresidueleftaroundthe etabisulfite for5-10 omate sensitizer. To be difficulttomatchthecoloroftissue. colors andunlessyou areusingavery unusualcoloritshouldnot watercolors. Tube watercolors areavailable inawiderange of If any retouchingisneededIrecommendtheuseoftube Retouching prints type ofweight. flat surfaces for a week or so, with light pressure applied with some pressure. Anothersolutionistojustplacetheprintbetweentwo pressure for20-30minutestocoolandthenstoreitflatunderlight 1-2 minutes.Remove theprintfrompressandplaceitunder print inthepressbetweentwosheetsofcleanboardandleave for T FINAL FINISHING then hangtodry. soak theimageincoolwater for5-10minutestoremove thegloss, temporary plasticsupport tothefinalpapersupport. You shouldre- there shouldhave beenacompletetransfer oftheimagefrom In fact,itmay dothisonits ownasitdries.Ifallhasgonewell which nowcarriestheimage,shouldpeeleasilyfromplastic. heavy finalsupportpapers,even overnight. Whendrythepaper, rack, orhangittodry. Dependingwilltake several hours,orwith about 10-15minutesremove thesandwichandplaceitonadrying towel over thepaperandcover itwithasheetofplateglass.After the drymountpresstoabout180-200°Fandplace can beusedtoflattenouttheprint. To flatten, warmup heavy curlingandwrinklingoftheprint.Adrymount press he thickgelatinlayer ofcarbo

n photographs cancause base ofthe support. tissue, which resultsinhardening thegelatinall way tothe Cause: Themostcommon causeisgrossoverexposure ofthe support duringwarm waterdevelopment 4. Itisimpossibleto separatethetissuefromtransfer to aboutaminuteandkeep the soakwater at 60-68°Forlower. Solution: Reduce soakingtimeofthetissueandpaper support (or both) absorbed too much water before being squeegeed together Cause: The most likely cause is that the paper support or the tissue 3. The image floats off or frills during warm water developmenttissue andnegative duringexposure. recommend theuseofathinsheetprotective Mylarbetweenthe avoid splashingwater aroundthe tissueandnegative. Further, I Solution: Donotusethetissueuntilitiscompletely dry, and negative duringexposure. recommend theuseofathinsheetMylarbetweentissueand may resultindamagetothenegative. To eliminatethisdangerI together intheprintingframe. Thisisaver on eitherthetissueornegative beforetheywereplaced Cause: The tissue was not sufficiently dry or a bit of water splashed 2. Negativewillnotseparatefromthetissueafterexposure it istimetoexpose. Solution: Oncethetissuehasdriedstoreitflatunderpressureuntil conditions oflowhumidity. Cause: Thisresultsfromprolongeddryingofthetissuein maintain goodcontactwiththenegative 1. Tissueissostiffandcurledthatitimpossibleto M SOME COMMONFAULTSANDTHEIRREMEDIES are themostcommoncausesandsolutions. is agreatassetinfiguringoutwhatwentwrong.Below corrected withoutgreatdifficulty. Goodrecord keeping ost problemsincarbonprintingcanbetraced and y serioussituationthat

MAGNAchrom v1.3 79 80

Solution: Disperse thepigment thoroughly inthegelatin inadequate dispersionofthepigments withinthegelatin eliminate theguilty pigment. Theproblemcanalsoresultfrom from asmallresidue of oilinthepigment.Ifthisproblemoccurs, slight streakingonthe faceofthetissue.Thisapparentlyresults pigments, mostnotably somevarieties oflampblack Cause: Inthehomemanufactureoftissue onewillfindthatcertain 8. Thefinalimagecontainsstreaks the dissipationofairunderpressure. Solution: Preparethetransfer water wellinadvance toallowfor bells expand,causingsmallbubblestodevelop. tissue andthesupport.Duringwarm water development theair Cause: Airunderpressureinthewater istrapped betweenthe 7. Smallirregularblistersonthefinal image tissue/support sandwichunderpressureformoretime. excess moisturefromaroundtheedgesoftissueandleave the Solution: Maskthenegative toprovide asafeedge,blotupall establish goodadhesive contactwiththesupport. amount oftimeandthegelatindoesnotdryoutenoughto the tissueandsupportbeingleftincontactforaninadequate MAGNAchromtissue/support sandwicharoundtheedges.Itcanalsoresultfrom edge. Frillingcanalsobecausedby inadequateblottingofthe is thatthenegative was notmasked toprovide anadequate safe Cause: Thereareseveral possiblecauses.Themostlikely cause 6. Theimagefrillsaroundtheedgesduringdevelopment v1.3Solution: Exposethetissueforproperamountoftime. exposure atall Cause: Thetissuewas underexposed,orperhapsreceived no support duringwarmwaterdevelopment 5. Mostorallofthepigmented/gelatinreliefwashes Solution: Exposethetissueforcorrectamountoftime. , cancause solution. solution off the Cause: Shiny specksarecaused by slightirregularitiesinthe 9. Shinyspecks the pigmented/gelatinsolutionbeforecoating. and eliminatethepigment(s)causingproblem.Always strain Solution: Use amoredilutedsensitizer. Cause: The sensitizer was toostrong. 14. Theimageistoo flat Solution: Useastronger sensitizer. Cause: Thesensitizer was tooweak. 13. Theimageistoocontrasty Solution: Exposelonger. Cause: Theimagewas underexposed. 12. Theimageistoolight Solution: Reduce exposure. too much. Cause: Theimagewas overexposed orthesensitizer was diluted 11. Theimageistoodark running water. potassium metabisulfite be clearedby soakinginaclearing bathsuchassodiumbisulfite Solution: Carbonprintsmadeby thesingletransfer processshould sensitizer. Cause: Theyellow stainismost likely residualdichromatefromthe 10. Thefinalimagehasayellowstain sizing solutiontocutthegloss. percentage inthesolution,oraddasmallamountofstarchto Solution: Applyathinnergelatin gelatin sizingofthefinalsupport. ontheprint , followedby awash ofseveral minutesin coating,ordecreasethegelatin or Look what’s coming up PHOTOGRAPHIC CREDITS WORKSHOPS ON CARBON PRINTING in the next few issues The photographs used in this article, other than those Carbon printing workshops are sponsored by Photog- of the author, were provided by Mike Robison and Sam raphers’ Formulary in Condon, Montana, as part of Wang. Workshops in Montana, a series of workshops on the of MAGNAchrom: alternative processes. In 2007 Sandy King is scheduled to teach a carbon v1.4 Focus on Interna- work June 10-15. See www.photoformulary.com/Desk- REFERENCES topDefault.aspx?tabindex=3&tabid=10 for more de- Consult the following sources for more information tails about the Formulary Workshops in Montana. tional Photography about carbon printing. arrives April 15 2007 The author of this article also conducts one-on-one King, Sandy. “Making Carbon Tissue for Photogravure workshops. For details contact Sandy King at sank- Printing,” in Copperplate Photogravure, David Morrish, [email protected]. v1.5 Focus on Night New York: Amphoto Press, 2003. King, Sandy. The Book of Carbon and Carbro: Photography Contemporary Procedures for Pigment Printmaking. arrives June 15 2007 Greenville, SC: Permanent Light Systems, 2002. SELECT LIST OF SUPPLIERS King, Sandy. “Pigment Printing with the Carbon The following suppliers offer chemicals, papers and Process, Part II,” Photovision, November/December pigments used in carbon printing v1.6 Focus on Hybrid 2001, 48-52. Art Craft Chemicals Daniel Smith P. O. Box 583 4150 First Avenue South King, Sandy. “Carbon Printing, Part I,” Photovision, Photography Schenectady, NY 12301 Seattle, WA 98124-5568 September/October 2001, 42-47. Phone: 800.682.1730 Phone: 800.426.6740 arrives August 15 2007 King, Sandy. “Monochrome Carbon,” in Coming into www.artcraftchemicals. www.danielsmith.com Focus. San Francisco: Chronicle Press, 2000. 87-105. com (support papers, Sumi King, Sandy. “Ultraviolet Light Sources for Printing (chemicals and gelatin) ink) with Alternative Processes,” at www.unblinkingeye. We’re still looking for com/Articles/Light/light.html Marton, A. M. A New Treatise on The Modern Methods Bostick & Sullivan Photographers’ new and interesting of Carbon Printing. Bloomington, Illinois, 1905. P. O. Box 16639 Formulary Santa FE, NM 87506 P. O. Box 950 Nadeau, Luis. Modern Carbon Printing. Fredericton: article and portfolio Phone: 505.474.0890 Condon, MT 59826 Atelier Luis Nadeau, 1986. Phone: 800.922.5255 www.bostick-sullivan.com Farber, Richard. Historic Photographic Processes. New submissions for the www.photoformulary.com York: Allworth Press, 1998. 119-49. (chemicals, gelatin, support papers and (chemicals, gelatin and Sandquist, Michael. “Carbon Printing.” View Camera above issues. What carbon tissue) support papers) Nov. /Dec. 1990:4-11. are you waiting for? 82

MAGNAchrom v1.3 about theirworksee platinum, gum bichromate, and color and and palladium in services printing offer also B&W they carbon color and inkjet. For information monochrome to addition In Sweden. Göteborg, in service printing arts fine a operate who Hedåsgatan) N-Löfqvist Chia & Nohlberg Chia and Hans work goto Tod’sof some see to and printing carbon color of history the about printing materials he now coats all of his own tissue. the For color Ultrastable the time information since a for used he although and 1980s, early carbon color in by working made been Kahlo has Frida Tod Muray. of Nickolas prints carbro original of carbon color in editions limited a is time this at projects Tod’sinteresting of most also offers scanning, image editing and other printing services. One & Soul specializes in the pigment transfer or color carbon print, and Tod Gangler rivaling thereliefseeninwell-madecolorcarbroprints. cases some dimensional in relief, great great have prints and carbon color His color qualities. of control superb are prints by carbon characterized color His York. New in Gallery the Stephens at found John be may work whose printer carbon color expert an Bentley John by hand. dye York in 2003 attracted albumin, New much in attention. prints He carbro makes color all his salt, of of exhibition his An materials gum. cyanotype,and transfer including processes, many in alternative printmaker expert an is He years. many for Cornwall in — Anière Gerard color of mastery carbon printing. great have who persons following the includes the information current At my names important media. some out leaving stable of risk and beautiful extraordinary this in print to continue who individuals talented and enterprising few a still are Although there is no source for color carbon tissue at this time there Professional ColorCarbonPrintingServices www.colorcarbonprint.co — Tod operates Art & Soul in Seattle, Washington. Art Jh i a aain h lvs n oot. e is He Toronto. in lives who Canadian a is John — — Hans and Chia is a husband-wife team (Hans team husband-wife a is Chia and Hans — Gerardhome his made has Frenchman who a is www.pictoform.nu/pages/frameset.htm m . l MC ABOUT THEAUTHOR The CarbonTransferProcess ning in March 2007 will offer work for sale through this group.He has been invited to join the Contact Printer’s Guild and begin at ElevatorDigitalin Toronto(December). (May), attheIFSAK Biennale inIstanbulTurkey,(October), and In 2006hisworkwas shownattheAPUGconferenceinToronto carbon butalsowithkallitypeandpt./pd. almost exclusivelywithalternativeprinting processes,primarily large formatandultraequipment andprints Sandy isalandscapephotographerwho worksprimarilywith languages. and publishedinon-linejournalsthe FrenchandRussian in Englishat Introduction toPyroStainingDevelopers”, originallypublished and histechnicalarticleonpyrostainingdevelopers,“An 2002. Sandyhasalsoexperimentswithdeveloperformulation Greenville, SC:PermanentLightSystems,1999,2 Carbro: ContemporaryProceduresforPigmentPrintmaking. has amonographoncarbonprinting,TheBookofCarbonand unblinkingeye.co light sourcesinon-linephotographyjournalssuchas magazine, andonkallitype,pyrostainingdevelopersUV carbon inComingintoFocus,PhotoVisionandViewCamera numerous publicationsonthesubject,includingarticles Sandy focusesonalternativeprintingprocessesandhas workshops on carbon printing both in the US and abroad. printing and has taught numerous group and one-on-one-one S more recently, exclusively in monochrome. He is widely the early 1980s, first in tri-color carbon and carbro, and andy King has printed with the carbon process since recognized as one of the current masters of carbon www.unblinkingeye.co m and www.alternativephotography.co m , hasbeentranslated nd edition www. m . He - B.A. BOSAIYA ! ANGELS AND INSECTS

We have come to see the world as devoid of mystery, and with these images I hope to restore some sense of wonder about the world around us. There was once a greater sense of mystery in the world — sailors of long ago would tell tales of mysterious beasts in uncharted areas of the flat Earth. Hand-drawn maps had vast areas marked as “Unknown” and the darkest corners were marked with the wondrous phrase, “Here there be Dragons.” Those days are gone now and the deep, dark secret places exist for us only inside our minds and in our imaginations. These pho- tographs ask viewers to examine their interior lives, the secrets within themselves. My photos can act as a mirror into the viewer’s unconscious mind. One thing that can be said for certain is that my photographs provide an instantaneous visceral reaction in almost every viewer. I want the images to do this, to encourage people to look into their interior lives, and to become aware of the mystery and beauty of the world around them. B.A. Bosaiya 84 A YA I A S O B . A . B

Ascending toheaven onthewings ofademon MAGNAchrom v1.3 !

S T C E S N I D N A S L E G N A Why must wealways destroythat whichwelove most A YA I A S O B . A . B !

S T C E S N I D N A S L E G N A A YA I A S O B . A . B I donot havetounderstand inorder toforgive !

S T C E S N I D N A S L E G N A The mermaid’s tail

MAGNAchrom v1.3 85 86 A YA I A S O B . A . B

The bride’s newgown MAGNAchrom v1.3 !

S T C E S N I D N A S L E G N A Gather ‘round,children, thetime hascomeat last B.A. BOSAIYA ! ANGELS AND INSECTS B.A. BOSAIYA ! ANGELS AND INSECTS 87 MAGNAchrom v1.3

If I Could Relive Just One Single Night Your prayers are as silent snowflakes in the night B.A. BOSAIYA ! ANGELS AND INSECTS 88 MAGNAchrom v1.3

Memories of happiness fade in the blowing dust You Will Keep Your Promise In The End B.A. BOSAIYA ! ANGELS AND INSECTS B.A. BOSAIYA ! ANGELS AND INSECTS 89 MAGNAchrom v1.3

The Lights Burn Through The Curtain Like Falling Stars Once Our Ship Has Sailed Into The Sunset, My Love B.A. BOSAIYA ! ANGELS AND INSECTS 90 MAGNAchrom v1.3

Under The Softest Fur Lies The Sharpest Of Bones And A Certain Foul Darkness Crept Up Upon The Land B.A. BOSAIYA ! ANGELS AND INSECTS B.A. BOSAIYA ! ANGELS AND INSECTS 91 MAGNAchrom v1.3

Red Sails In The Sunset I Am Born Aloft On Wings Of Love And Despair 92 A YA I A S O B . A . B glass ofother-worldly creatures, hopefullyachieving something approach — abstracting aspects ofhumanity through thelooking rendered differently. Inmy photographic subjectsIuseasimilar the appreciationoftone, lineandform.Thesamesubjectsare an even moredissociated way. Withtheabsence ofcolorcomes Working inblackandwhite allowsmetoexploretheseideasin tend to get caught up in the specifics of the person. can be difficult when doing portraiture with a human face — people beings, provide me a way of exploring the ideas and emotions that at least on the surface. The subjects, insects instead of human them. For me they are creatures of great feeling and contemplation, conveying all of the emotion and expression that I can conjure from connection is real. I approach my subjects with the intent of human condition to photos of magnified insects, but for me the jump from films steeped in the It may seem odd to make the Montauk onesummer. see Jaws whilevacationing in Then againhealsotookmeto avant-garde andAmericannoir. European existentialism,French and Iwas steepedinNorthern watch movies thatwere beyond my comprehensionatthetime MAGNAchromflights offancy. At thesametime my fatherencouraged meto kept my youthful Sunday afternoonsoccupiedwithimaginative sent by Toho towreakhavoc onacuriouslyunsuspectingTokyo onslaught ofanthropomorphized denizens ofMonsterIsland Bava’s psychedelic HerculesintheUnderworldandendless M v1.3 collection About the Angels and Insects monsters whichinhabitedMysteriousIsland,Mario Sinbad andtheSeven Seas,thegiantHarryhausen Watching Sinbaddobattlewithsaber-tooth tigersin y photography isdeeplyrootedinmy love ofcinema:

rw-p ht hd ot l sne f wonder. of sense all lost had I that grown-up of childhood. I had raced so far andfinally lost touchfast with the innocenceto had and wonderbecomeI if as felt Irealization, that made I When !

S T C E S N I D N A S L E G N A — whatIstrive for—istocapturewithmy viewcamera thedepth my photoswithastillofKlausKinskifromAguirre,butmy goal Of courseonanempathiclevel nooneisgoingtoconfuseof more humanthanhuman,asitwere. I saw theworldaround meandfeltlike themystery thatusedto world disappeared forever. documentaries andeven trading cards,thatsome smallpartofmy kingdom, allofthedetails thatyou canfindinsomany books, it was from,whereitfitinwith the restofanimalorplant I learnedsomething’s name,learnedaboutthespecies andwhere As timewentonIhad agrowingfeelinginsidemethatevery time the actofclassifying and categorizingthingsinthenatural world. street onmy own.Istudiedthesciencesallmy lifeandenjoyed identify constellationsandsolarsystemsbeforeIcouldcrossthe two roomslongbeforeIcouldsay apropersentenceand Icould interest inthesciencesandcouldnamea line ofplasticdinosaurs of mystery fromtheworld.Fromayoung age I tookakeen what Ialludetoinmy artiststatementaboutthedisappearance flipped aroundmentallylookslike abeautiful young woman.Myjob of awomanwhichfromoneanglelookslike an old cronebutwhen an opportunity tosharethatview. Thereistheoldopticalillusion something thatcanbeseenasbeautiful.Thiscollectiongives me almost universally consideredunattractive andtoturntheminto For methereisthe idea,thedrive, totake thingsthatare pathos Iintendcomesthroughonsomelevel. so effortlesslycapturewithhiscinemalens.I’mhopingthatthe and intensity ofthehumanspiritthatWerner Herzog seemsto Equally importanttomeis beautiful. in acertainlightallthingsare right. Fromacertainangleand just have toknowhow tolook young woman.She’s there,you people howtoseethebeautiful is take theoldcroneandshow A YA I A S O B . A . B !

S T C E S N I D N A S L E G N A A YA I A S O B . A . B on thedusty, ill-lit, spider-patrolled windowsills ofmy backsteps. glow asiren songtothesailors of thenightair. Others arefound Most ofmy subjectsarevictimsofmy frontporchlight,itsbright seemlike suchastretch. of insectsdoesn’t ly sadnessandisolation, throughtheblackandwhitephotography In retrospectexploring thethemesofhumanemotion—particular child. accessible windowintothatworldused toexistformeasa other wondrousbeings.Thesephotosprovide animmediate and We are notthelonemastersofworld,weshareitwithmany of myth andlegendarereal.Theyinhabitingtheworldwithus. you can see them staring right back into your eyes, those creatures dime-store sci-fiandfantasybooksIused tolose myself in,and photos ofrealthings—notpaintingslike on thecovers ofthe When you lookatthecreaturesinphotos,andtheyareactual These photoshelptobringbackthatsenseofwonderforme. a ever thickening layer ofjadeddustinneedagoodcleaning. goneforever,able totouchpartofit,itwasn’t justburiedunder recapture thatfeeling.OnceIrealized whatIwas missingIwas into theworldofunknown.Ifeltlike Idesperately wanted to that moreweedingneedstobedone,rather itisamagicalglimpse to witness.To achildtheheadofdandelionisnot anindication BIG thosethingsreallywere...thatwas aprofoundthingforme the barkundertheirhandsandgazinguprealizingjusthow The firsttime my childrenstoodandleanedagainstatree,feeling wonder. so farandfasttobecomegrown-upthatIhadlostallsenseof touch withtheinnocenceandwonderofchildhood.Ihadraced order. WhenImadethatrealizationfeltasifhadfinallylost organized, categorized andputinscientificallyproperhierarchical nor dragons deepinthesea.Everything intheworldhadbeen were nognomeslivingintoadstools,spritesthedeepforest in enchantedgladeslike inthebooksIreadasachild.There like grains ofsandthroughmy fingers.Therewere no unicorns exist whenboththeworldandIwereyoung was slippingaway !

S T C E S N I D N A S L E G N A - pre-planning ofmy photos;rather Ifindasubject,examineitto other timesthereismoremissingthanpresent.Idoalmostno most tome—sometimesthespecimensareperfectlypreserved, photo session by picking through to find the subjects that stand out Their lifelessbodiesaregatheredperiodicallyandIbegineach have enjoyed makingthem. I hopeyou have enjoyed lookingatthesephotos asmuchI discontinued. fine artphotography willsufferagreatlossshouldthatfilmbe to useanything elseuntilthereisnoalternative. Theworld of to workwith.Ihave triedusingotherfilminthepast butrefuse collections. TheslowPolaroid negative isnothingshortof beautiful gives immediatefeedbackandallowsmetoeasilycatalog my to macro-photography. Theinstantproofing ofthe Polaroid positive ability toeasilymake thefineadjustmentsthat aresonecessary movements. TheSinarcameras inparticularhave theexcellent control allaspectsoffocusandImake considerable useof those infinitely helpful.Thelargeformatmovements allowmeto subject magnifiedonthegroundglassistrulyamazingand format camera usingPolaroid sheetfilm.Theability toseethe All ofmy photosareshoton acustom-modifiedSinarlarge although afewofthemhave shownuprepeatedly. is very rare formetouseasubjectagaininmorethanonephoto, are tellingmewhattodo;Imerelyfacilitatetheirspectral will.It process isself-evident andalmostautomatic,asifthesubjects find itspersonality, thenplace,lightandphotograph it.Theentire ! MC

MAGNAchrom v1.3 93 94PHOTOGRAPHIC WORKSHOPS 2007

orkshop listings are USA EUROPE free to individual artists and men- tors. To be included Complete Photographic Process  Dealing with the sitter’s discomfort Ireland: Mayo and Donegal Win this or any future issue of for Black and White: from the camera  Helping sitters to pose naturally September 22 to October2, 2007 to the fine print. May 13-18 2007 qnd Contact Lance Keimig: MAGNAchrom, send email to  Dealing with one’s own nervousness [email protected] and Sep 30 - Oct 5, 2007. Contact Bruce [email protected]  Learning to read and use non-ver- we’ll be sure to place your an- Barnbaum: www.barnbaum.com bal communication to enhance the This year, my Ireland photo tour nouncement in the very next Jackson Hole Wyoming, expressive portrait process will include 3 days and nights in issue. B/W photography from the field to County Donegal, as well as a week  Developing and honing a sense of the finished photograph, integrating in County Mayo. This trip will provide

MAGNAchrom v1.3 timing with the shutter Note: announcements of work- photographic intuition, expressive opportunities for both day and night shops for full-time schools and forms, spectacular field sites, and  Learning to assess and use natural photography (the full moon occurs other professional institutions hands-on printing to enhance all lighting on September 26). September is one are not free but can be inserted the skills and techniques required to  Methodically building a pleasing of the best times to travel to Ireland, for a fee. produce fine B/W photographs. August composition the summer crowds are gone, and the 23-27, 2007. Contact Jackson Hole Art weather is usually some of the best Given that MAGNAchrom is  Making the sitting into a collabora- Association: www.artassociation.org tion of the year. Please join me on this a journal that is dedicated to exciting adventure to the North and Shore Acres, the “Point Lobos of  Choosing the sitter’s appropriate medium and large format pho- West of Ireland. $2795US Oregon” and the Oregon Coast provide clothing tography, we will give prefer- the field locations for this workshop  Posing groups A Photographic and Cultural ence to those workshops that by Don Kirby and Stu Levy. Sep 7-11, Adventure to Skye and Orkney actively encourage students to 2007. $550US. Contact Don at This workshop will include readings, June 23 to July 5, 2007 use medium and/or large for- [email protected] lively discussion, camera work and Contact Lance Keimig: mat equipment. To the extent an on-location demonstration of an [email protected] The Photographic Portrait that you can mention that in environmental portrait using Polaroid With Martha Casanave materials, during which Casanave and Highlights: Photograph and explore your listing will assist us and the diverse landscape of the Isle of June 22-24 2007 Tuition $225US plus participants will methodically design a our readers greatly. Skye. Endless summer evenings on $20US lab fee Open to 10 students portrait from scratch. Orkney, with it’s perpetual twilight Who would dispute the statement Visit Mart’s website at and megalithic sites. Accommodations that having your picture taken is an www.marthacasanave.com on Skye in a mountain lodge and a unnatural act? This workshop works Victorian manor house on Orkney. with, through and around this reality Excellent Scottish meals and local rather than trying to deny it. The seafood. Maximum of 12 participants. goals of this practical, nuts and bolts $2595US workshop are to assist participants in: REVIEW: EBONYSW23 am everlikelyto get... cake andeatingittooasI having myphotographic Ebony SW23isascloseto exception. Forme,the choosing acameraisno life isacompromise,and Just abouteverythingin am everlikelyto get... cake andeatingittooasI having myphotographic Ebony SW23isascloseto exception. Forme,the choosing acameraisno life isacompromise,and Just abouteverythingin Text andPhotos by LanceKeimig

MAGNAchrom v1.3 95 96 EBONY SW23

nally, the Ebony. and scarce) fi tem (obsolete, limited, a Hasselblad Arcsys of myneeds),thesearch for Hasselblad (metalmostall always seeninsquares), ier tocarry!),Mamiya6(I’ve rangefinders, smalleris eas 645s (3differentfixedlens ger isbetter,right?),Fuji progression), 4x5(big a gift),Pentax67(alogical MAGNAchromginning), Yashicamat(itwas follows: 35mm(alogicalbe the lasttwentyyearsisas v1.3T my camerabagover that hastakenplacein h e evolutionaryprocess

- - - - - 96mm Text andPhotosbyLanceKeimig Camera shownhere at100%scale EBONY SW23 customers specific needs. meet to cameras building custom also and customizing of factured for Ebony cameras. Ebony also has a long tradition manu specifically are together camera the hold that screws millimeter,the .1 even of tolerance a machined to workshop Ebony the is in camera the of piece Every durability. for and strength titanium and heartwood Ebony Macassar Indonesian sawn Like most Ebony cameras, the SW23 is made entirely of quarter in Japan, the camera hand is as beautiful as it is functional and durable. by built (who and 1981) Sakanashi in company the Hiromi founded Mr. by designed Elegantly than a4x5camera witharollfilmback. compact more and lighter viewfinder, was bright and a had film, roll camera,utilized view a movementsof set up and lightweight. I needed a camera that had the travel frequently, so I needed a camera that was easy I to and situations, light low in and night, at photograph to tend also I do. mainly I that photography of type the is which photography- landscape and chitectural ar to suited well particularly it making lenses, angle wide for primarily designed is that camera view ing non-fold cm 6x9 compact very a is EbonySW23 The and considerably moreexpensive. Classic Compact,amonorail camera whichisheavier Linhof, muchmoreexpensive, andtheArcaSwiss F which werelessflexible,andinthecaseof were theLinhofandHorsemantechnicalcameras a gazilliondollars.Theothercameras Iconsidered my previousHasselbladoutfit,andcostslessthan easily, takes upaboutthesameamountofspaceas range ofviewcamera movements, setsupquicklyand is reallytheonlycamera thatoffersarelatively full I eventually settledontheEbony SW23because it - - - Camera shown hereat100%scale

MAGNAchrom v1.3 97 98 EBONY SW23 cost you an extra $1000,not includingessential accessories. will and pounds, 5 almost weighs compact Classic F Swiss Arca The competitor,SW23’sclosest The stable. less much is and ounces, 10 pounds 3 weighs fiber CF Toyo carbon the rigidity.comparison, For weighs just under 3 pounds which is remarkably light considering its camera when stowed, and not the on protrude remain beyondto lenses the most a base. for allows The This deep.camera inches 3 only to 2 1/4 inches on a base that is The lens and film planes collapse before it’s readyforaction. focused and leveled be to needs ed on the tripod, the camera only of the camera bag. Once mount SW23 is ready to go straight out The cube. Rubik’s a solving like and set up is an exercise not un camerasfield open most getting experience, my In unique. truly is version camera field folding non- Ebony’s and breed with, begin to specialized highly a cameras are view format Medium MAGNAchromshade clip. lens designed a wonderfully and film, pack for back film instant an lensboards, extension lenses, longer utilize to ability the to addition in camera’scapabilities the to tilt rear adds that back extension an including SW23, the for accessories of variety wide a makes Ebony inexpensive. relatively and plentiful are which lensboards, 4x5 type Linhof v1.3uses camera The board.) recessed a with Grandagon mm 45 re a my use with to easier is used it that found be have I practice, (In can board. cessed lenses 38mm or 35 and boards, tension ex with accommodated be can lenses Longer accessories. without The camera accepts lenses from 45 to 150 millimeters in focal length - - - - at sories check out Ebony’s website other Ebony cameras and acces For more information on this and www.ebonycamera.co m - EBONY SW23 EBONY SW23 a locking lever. The rise and shift are not geared, but slide easily, slide but geared, not are shift and rise lever.The locking a ferent knurled titanium knobs, and shift and swing are secured with used in the studio. The rise and tilt mainly movements are are secured with movementsdif these as missed, rarely is rear the on shift of movements is more than adequate, and the lack of swing, tilt, and front standard, and rise only on the rear. I have found that the range and secure. The SW23 has a full range of camera movements on the precise, smooth, operate, to easy are adjustments camera’s the of All rear standard focusing. front and for both allows which focusing, smells great too.) The camera features double draw rack and pinion (It lens. the obstructing easily accommodates without movements and camera generous the supple, is extremely bellows fixed The ations, Ineededthebrightestscreenavailable. perfectly adequate, but since I photograph primarily in low light situ repair.is for fresnel shop supplied his the in Again, wascamera my Mr.that fresnel standard brighter the than when it on commented Sakanishi much so is that camera my in fresnel Maxwell a installed fresnel that in my opinion should be standard on this camera. I have comes screen angle wide optional an is focusing there and lens, fresnel bright fairly The a with handle. tripod a on rests usually and vertical photographs, taking because the when focusing screen opens issue downward, an of less is This position. horizontal he it used when freely swings screen focusing the exposures, long or ditions con windy during that is disadvantage main The back. removable it for a film back, and it is also faster and easier to work with than a exchanging when screen focusing the dropping to due breakage of both advantages and disadvantages. The fixed back reduces the risk has feature This removed. being without back film a accommodate tions, and the cleverly hinged focusing screen sings out posi of vertical the to way horizontal to from changed easily is back changeable inter The expensive. quite are surprisingly,they not but cameras, will enable you to use a digital back with any of the Ebony 6x9 view that adapter and buy to Mamiyaman, possible is It RB,others) and The SW23 accepts all Graphic Standard or Graflok style backs. (Horse ------Camera shown hereat100%scale

MAGNAchrom v1.3 99 100 EBONY SW23

fe ae ey ag pit. f dcdd o ho 45 nta, I instead, 4x5 would buy my camera’s shoot bigbrother, to theEbony SW45! decided I If prints. large very make often I when film sheet shooting not is compromise biggest the me, For age makingprocess. im the of part simply is refocus to required effort minimal the and use, ever will I than more is SW23 the on tilt center available The cameras. folding with typical problems focus the cause that errors alignment for opportunity an provide also they adjustments, during to mind). While base tilts are a useful feature as they maintain focus come SV23U2 or SV23 23S, Ebony (The camera different a choose People who use telephoto required. lenses ex more are often than mm wide or lenses 150 should back than longer extension lenses when an board lens add tended either to possible is it since factor major a really than not is extension compact bellows limited The more designs. folding and simpler is that design non-folding the favor of in compromised been have tilts base and extension Bellows would bemuchlighterandeasiertomachine,butlessrigid. Aluminum with. work to ter.difficult and expensive also is Titanium wa in sink that woods few the of one and wood, beautiful very a is Secondarily,available. wood resistant it warp and durable most the threat is it hand, other the On hardwoods. tropical likemost species, ened a also is ebony Macassar tolerances. precise extremely to probably most difficult wood to work with. It splits easily,and and must be drilled expensive, most MAGNAchromhardest, the is It compromise. a is So, where are the compromises? For starters, the use of ebony wood reason you ever wanted touseoncamera flash. some for if flash a accept also will but clip, shade Ebony’slens hold to designed is that standard lens the of top on mount shoe cessory v1.3mounted on top of some of the other Ebony models. There is an ac camera, although they are not the ingenious two way mirrored level spirit levels attached to the body that make easy work of leveling the positioned well two are There detents. havezero firm tilt and swing The body. camera the on points alignment position zero have and - - - - - MC Minuses:             Pluses:     A joy touse tion Less expensive than competi customer service very responsive and personal signed toflawlessly does everything itwas de designed fills auniqueniche,purpose use. quick tosetupandeasy film backs need toberemoved toinstall focusing screendoesnot 6x9 viewcamera weight, smallestandlightest very compactandlight bellows a recessedlensboardorbag accommodates very widelenses without very attractive camera extremely welldesignedandconstructed rock solidstability expensive ($2000) lack ofgroundglassprotector no handle(androomforone!) wide anglefresnelnotstandard - - - You canseemoreofhisworkatwww.thenightskye.com Examples oftwonightphotographsbyLanceKeimigusingtheEBONYSW23.

MAGNAchrom v1.3 101 Roundup: 4 Focusing Hoods don’t know about you, but comment on how they perform in hot as well as the Gaoersi, only the di- makes up for its large size. Fortu- 102 I’ve never owned the per- weather (rumor has it that focusing minutive Ted Burford hood was able nately it is not particularly heavy and fect focusing cloth. For the hoods are very hot in the summer to provide a completely light-free packs up fairly small. While I was past 10 years I’ve lived sun). Be that as it may some conclu- seal. In general, any view camera impressed with the features, I’m not with a hand-made cloth sions can be made. with a rail will always be problematic sure I personally need access to the Ithat my wife made for me. It has The number one feature of these as the space between the rail and camera back as much as others do. served me well. Constructed of light- hoods is a promise of a tight seal the groundglass back will allow a I rather liked the lightweight weight black fabric with velcro at- eliminating most extraneous light small amount of light in. In the case BTZS hood in spite of the fact that tachments, it has been my one and the fabric was the least supple of the only groundglass focusing aid over four. It just felt to be well-designed the years. But while it does the job, overall — you won’t go wrong with it also flaps helplessly in the breeze. this one. In windy conditions, I’ve never been GnassGear’s focusing cloth was satisfied with it. the tank of the four. Nearly bullet- Fortunately several manufacturers proof in construction, it also weighed MAGNAchrom v1.3 have risen to the occasion and today significantly more than the others. offer custom-fitting focusing hoods Without the benefit of elastic, the that address many of the shortcom- seal around the camera was the least ings of mere focus cloths. As such, effective. But with plenty of snaps I was really looking forward to this and velcro, it also proved to be quite review so I could once and for all find adaptable. This cloth was meant to the “perfect” focusing accessory. last years and work with just about One thing I should make clear anything. Pretty sure this would also up-front: all four of the reviewed fo- work with a 5x7 as is. cusing hoods are very good — there The surprise for me was Ted is no one perfect design. Much de- Burford’s “teeny tiny” hood. Not pends upon your camera back and much to look at, it is the smallest your style of shooting. In the case and lightest by far. Further as it uses of my Linhof Technikardan, only one a thin material and an elastic open- of the four fit its tight rear standard ing, it was the only one of the four to without allowing any light in. Your which provides a photographer an of BlackJacket, they now include a tightly fit all three of my test cam- mileage may vary. enhanced focusing experience us- dual-purpose storage bag fitted with eras. For those of you with technical- ing his/her groundglass. I tested all velcro that can be used as a “skirt” Perhaps the best feature of all is style cameras, you are in luck as all four hoods on my Gaoersi point and to block out such light. that none of the four focusing hoods four focusing hoods work ideally with shoot 4x5, Linhof Technikardan, and For many people, their shoot- requires you to add velcro to your such square backs. So for you, it is a friend’s Linhof Technika. There is ing style would favor them towards camera body. For me, this is a key simply a matter of size, weight, cost no doubt that the designers suc- the BlackJacket, arguably the most feature and a major reason anyone and features that should influence ceeded in making a technical cam- unique of the four. With two “arms” who is serious about using a view your decision to purchase. era a perfect fit — all four provided that allow one to bring a hand or two camera should consider adding a I tested all four hoods on a cold an excellent seal with such a design. into the dark enclosed space without focusing hood to their list of must- winter day and as such, I cannot However on both the Technikardan allowing additional light more than have accessories. overkill forGaoersihand-held.Large. model Technikardan.4x5 a for small too model 4x5 camera. rail a Dislikes details. Packs uptoasmallpackage.Includestravel pocket. and Qualityconstruction adjustments. rear making or loupe a using Likes used withatechnicalcamera, itdelivered anearlylight-tight seal. better. When been have would to inside viewing pocket) openings, travel the the block as duty double (doing “skirt” accessory the Technikardan,my with I fit had poor no problem the viewing the of groundglass. spite Had I In used opaque. absolutely was fabric The is top-grade andvery durable. appear.construction to The were shower rain sudden a if useful be also Might though! cool looks Certainly arms. the about ambivalent somewhat am I Thus, loupe. a involve not does generally style ing need access to the camera back as much as others do, as my personally shoot I sure not I’m features, the with impressed was I While and packsupfairlycompactly. heavy particularly not is it Fortunately bunch. the of largest the — out allowing in additional light, more than makes up for its large size F BlackJacket 4x5Hybrid Contact Price Material Color Weight Dimensions Model : opaque, supple, waterproof fabric. Arms are very useful when bring a hand or two into the darkened enclosed space with space darkenedenclosed the into two or hand a bring ing hoods reviewed here. With two “arms” that allowone to the BlackJacket, arguably the most unique of the four focus or many people, their shooting style will favor them towards : does not create a completely light-tight environment with 202.342.1915 [email protected] www.quietworks.co $75.00 US silver intheshapeofa“jacket”. Elasticopeningwithdraw cord. 2 outermaterials:breathable whitenylon taffeta &waterproof Black inside,White/Silver outside (12? oz) 1372mm x965mm(54in38in) 4x5 HybridFocus Cloth m - - -

MAGNAchrom v1.3 103 BTZS 4x5 Focus Hood here is absolutely nothing to dislike about the BTZS focus 104 hood — it is nearly perfect. Clearly this was designed by people who make extensive use of large format cameras. Everything just “feels right” — not too small, not too big. I Tthink most people will be very happy with this product. Additionally, the construction is top-grade and very durable. It was definitely one of my favorites. The fabric was absolutely opaque, even in bright sunlight. In spite of the poor fit with my Technikardan, I had no problem viewing the groundglass. When used with a technical camera, it delivered a nearly light-tight seal. The elastic used in the opening will provide a viable rear seal on most view cameras.

LikesMAGNAchrom v1.3 : opaque, waterproof fabric. Quality construction and details. Folds up to a small package. Comes in a variety of sizes for different format cameras. Dislikes: does not create a completely light-tight environment with a rail camera. Fabric is not as supple as the other brands.

Model 4x5 Focus Hood Dimensions 762mm x 508mm (30 in x 20 in) Weight (8? oz) Color Black inside, White outside Material plasticized, waterproof white fabric with elastic opening and vel- cro bottom Price $55.00 US Contact www.viewcamerastore.com 408.767.7105 Heavy. Large. cameras. view small with use for it recommend cannot I — hand-held Gaoersi for big too way simply model 4x5 camera. rail a Dislikes can. fabric white Extremely durable, likely tolastalifetime. or silver like you blind not does color outer coal Likes cal camera, itdelivered anacceptbileseal. pletely light-tight seal is elusive. However, when used with a techni com a elastic, no is there Since opaque. absolutely was fabric The suitable tolargercameras. construction is top-grade and very durable. This product is especially GnassGear.the than further The no look need cloth dark their from con robust struction, and a no-fuss design. Anyone fabric, who is looking for a step up top-quality use was did Gear Gnass thing One Gear lineofproducts. Gnass the with thrilled be will you tank, a like built are that things A GnassGear 4x5FocusingCloth Contact Price Material Color Weight Dimensions Model : opaque, supple fabric. Quality construction and details. Char

: does not create a completely light-tight environment with up being an amazingly adaptable product. And if you like you if And product. adaptable amazingly an being up ends it However,velcro hood. and ing snaps of plenty with is half-way between a traditional focusing cloth and a focus product this others, the of some than design simpler much 530.894.5819 [email protected] www.gnassgear.com $40.00 US opening andbottom heavy, breathablepolyester clothwithvarious snapsandvelcro Black inside,Charcoaloutside (12? oz) 1067mm x458mm(42in18in) 4x5 Focusing Cloth ------

MAGNAchrom v1.3 105 TedsPhotoGear 4x5 Focus Tube his was the surprise of the four. Such as small, diminutive 106 product doesn’t stand a chance against the more- established, fancier-featured, “big brother” focusing hoods T — or does it? Well for starters, this is the only focus hood that can literally fold up and fit in your pant pocket. Due to its thin fabric and flexible elas- tic, it is able to fit around the rear groundglass frame of my Linhof Technikardan, avoiding the problem of having to deal with the space created by a focusing rail. The result of which is a light-tight fit on pretty much any 4x5 camera out there. I liked this design so much that I have a good mind to add a machined “lip” to the rear of my groundglass so that this focus tube could be permanently attached while allowing access to the film opening, eliminating the need to takeMAGNAchrom v1.3 your hood off when inserting film. I’ll be sure to let you know if I do that. Ted only sells his focus hoods (available in a variety of sizes) via his eBay website, and the transaction is simple and worry free. Likes: supple, waterproof fabric. Smallest and lightest product of the four. Only product to provide a completely light-tight seal on all three test cameras. Comes in a variety of sizes for different format cameras. Dislikes: Thin fabric is not 100% opaque to bright sunlight, but is more than adequate to provide a very dark environment.

Model 4x5 Focus Tube Dimensions 457mm x 381mm (18 in x 15 in) Weight (6 oz) Color Black inside, Silver outside Material waterproof silver with elastic opening and velcro bottom Price $47.00 US Contact www.tedsphotogear.com [email protected] 4 Focusing Hoods (Comparison) 107

635mm (25”) MAGNAchrom v1.3

762mm (30”) BlackJacket BTZS

1067mm (42”)

457mm (18”)

GnassGear

MC TedsPhotoGear o you realize that two years from now, peo- ple new to medium and large format pho- tography who had never heard of MAGNA- chrom will register and download this very Dissue? And they will be reading this very page? (like you are)

If your ad were here, you could be assured that future readers of MAGNAchrom will see your prod- uct or service. It is NEVER too late to add your ad- vertisement to a previous version of MAGNAchrom — we will constantly create new versions of previ- ous issues and we can easily make room for you.

Including this space in this issue.

Email us at [email protected] to find out more

MC [Parting Shot] Foundry Foreman

A close friend of ours is co-owner Location: Boston, Massachusetts of the only art foundry left in East- Camera: Mamiya 7II ern Massachusetts. So he invited Lens: 50mm my wife and me to come to “a Film: Kodak Portra 400NC pour” of some bronze sculptures. Size: 18”x27” The head foreman of the foundry, James Montgomery, wears a fire- proof gown to protect him from the 1800° F heat of the furnace. Standing in a doorway, I couldn’t resist taking this photograph of him attrired in his silver garb.

J Michael Sullivan Insight from our Readers

I just finished the first edition; Congrats on a fantastic magazine. I’ve looked at many on the web and in print and I think yours is superior. I have a digital camera and am going back to film via a Kiev 88 as I don’t care for digital. All the other photo magazines I see make you feel that there is no more film, only digital. Also there are times I feel that they run a equipment catalog as most of them is just equipment reviews. Pop Photo is the first to come to mind. I’ve quit reading most of them. Your publication is actually balanced!! You have photos and descriptions of your 1.3 work as well as the equipment you used to get them. You also show that film and digital can be used side-by-side. There are two things on which I wish to comment: 1. Your interview in the 1st edition with Shelly Lake was very well done. The only problem is that I sat here wondering “Who is Shelly? Why are they interviewing her?” I feel that a short precis of her life, endeavors, especially photographically, would be helpful. Think of how you would introduce Adams or Weston. 2. I would like to see some alternative photo processes used in conjunction with M/L formats. Especially with 8X10 as that is perfect for contact prints as is 5X7 & 4X5 for smaller prints. Many of the people who do this have web sites but I feel that by using your soon-to-be larger coverage you could disseminate more info on this. As you’ve probably guessed, I’m very interested in it and am trying to find a 4X5 on eBay I can afford. I’m setting up a darkroom after many years out of photography altogether and am anxious to begin. Build 2 Release Notes: Thank you and all who help on this endeavor, for a delightful  Correction in Ebony article publication.  Minor typo fixed — Michael Blum  Correction on Parting Shot

Editor responds: Hopefully, this version of MAGNAchrom will begin to address the issues you bring up. Thank you for your kind words and good luck with your own quest!