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Where Art Embraces Photography

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Where Art Embraces Photography – International Journal of Fine Art Photography – International Tillman Crane Silvershotz Silvershotz An introduction to Platinum printing Bill Zorn Three Gorges - China Richard White Tips for fine art darkroom printing Lucas Kiers Evolution Elizabeth Opalenik Master fine art photographer David Burdeny Shoreline fine art seascapes Jeff Zaruba Fine art travel Where art embraces photography Volume 3 Edition 7 International Edition USA $9.99 Canada $10.99 Jerry Wolfe, Top left: Bristlecone stump White Mountains, Top Right: Bristlecone with moon Bottom:Cabin with moon, Brodie – International Journal of Fine Art Photography – International Tillman Crane Silvershotz Silvershotz An introduction to Platinum printing Bill Zorn Three Gorges - China Richard White Tips for fine art darkroom printing Lucas Kiers Evolution Elizabeth Opalenik Master fine art photographer David Burdeny Shoreline fine art seascapes Jeff Zaruba Fine art travel Where art embraces photography Volume 3 Edition 7 International Edition UK £5.90 Benelux € 9.95 Contents ISSN 1832-5750 Silvershotz International Ltd Unit 6B Park Lane Industrial Estate Corsham, Wiltshire SN13 9LG Great Britain Telephone +44 (0) 1249 714555 Email: [email protected] Silvershotz Pty Ltd P.O. Box 2045 Fortitude Valley, Queensland 4006 AUSTRALIA Phone +61 (0)7 3879 7779 Visit us at www.silvershotz.com © 2006 Copyright of the contents is reserved worldwide on behalf of Silvershotz International LTD and the respective authors and photographers. Great care is taken in the compilation of this magazine but the publisher assumes no responsibility for any effect arising there from. The opinions of the contributors are Contents not necessarily those of the publisher. Volume 3 Edition 7 International Edition Printed in the UK October 2006 Editorial 02 Special feature on out sourcing your fine art fibre black and white prints. News 04 A round up of news and happenings around the world. Tillman Crane 05 Platinum printing workshop, part 2 of 3. Bill Zorn 10 Three Gorges-China Richard White 18 Tips for fine art darkroom printing, part 3 of 3. Lucas Kiers 24 Evolution- from passive recorder to creator of light and shadow Derek Watkins 32 Darkroom product review. The new analyser pro for precision printing. Elizabeth Opalenik 36 Profile of a master fine art photographer specialising in hand colouring. David Burdeny 46 Shoreline fine art seascapes. Jeff Zaruba 54 Fine art travel photographer Silvershotz Directory 62 International classified directory listings Book Review 64 A beginner’s mind by Jerry Wolfe. Elizabeth Opalenik Front Cover: Veneto Top: Veneto 1 Bottom: Veneto 2 Silvershotz Volume 3 Edition 7 Page 01 Editorial EditorialEditorial Black and white and many I ask that all those readers who think that they will become quite valuable. black and white is just that, black and In March 2007 we will have over 1,000 shades of grey. white, open their minds and look at all the pages of articles available to subscribers other alternative choices that are now on our website. This will be a valuable Out sourcing In its purest definition a black and white Out sourcing available. This magazine is dedicated resource to libraries and educational print is just that; black and white. firstly to fine art images in the area of institutions. Public institutions who wish to Traditionalists of course mean that the black and white darkroom and alternative utilise these resources will require a image must be taken with black and white your fine art black and white fibre printing. printing processes. However we will look multiple user licence. For further film and printed onto black and white at all the interesting alternatives that are information contact us on paper in a darkroom. What if we tone the available to us. We will not be a digital [email protected] I can hear it now. Horror of horrors! Give paper processor. More on the Höstert Steve originally gave the idea to Ilford black and white print with sepia, gold, magazine. Occasionally we will do a someone else your precious negative to later as it provides the key to the new about 18 months ago for the fibre paper to selenium or blue? According to some product review that we think is very print and lose control of the final result. system. Essentially the lab can produce be exposed in the 131 Lambda printer. that’s quite acceptable because it is still relevant to our readers, such as the one in Many fine art photographers that I know black and white fibre and resin, C type They have been fine tuning and developing black and white but enhanced. Let us take Highlights of next edition this edition about the darkroom precision actually love to be in the darkroom and prints and giclee. the system together with Steve having a step further, what about an image that is timer. The mission of this magazine is to take great joy out of spending hours access to the lab facility and scientists at a black and white fibre paper but then is A 40 year retrospective of British focus [ no pun intended] on images and arriving at the final interpretation of their Firstly some background about Steve and Ilford’s manufacturing plant. The new hand coloured with oils? I have had photojournalist Tim Paige covering their creation In other words, to provide negative. However when it comes to Argento. Steve has 20 years experience as Ilford fibre paper is exposed in the comments from readers that I am no Vietnam to riots in East Timor. The third you with inspiration and information. producing them on demand and in a darkroom printer and 12 years as a lab Lambda printer, processed in the Höestert longer a black and white magazine article on Platinum printing by Tillman numbers it then becomes a different ball manager. All his staff have extensive roller transport paper processor. This was because I put a hand coloured image on Crane. The new digital film for creating game. A limiting factor in most darkrooms backgrounds in darkroom printing and are a major factor as the Höestert was the cover! large negatives for contact printing is size, even in a professional lab the passionate about what they do. They have originally made for the Ilfrachrome 2007- An exciting year. reviewed by Les McLean. A new black and maximum size for most fibre prints that all updated their skills on computers and [cibachrome] paper and retrofitted for the white media following hot on the heels of are tray processed are 20 x 24inches, Photoshop but what is interesting is their fibre paper. The machine uses a Kodak A heart felt thank you to all those readers Ilford’s new fibre paper that will have you The borders are moving like which is why the standard print size for vocabulary. They talk in terms of density hypo clearing agent mixed from powder who have stayed with us over the last 7 speechless plus many more informative most fine art photographers is between values, highlights and shadows instead of and Ilford’s TR2000 fixer at 1:5 , the ph shifting sands. years and supported us despite the erratic and inspirational articles. production schedule. You have watched 11x14 and 16 x 20 inches. The second histograms and levels. In other words they values are constantly monitored to ensure limiting factor for most fine art have a visual appreciation and archival stability of the paper. The prints I personally have been a passionate the magazine grow in content and next Enjoy. Editor darkroom printer for over 30 years and year the magazine continues to grow in photographers which takes the edge off understanding of images from a sound can then be toned in conventional trays. still firmly believe that a silver gelatine size and distribution. In 2007 we are their creativity is the commercial reality of traditional knowledge base. Argento are fibre paper toned in selenium has the best expanding the magazine to include topics having to produce hundreds of prints for the preferred supplier for The National Silvershotz gallery supplied 4 images that longevity and a depth that is unmatched by on collecting photographic prints. Regular exhibitions, galleries and collectors. Photography Museum at Bradford, The were scanned to provide a working file. Below: K Farmer, Walker other media. However it is important to columns from gallery owners, image stock Victoria and Albert Museum and Tate Each image had a file size of 70mb then Right: R Stewart, Lake Bogoria look at other alternatives that are now libraries and consultants will keep us all I recently had a very interesting interview Britain. Steve has had the responsibility of had borders and text added at the bottom available. In recent editions of the informed. Designed to assist suppliers, with Steve Macleod, the lab manager for printing directly from the original before printing. These prints were used to magazine we have covered converting film fine art photographers, galleries and Argento Imaging in London and some of negatives of photographer Tony Ray Jones launch the product at Photokina trade to a jpeg file, making alterations in collectors keep in touch with each others the comments were very illuminating. where each negative was insured at Exhibition in Köln, Germany in September. Photoshop instead of in the darkroom and expectations and requirements. Looking back over the last few years £10,000 [US$18,000]. On this page is a sample of one of the then converting the file back to film to Regular updates on important major darkroom work dramatically declined as images. print in the darkroom. Photographers can exhibitions, trade fairs, gallery showings everyone embraced giclee/ink jet prints. Steve believes that to drive the industry now have their final print drum scanned or print auctions and workshops.
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