Thank you for making these videos. There is so much info it can be hard to absorb, but no one else posts this level of detail about darkroom art. Don't stop!
Hi Peter - Thanks for commenting. I started these lessons about 18 months ago and I am just about done now. My last video offered reference prints as a guide for what to look for when making fine art black and white prints. It was only offered during the month of September 2017 and we are now in October. So I went into the darkroom last week and made sets of 12 since that was how many people were interested in getting these prints. You should email me directly at timhguitar at gmail to find out more.
Thank you for making this video, very glad that people are still working with film! Film has a quality that can never be reproduced digitally, at least not to this point in time. Thank you for taking the time to instruct people how to do this type of work, otherwise it would be a lost art!
hi tim thanks for taking the time to make your videos. they are the most in depth and informative ones i have ever seen. it is a lot to take in, but a joy to learn. thank you.
I have a photographer friend named Howard Bond, who does this type of masking also, his photographs are exceptional and I hope to learn the process so I can come even half as good as his are.
In a way I think about how painting artists work. They see an object or scene in front of them and then they absorb it and begin to feel what is "really" there. Then they begin to re-create the scene in front of them. If they want the apple to be green instead of red they can choose to do so. And so it goes... the tree is enlarged or made smaller in order to best illuminate what it is that they feel.
We, as photographers, want to do the same sort of thing but we have limitations (not so much as before if we choose to work in the digital world). How we define the subject matter as compared to the supporting matter(s) in the print is up to our technique and craft. Therefore we have to develop our skill as best we can, and it can take a lifetime to do this (artists are the same). Then it is in our best interest to capture as much detail as we can in the film so we will have more to work with (film masking wise). So in this regard you are correct. "The best option is using a film-developer combination that gives a long curve." And although photographic paper does not respond to the whole curve (see my lesson #2 of 14) with masking we can move around the curve to get the paper to record what it is we want on the print. This is true even if the detail is way up the curve. This is NOT true in the digital world. The best you can do there is to make several exposures and to merge those exposures together to obtain detail in such a long "curve" range. For example, blown out highlights in a cloud scene. Film can capture it but not a digital camera. While I'm on the subject I have also often thought about how artists paint over their canvases to make a "better" version of their picture. Paintings have been photographed with an x-ray machine to see what is beneath the top painting. Apparently masterpieces have been reviewed in this manner when some amateur painter reused a canvas that some other artist had painted on. But in the first example my point is that fine painting artists have changed their minds about some work they've finished and re-worked it from scratch, not too unlike a photographic printer who brings out an old negative and re-interprets the image by printing it again... even cropping it differently.
Forgot to mention that my own photographs start 27 minutes into this slide show. All the other photographs, although, printed by myself, were shot by other photographers. I want to add that in order to fully appreciate a fine black and white print one has to see an original print up close as opposed to on a computer monitor.
I just put up a permanent display of 20 black and white photographs (20" x 24" ) at 333 Grand Ave. in South San Francisco at a restaurant called Cheung Hing. Now besides good food they have some good photographs on the wall.
Make that 28 photographs... the restaurant made more space available. Of particular interest is the wall dedicated to New York City; it is the wall leading to the restrooms and one can walk up to the prints to view from inches away.
My latest video offers 2 of my photographs as reference prints and I also am including "before and after" prints from the negative that I shot during the lesson on making a "normal" negative based on the zone system. These 4 prints are only 5" x 7" but they represent in real form what I am trying to convey in these lessons. The offer is only good for the month of September of 2017. The cost is only $35 for all 4 prints. You can get details on how to order these prints by going to my latest video and emailing me at TimHPhotograhy@gmail.com (I mistakenly left out the "p" when I first created this channel on youtube).
Date = 11/1/18 - I just finished installing 28 framed black and white photographs ( 20" x 24" paper size) at Cheung Hing Restaurant in South San Francisco located at 333 Grand Ave (cross street is Linden Ave.). There is a print of Ansels' "The Golden Gate Before the Bridge" shot in 1932, one year before the Golden Gate Bridge began construction. Only 4 of the photographs were shot by me; most are from films I inherited from Robert Cameron, but there are also images shot by Frank Wing, Pat Hall (brother), Tom Cheng, John Hall (my father... listed as Haw Jun Hong) and Ansel Adams. This is a permanent display; as long as Cheung Hing is in business the photographs will be there, and although I may take some down to be replaced by new prints the Adams' print will always be there for viewing. I eat at Cheung Hing regularly because their food is excellent and reminds me of the food I used to order in San Francisco's Chinatown back in the 1960s. Also, unlike most restaurants the lighting is good... even at night. If you get a chance to come to SF make sure you go down south to South City; it's less than 30 minutes away.
Thanks! I've learned alot and came up with some new tricks for my wetroom!
Thank you for making these videos. There is so much info it can be hard to absorb, but no one else posts this level of detail about darkroom art. Don't stop!
Hi Peter - Thanks for commenting. I started these lessons about 18 months ago and I am just about done now. My last video offered reference prints as a guide for what to look for when making fine art black and white prints. It was only offered during the month of September 2017 and we are now in October. So I went into the darkroom last week and made sets of 12 since that was how many people were interested in getting these prints. You should email me directly at timhguitar at gmail to find out more.
Thank you for making this video, very glad that people are still working with film! Film has a quality that can never be reproduced digitally, at least not to this point in time. Thank you for taking the time to instruct people how to do this type of work, otherwise it would be a lost art!
hi tim
thanks for taking the time to make your videos. they are the most in depth and informative ones i have ever seen. it is a lot to take in, but a joy to learn. thank you.
I have a photographer friend named Howard Bond, who does this type of masking also, his photographs are exceptional and I hope to learn the process so I can come even half as good as his are.
Good to hear of your interest. Just try it and keep doing it. Your photographs will improve with time.
14:00 Excellent lesson! Never pull, or local contrast will be lost. The best option is using a film-developer combination that gives a long curve
In a way I think about how painting artists work. They see an object or scene in front of them and then they absorb it and begin to feel what is "really" there. Then they begin to re-create the scene in front of them. If they want the apple to be green instead of red they can choose to do so. And so it goes... the tree is enlarged or made smaller in order to best illuminate what it is that they feel.
We, as photographers, want to do the same sort of thing but we have limitations (not so much as before if we choose to work in the digital world). How we define the subject matter as compared to the supporting matter(s) in the print is up to our technique and craft.
Therefore we have to develop our skill as best we can, and it can take a lifetime to do this (artists are the same). Then it is in our best interest to capture as much detail as we can in the film so we will have more to work with (film masking wise). So in this regard you are correct. "The best option is using a film-developer combination that gives a long curve." And although photographic paper does not respond to the whole curve (see my lesson #2 of 14) with masking we can move around the curve to get the paper to record what it is we want on the print. This is true even if the detail is way up the curve. This is NOT true in the digital world. The best you can do there is to make several exposures and to merge those exposures together to obtain detail in such a long "curve" range. For example, blown out highlights in a cloud scene. Film can capture it but not a digital camera. While I'm on the subject I have also often thought about how artists paint over their canvases to make a "better" version of their picture. Paintings have been photographed with an x-ray machine to see what is beneath the top painting. Apparently masterpieces have been reviewed in this manner when some amateur painter reused a canvas that some other artist had painted on. But in the first example my point is that fine painting artists have changed their minds about some work they've finished and re-worked it from scratch, not too unlike a photographic printer who brings out an old negative and re-interprets the image by printing it again... even cropping it differently.
I was thinking more of a body of work you have maybe photographed over the years. Have you a website or anything?
Try....
th-cam.com/video/76SdcpUYYUk/w-d-xo.html
Forgot to mention that my own photographs start 27 minutes into this slide show. All the other photographs, although, printed by myself, were shot by other photographers.
I want to add that in order to fully appreciate a fine black and white print one has to see an original print up close as opposed to on a computer monitor.
I just put up a permanent display of 20 black and white photographs (20" x 24" ) at 333 Grand Ave. in South San Francisco at a restaurant called Cheung Hing. Now besides good food they have some good photographs on the wall.
Make that 28 photographs... the restaurant made more space available. Of particular interest is the wall dedicated to New York City; it is the wall leading to the restrooms and one can walk up to the prints to view from inches away.
Where can I find some of you work Timi
My latest video offers 2 of my photographs as reference prints and I also am including "before and after" prints from the negative that I shot during the lesson on making a "normal" negative based on the zone system. These 4 prints are only 5" x 7" but they represent in real form what I am trying to convey in these lessons. The offer is only good for the month of September of 2017. The cost is only $35 for all 4 prints. You can get details on how to order these prints by going to my latest video and emailing me at TimHPhotograhy@gmail.com (I mistakenly left out the "p" when I first created this channel on youtube).
Date = 11/1/18 -
I just finished installing 28 framed black and white photographs ( 20" x 24" paper size) at Cheung Hing Restaurant in South San Francisco located at 333 Grand Ave (cross street is Linden Ave.). There is a print of Ansels' "The Golden Gate Before the Bridge" shot in 1932, one year before the Golden Gate Bridge began construction. Only 4 of the photographs were shot by me; most are from films I inherited from Robert Cameron, but there are also images shot by Frank Wing, Pat Hall (brother), Tom Cheng, John Hall (my father... listed as Haw Jun Hong) and Ansel Adams. This is a permanent display; as long as Cheung Hing is in business the photographs will be there, and although I may take some down to be replaced by new prints the Adams' print will always be there for viewing. I eat at Cheung Hing regularly because their food is excellent and reminds me of the food I used to order in San Francisco's Chinatown back in the 1960s. Also, unlike most restaurants the lighting is good... even at night.
If you get a chance to come to SF make sure you go down south to South City; it's less than 30 minutes away.
@@timihall930 th-cam.com/video/aRuddZKd8P8/w-d-xo.html
th-cam.com/video/7RPbjwxEUSY/w-d-xo.html
th-cam.com/video/WrH83Tc2YgU/w-d-xo.html
th-cam.com/video/jKxqT8I93as/w-d-xo.html