Sorry for leaving out the thought process
Originally Posted by Photo Engineer
The WP notion came as an extension of home production, being the home made neg' process currently regaining popularity, Sally Mann and a few others - To me it seems too tedious and where do I get gun-cotton to dissolve in ether?
Well, what I practice uses no guncotton nor does it use wet plates. These are dry and keep for months without change. They have an ISO rating of about 40 and can be made ortho sensitive. I've gotten panchromatic emulsions but they are too hard to work with in the dark unless you have IR goggles.
Originally Posted by jbaphoto
But, regarding guncotton (or cellulose nitrate), it comes ready to use from a number of alternative photo supply distributors.
Today I did some promotion by bringing my videocamera to the darkroom and posted the video on youtube. Not much, but better than nothing.
Last edited by Grainy; 01-08-2012 at 03:49 PM. Click to view previous post history.
Hand out good prints that people will brag about.
Mark Barendt, Ignacio, CO
"We do not see things the way they are. We see things the way we are." Anaïs Nin
i feel like i do 1, 4, and 5 personally
i teach a month long photography course twice a year and take the time to really explain the impact of film as a medium even today. most of the people in my class dont even know that film is even relevant anymore which is pretty sad. But when I show them the quality film is capable of, they are amazed. i really wonder how the idea of film becoming irrelevant and obsolete even came about (other than digital being so convenient). i dont mean to start a film vs digital war with that last statement haha.
i buy my film at a local drug store (usually Kodak BW400CN since its C41 process) and ive had the photo tech there mention how im one of a handful of people she sees buying film from there. i hope kodak finds a way to somehow avoid bankruptcy because i really like me some BW400CN and how readily available it is for me.
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I guess in the final analysis, when I hear that film may vanish, I pull out a stack of prints and say...."I made the film that this picture was taken with, and I made the paper it was printed on"! Therefore, as long as I live and as long as any student of mine lives, there will be film and paper for use in analog photography.
That is the best I can do. If people don't want to learn, then what I do is for naught!
By shifting the emphasis to output that most clearly demonstrates what film, most uniquely, can do. Here are a few suggestions, trying to avoid any obvious artistic judgements and rather just adhering to process alone:
Originally Posted by MDR
*make prints on highly textured, unique papers. I am a big fan of matte fiber and would love to do more handcoating of unique papers like kozo;
*make print on irregular surfaces e.g. wood, glass, etc.;
*shoot pinhole, holga, whatever, cross process, go nuts- emphasize features that distinguish individual prints, even flaws;
*note to self: collaborate with people like Ron to make IR sensitized glass plates;
*use that fantastically inexpensive gear on the market to produce great new images;
*produce print with materials like Au/Pt/Pd that have material value;
*make photographs with materials soon to vanish e.g. instant prints and transfers, e6 materials etc.;
*make photographs with real intimacy and value that you can sense in the hands. Some would say print as large as possible to demonstrate film's superiority in terms of lp/mm and so forth, but I think that is precisely the wrong approach... I see contact prints as the way to go;
....and far above all else.....
*Learn from others, and freely share insight and gear with others in our little community so that everyone can do their very best to make great images completed to high artistic and archival standards. Rest assured that the value of high-quality traditional images will go up... and soon.
APUG could help by putting out our photobook (TBA soon!), perhaps making gear exchanges a bit easier, and by putting the best imagery, innovative gear, and most interesting experiments front and center... in high-end magazine and book form. If the NY Times isn't interviewing us here on APUG by year's end then we've failed in this regard.
P.S. Should it interest anyone, I just posted a blog entry more or less on this topic; the gist is to put up or shut up. Comments are always welcome.
This is my first post, I kinda turned it into an intro/ soap box. Hope that flies.
I have been reading this thread with great interest. I started making images on film in 1988, after college (photojournalism) I started to work and spent time with wire services and newspapers. I got very good at doing c-41 out of the trunk of my car and finding a phone line to use the Leaf 3D to make deadlines.
In Atlanta in 96 we got our first digital, it was crap but very easy. I kept my film bodies and took out a loan to pick up digital bodies. As I used them, Shooters would lean over to check them out. The next game would have another guy with a digital body.
Now days, I think it is working the same way. I was shooting a wedding last week and I had countless people come by and ask about my Leica's. I told them why I was using film and those cameras. My client just sent me an email that he dug out his old AE1 program and shot a role of film and loved it.
The more people see it used, the more people will want to use it. Make sure people know the images were made with silver exposed to light and not 1's and 0's. Make real prints and be generous with them. Even the most uptight person can see and feel the difference in a fiber wet print vs. an inkjet on mediocre paper.
This forum gives me hope that film will never disappear completely.
I've let a few friends (who went pixels years ago) reintroduce themselves to darkroom work, in my darkroom. They found they missed it, and are slowly shooting more film.
I let as many people under the darkcloth as possible. We take it for granted, but it's magic for others.
I give film, and processing equipment to friends kids, who are taking HS or College photo courses. I'll even process, and print, their first attempts.
Most importantly, I think we need to share our passion for our choice. Answer questions... show prints... show how little a film camera can cost...
For me, simply putting an 8x10 print from a 6x7 neg into someone's hands can clinch it. So few 4x6 and 5x7 prints are made now, much less 8x10s or larger, by digital p&s shooters. B&W prints, especially portraits, even OK quality commercial prints, cast a spell of their own. Some know it's "the film" that accounts for the look or realize, after being told, that there's indeed something different about the image of themselves, friends or family. Explaining that is what I try to do and it seems to work.