A Symbol Life – Page 69

Back in the time of unphotography, when monochrome ruled the world, before MOMA anointed color, a few photographers who worked in color, formed a loose grouping under the banner: “Photographers of Color.” We meant it directly, while certainly understanding that since all of us were (are) white, it meant more. Most things mean more, particularly over time, and in different times.
The banner was our umbrella against the rain of silver shooters. The primary intention was that we were regarded as doing work with less aesthetic value — we would have two struggles. None of us worried, nor did we ever make a splash, not so much as a puddle on the broadway of photography

Darkrooms have several, somewhat conflicted needs. They must be wet and dry, dark and light. In other words, you must have control of light and access to water. Many years ago, when I first entered commercial photography, I worked at a studio that had been designed by an industrial chemist. He had worked for several chemical companies designing emulsions and processing chemistry. As it goes, he became more interested in the application than the theory of his early years, so the opened a photography studio, one with a phenomenal lab.

He had many small enlarger rooms, attached to chemical rooms. We had specialty rooms, and general rooms. That first experience taught me that, when possible, build separation into the process. Each stage of work can then be monitored, perfected, and refined.

Those early times are with me, now, in my current darkrooms. The enlargers aren’t subjected to moisture, or chemicals, neither are the emulstions. It also means that more than one of us can work on a project.