The reason for numbering the blog entries was an attempt to trick me into committing to regularly post them. So there is that.
But what I’m excited about these days are smaller things, for example, my feature on the newspaperclub blog. It’s about tips I compilated in this video relating to my Pululahua zine – a print project I purposefully did not put on sale yet because I might want to lure those of you who are interested in it to a different place. More on that hopefully soon.
A series of underexposed still life arrangements on color negative film, Fuji Pro 400H. These first images the series were developed with ars imago’s c-41 chemicals and then scanned for a first view because the darkroom is closed at the moment.
You can see the video on my YouTube channel. Click right here (and subscribe).
Scanning has become such a compromise. It’s an art in itself that I am not necessarily interested in mastering at all. If I could not print my color negatives in a darkroom just a few minutes away from my studio, it may be different. Especially when it comes to unorthodox lighting or controlled underexposure, it takes a while and finesse to scan and edit the images accurately. And even then, the possibilities of color seem to remain untouched. I look forward to printing these works in the darkroom.
A person who is uncommonly dear to me described me as eloquently running circles in my own head and getting lost in there.
Accurate. But doesn’t it serve at least something?
C o n s i s t e n c y Not knowing what I was going to write, I started this post with its title. I thought about updating you on yesterday’s darkroom session (continuing with the production of Dark Chlorophyll), without a connection to our title – allegedly.
After photographing my first Fuji Pro 400H (which may be my new favorite color film), I finally printed the images during a slow, but beautiful darkroom session yesterday. Some technical thoughts on consistency’s relevance for progress in analog photography:
Photograph with a purpose. Always. A photograph does not enhance the actual experience.
Write down technical notes for every single photograph you take so you can progress and form your own vision, rather than just rely on metering.
Work with similar exposures on one roll of film (it’s harder to do this for me with 35mm film because 24-36 images are a lot to photograph. it’s easier with medium format depending on the type of photographer you are) for a more successful, less tedious darkroom workflow.
Make a contact sheet for each and every roll of film. Create a structure for your archive.
Print each image from the roll before evaluating – don’t aim for the perfect print at first. By using the contact sheet as a reference guide, it’s easier to get to decent colors and exposure with the very first print.
End your session and look at the prints the next day. Then focus on those you want to finalize.
Unsorted thoughts on a variety of paperweights, almost evenly distributed all over my place. In each box and drawer, I can be sure to find a few Moleskines. But luckily I am an owner in awe of a midori Traveler’s Notebook since some time, which keeps my notes more together and the growing collection of regularly uncompleted small black or brown-beige tiny books is dwindling quietly. I write to process my thoughts and sort my ideas, since always. And I love books, written or plain. The feeling of getting my mind more under control, however, still hesitates to fully reveal itself. And finishing anything is painful, at least that’s how I imagine it to be, considering the fact that I don’t get there more often than I do.
After the supermoon in January this year, just a few days after I moved to Zürich, I euphorically went out at night to capture the new environment with my favorite film Ilford Delta 3200. It was surprisingly warm, which made it easy to stay outside for a while and take my time with the 16 images the Mamiya645 can take per roll. The futuristic concrete neighborhood and the hyper-modern building I live in myself (never have I ever imagined to live in such a house. I was certain to become depressed in any home without creaking wooden floors and quirky inspiring corners and characteristics. But it’s hard to find something affordable and charming in this city, they say…so I didn’t manage to sign a contract for a creaking-floor-house, but I found this unbelievable apartment with ceilings of 7-meter height instead, and couldn’t be more grateful) build a surreal urban landscape.
– I digress.
Somewhere around 2 a.m. I came home tired, but still excited enough to develop the film.
Not a great idea.
My maths brain was asleep already, so I didn’t pour in the correct amount of liquid. The white streak you can see on the photos is the underdeveloped part of the film – due to agitation, it is not fully white, but slightly revealing what the complete image would have looked like.
Wondering if there will ever be a specific combination of illuminated windows more than once, ever (maths still asleep).