Yes, this photographer is going back in the darkroom. Many dismantled their wet process space and sold the equipment. I didn’t so my Zone VI enlarger, Aristo head, long sink and Jobo ATL 1500 film developer are in place.
I am making editions of prints limited to six, starting with a few of my images from Paris in the 1950’s. I want a paper that was a warm tone to reflect the feeling of this time. The photographs were taken on the streets between 1956 and 1958, when I was a Signal Corps photographer stationed in the City of Light. Many of the photos were published in my book The First Time I Saw Paris
The paper I chose is made in Czechoslovakia. It is called Fomatone warm tone classic MG 131 and is available from B&H in NYC and Freestyle Photo from LA.
It has a cream base and a warm tint. This is increased by using selenium toner 1-18 for no more than two minutes, to my eye. It gives the feeling of age and a softer impression than a cold paper (which I am also testing). I air dry the paper and need to put it in a dry mounting press to flatten it.
I think this paper will also do well with my Vermont scenics taken on cloudy days.
Why am I making darkroom prints when I have two Epson’s? I am searching for a look not so perfect, that has a feel of being hand made rather than turned out by a machine. Also I believe some collectors consider prints made by the photographer more valuable. i certainly am charging more for them. And I think they are a good investment for me or my children. My first prints will be made on 11×14 paper.
I am making darkroom prints of a few selected prints up to 16×20 inches. Most of my photographs will be Giclee, a fancy word for ink jet prints.