Artist Life

Reset the clocks. Run the short loop. Walk the long way back.

Breakfast is grits and sweet potato. Veg sausages and espresso

Off to the garden shop — bags of mulch, compost; no seeds. They’ve already come from online stores. Skip the starter plants. They always tempt, but they never grow as well as from seed, or direct planting in the yarden.

Put prints from yesterday into flatten press.

Into the darkroom. Re-print yesterday’s negatives using softer developer. Ilford Multigrade and 1+9. Simple, reliable. Spend time testing imagery not chemistry.

Prints looking good. Mix scones. Bake scones. Lunch. Rice and yogurt. Start new rice. Back to darkroom

Go to next negatives on list of ‘print for edit’ — always 8x10s. Keep process simple, repeatable. Expand other areas of praxis.

Prints washing. Read some. Avoid the dead-enders, the freezer geezers that dominate the Web Forums.

Set prints drying. Cut veg for dinner. Plot out midnight readings.

Seek out Winogrand Color book? Not published?

Oh, write this and post. Do more. Do more often.

art daily

Dye Transfer Supplies

Old processes weren’t static — they changed, often rapidly. I say old, but they weren’t old then, they were new; at their early stage. That is the stage when much of the work was being done without big industrial support. It so happens, that is the point we get to after the process has been abandoned by its industrial supporters.

Process is a life-style thing at the beginning, and at the ending. The Cycle of ….

The equipment needed listing from two different issues of the Kodak Dye Transfer guide. These are from the 50s, as the process went from a maybe to the main way of printing from color. Dye Transfer rapidly replaced Carbro, becoming the preferred way for print publishing — advertising, in fact all media.

By the time Dye Transfer entered the 60s, Kodak had already introduced its replacement: Type C, the process now called RA-4, after the chemistry used. Fujifilm and Kodak have color paper for the process. The process of printing color this century doesn’t involve anywhere near the amount of supplies of last century.

These days: No Assembly Required. Unbox. Mix. Print.

Finished Another Jug

Joy and a little apprehension — every time I mix another batch of chemicals. It must be done; someday it will be all done. Even if they last, I won’t.

Out with the trash. No need to even save the jug. Shipping liquid is expensive. Powder is so much easier to ship, store, but not easier to mix, so, more chemicals are made as concentrates. Ilford chemistry is easy: dilute 1 to 4 for film; 1 to 9 for paper. For the mathemagicians: mix the film stuff 1 to 1 for paper.

Ilford hypam has been my main BW fixer for about a decade. I only use one of these a year; a decade ago I was using 5 a year. So much for the film revival, if I’m a lead case.