Quote Originally Posted by Old-N-Feeble View Post
PE, I think my problem was made much worse when I sepia toned about thirty 16x20 prints when I worked for the AF back in the early 90's. I couldn't wear gloves because the prints were so slippery. It was the old rotten egg stuff. It took a very long time and I did it on my own time in my own back yard. My hands swelled to what seemed like twice their size and they were numb for days. After that they cracked and bled for awhile. My cuticles have never been the same.

BTW, these were copies of historic photos and publications to display at the local HQ. I used 4x5 with various films and processing techniques to produce decent quality reproductions. Many of these would have been a challenge for some people to make decent copies of. What pisses me of to this day is how they drooled over the color snapshots done by a hack showing the (then) current locations of the copied images. He just pointed and clicked on medium format color and they paid a local lab for prints. The reaction to the B&W was, "meh". They didn't have a clue regarding skill level of either task nor the time and effort nor the pain-in-the-neck... or hands.

We all have similar stories though.

Anyway, I do think the extended time in sepia toner is what caused most of the damage to my hands.
I had an ironically similar story, was in an art show with another B&W photographer, and I was showing my Kodachrome, and his big tout over me is that he had hand developed everything, (both had used a lab to print the images) yet being Kodachrome I couldn't say the same thing and people "meh"ed my work because I hadn't put in the work "by hand" like the other photographer. I tried explaining why Kodachrome had to be done by a specialized lab and how much more difficult it is to shot then B&W but no one really cared. Sad really... Ah well... Learning experience...


The Noteworthy Ones - Mamiya: 7 II, RZ67 Pro II / Canon: 1V, AE-1 / Kodak: No 1 Pocket Autographic, No 1A Pocket Autographic

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