EXPLORING PAPER NEGATIVES VIDEO WORKSHOP : PRE-REGISTER NOW (1 Space Available)

In this video workshop, I take photographers on a journey through the process of using darkroom paper as a negative medium to create black and white fine art prints.  Determining the best way to expose and develop your selected darkroom paper is only the beginning. 

You can register right now for $25 by going to my PayPal page. Please list the course title in a note for me during your PayPal checkout process.

PRE-REGISTRATION DETAILS

I am holding an open registration for this course until there are 20 photographers pre-registered.  At that time, I will close the open registration and complete the development of the full course. The full price of the course for people that did not pre-register is $99 USD.   

You can register right now for $25 by going to my PayPal page. Please list the course title in a note for me during your PayPal checkout process.

I reward early adopters by offering a 75% discount off the regular cost of the workshop. To be clear, you get access to the pre-release materials during the development of the course AND the fully released version of the course materials for the discounted price.  

I will be sending you updates via email on a regular basis and I will also be asking for your feedback, input, and comments to help shape the final materials in the workshop. You also get early access to videos and course materials via a private dropbox share as I develop them. Email me with any questions.

You can view the complete list of darkroom video workshops on my main workshops page.

VIDEO WORKSHOP OVERVIEW

In this video workshop, I take photographers of any skill level on a journey through the process of using darkroom paper as a negative medium to create black and white fine art prints.  Determining the best way to expose and develop your selected darkroom paper is only the beginning. 

Paper negatives are often overlooked, or only explored on the surface by photographers.  

EXPLORING PAPER NEGATIVES FOR DARKROOM PHOTOGRAPHERS OVERVIEW

There is an entirely new world that can be explored with paper negatives, and I hope to open that up to you and give you some new ideas for your photography.  Even if you already know the basics of using paper negatives, I have several things in this video workshop that I think you will find valuable.  

As with all of my video workshops, there is no fluff, I get right to the point and I share everything that I know and have learned about making darkroom prints from paper negatives. 

If you have ever wanted to learn or expand your creative possibilities with paper negatives, then this course is for you.    

WHAT WILL I LEARN?

• Movie #1 - Discussion about the characteristics and aesthetic of darkroom paper negatives as a medium
• Movie # 2 - Darkroom paper options (pros and cons of different types) and when to pick on versus the other 
• Movie # 3 - Use of filters on specific paper negative types
• Movie # 4 - Contrast control methods
• Movie # 5 - Field Pre-flashing technique 
• Movie # 6 - ISO Rating and metering techniques for RC paper negatives
• Movie # 7 - Tips and advice on handling RC darkroom paper
• Movie # 8 - Discussion of three possible output types with paper negatives, contact printing, enlarging, scanning for digital workflow 
• Movie # 9 - Development techniques for RC paper negatives 
• Movie # 10 - Field demo using 4x5 camera (Ilford RC MGIV Paper) 
• Movie # 11 - Field demo using 8x10 camera (Ilford Grade #2 Paper)
• Movie # 12 - Field demo using Whole Plate (6.5x8.5) camera (Slavich Single Weight FB Paper)
• Movie # 13 - Darkroom demonstration of developing paper negative by inspection 
• Movie # 14 -  Step-by-step making of split-grade darkroom contact print from a paper negative 
• Movie # 15 - Step-by-step making of darkroom enlargement from medium format paper negative
• Movie # 16 - Discussion of advanced techniques and methods for paper negative manipulation  
• Movie # 17 - Step-by-step method to bring your paper negatives into a digital workflow
• Movie # 18 - Demonstration of how to convert and manipulate a digitized paper negative in Lightroom 
• Movie # 19 - Summary and discussion of ideas for further exploration 

WHAT DO I NEED?

In order to take full advantage of everything covered in this workshop, you will want to have access to the following materials at some point now or in the future. 

• For contact prints, you need any type of camera that is the size you want your prints and a simple household light and a dark area to work.  I use a sheet of glass to sandwich my negative and printing paper together or you can use a printing frame too.
• Basic darkroom printing supplies and chemicals will be needed for both negative and print development. (Developer, Stop Bath, Fixer).  I use Dektol in this course, but that is not a requirement.
• I recommend starting out with Ilford RC MGIV Glossy and Ilford RC Grade #2 Glossy darkroom papers.  I also demonstrate Slavich single weight FB glossy paper.
• For enlarged prints from paper negatives, you will need an enlarger for your format.
• Misc. items: tracing paper, yellow filter for your camera, number 2 pencil, bee's wax

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what interests you most about paper negatives.  

-Tim Layton

Subscribe to the BEST NEWSLETTER ON THE PLANET for darkroom photographers and get a free time and temperature development reference chart as a token of my appreciation.    

B&W FLORAL STILL LIFE PHOTOGRAPHY WITH LARGE FORMAT (4 Spaces Available)

In this video workshop, I show you step-by-step how to create amazing flower photos with a 4x5 large format view camera.

I begin by showing you how I built my outdoor and indoor flower photography studio out of common art supplies and a more permanent version out of wood. There is no need to spend money on expensive solutions, I can show you how to build your own.  

I share several tips and solutions for a wide variety of backgrounds and how to test your background with each flower scene before setting up your view camera.

You can register right now for $25 by going to my PayPal page and submitting $25.00 USD.  Please list the course title in a note for me so I know which course you want.

PRE-REGISTRATION DETAILS 

I am holding an open registration for this course at this time.  As soon there are 20 people pre-registered for the course, I will close the registration and produce the final course.  I reward early adopters by offering a 75% discount off the regular cost of the workshop.  You can register right now for $25 by going to my PayPal page and submitting $25.00 USD.  Please list the course title in a note for me so I know which course you want.

I will be sending you updates with private access to the course materials as I develop them.  I will also be asking for your feedback, input, and comments to help shape the final materials in the workshop.    Email me with any questions.  

You can view the complete list of darkroom video workshops on my main workshops page.

VIDEO WORKSHOP OVERVIEW

I take photographers behind the scenes and walk them through my step-by-step process of how I create beautiful flower photos with a 4x5 large format view camera.

I demonstrate several view camera movements common to floral still life photography.  By having control over your focal plane and the ability to apply select focus, it gives you the creative license to express your vision unlike any other type of photography formats.  

Using common everyday items, not unique to photography, I show you how to shape and control light for floral still life photography.

I share several tips and solutions for a wide variety of backgrounds and how to test your background with each flower scene before setting up your view camera.

I discuss and demonstrate large format specifics that must be understood to create high-quality floral still life images.  

WHAT WILL I LEARN?

Movie # 1 - Welcome & Introduction 

Movie # 2 - Indoor/Outdoor Flower Photo Studio Overview and Demonstration 

Movie # 3 - Discuss and Show Various Backgrounds and Tips on How to Use Them 

Movie # 4 - Discussion on the Advantages of Using Large Format for Floral Still Life Photography

Movie # 5 - Review and Demonstration of View Camera Movements for Floral Still Life Photography 

Movie # 6 - Technical Discussion on Magnification Ratios and How to Calculate it For Your Current and Future Lenses 

Movie # 7 - How to Calculate Bellows Factor 

Movie # 8 - Discussion and Process for Exposure Compensation 

Movie # 9 - Discussion on Using Ilford HP5+ Large Format B&W Sheet Film

Movie # 10 - Exposure and Development Tips for HP5+

Movie # 11 - How to Make a Split Grade Contact Print in the Darkroom 

Movie # 12 - How to Make a Split Grade Enlargement in the Darkroom 

Movie # 13 - Simple Process to Convert Your B&W Negatives into Digital Files 

Movie # 14 - Step-by-step Method to Bring Your Negatives into a Digital Workflow 

Movie # 15 - Demonstration of How to Convert and Manipulate the Digitized File in Adobe Lightroom 

Movie # 16 - Summary and Discussion of Ideas for Further Exploration 

WHAT DO YOU NEED?

• Any type of large format 4x5 view camera
• A standard lens in the 120mm to 180mm range 
• Time to complete the lessons
• Basic darkroom skills to develop your films and make a contact print
• A desire to create beautiful floral still life photographs

You can view the complete list of darkroom video workshops on my main workshops page.​​​​​​​

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

It takes a lot of time and effort to create meaningful workshops.  I receive emails from analog photographers all around the world thanking me for my blog and for creating video workshops on darkroom and large format topics because they can't find them anywhere else.   

I have been writing and publishing detailed information on these topics for many years.  It has just been in the last year that I have been encouraged by all of you to formalize a lot of my knowledge and experience into focused video-based workshops.

My goal is to always bring the most value to photographers that I can.  Part of that value is providing you the video workshops that you want.  

In order to get a perspective of the workshops that photographers want the most, I created a pre-registration process where I hold an open registration for the first 20 photographers.  Once the pre-registration reaches 20, then I close the pre-registration and finalize the development of the video workshop.  I reward you by offering a 75% discount off the price of the workshop and give you early access to the materials as I develop them.  

Some of the most popular workshop subjects are available for pre-registration today at the 75% discount in the list below.  To get more information on these specific workshops, click on the links and you can also pre-register there too.  

You can also browse my full list of darkroom and large format video workshops on my main page and pre-register any of these courses too.  Just remember to put the course title in your PayPal payment, so I know which course to register you in. 

POPULAR WORKSHOPS AVAILABLE FOR PRE-REGISTRATION

• Intro to Black and White Darkroom Photography
• Exploring Paper Negatives for Darkroom Photographers
• B&W Floral Still Life Photography with Large Format
• How to Use the Split-Grade Method for Making B&W Contact Prints in the Darkroom
• B&W Film & Development Testing

If you have any questions about the pre-registration process, send me an email and share your thoughts and questions with me.  

I share exclusive articles and information like this with my newsletter subscribers.

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

HOW TO USE THE SPLIT-GRADE METHOD FOR MAKING B&W CONTACT PRINTS IN THE DARKROOM (8 Spaces Available)

In this video workshop, I show you step-by-step how to use the split-grade method to create beautiful black and white contact prints in the darkroom.  I personally love the contact printing method more than any other type of print because of the jewel-like quality that is unrivaled by any other method.

I use an infrared camera so that you can watch every step of the process while working under safelight conditions.  

You can register right now for $25 by going to my PayPal page and submitting $25.00 USD.  Please list the course title in a note for me during your PayPal checkout process.  

PRE-REGISTRATION DETAILS

I am holding an open registration for this course at this time.  As soon there are 20 people pre-registered for the course, I will close the open registration and complete and produce the final course.  

I reward early adopters by offering a 75% discount off the regular cost of the workshop.  You can register right now for $25 by going to my PayPal page and submitting $25.00 USD.  Please list the course title in a note for me during your PayPal checkout process.  

I will be sending you updates via email on a regular basis and I will also be asking for your feedback, input, and comments to help shape the final materials in the workshop. You also get early access to videos and course materials via a private dropbox share as I develop them.  Email me with any questions.  

You can view the complete list of darkroom video workshops on my main workshops page.

COURSE OVERVIEW

In this video workshop, I show you step-by-step how to use the split-grade method to create beautiful black and white contact prints in the darkroom.  I personally love the contact printing method more than any other type of print because of the jewel-like quality that is unrivaled by any other method. I love to contact print medium format negatives just as much as I do large format.  Some of the most compelling contact prints that I have seen were medium format that were mounted as a triptych.  I demonstrate both medium and large format in the course.  

There is nothing like a large format black and white contact print in my opinion and many collectors and curators have told me they share the same feelings.  

WHAT WILL I LEARN?

Movie # 1 - Introduction and Welcome Message 

Movie # 2 - Discussion of Negative Types for Contact Printing (e.g., Film, X-Ray, Paper) 

Movie # 3 - Why Use Split Grade Printing? 

Movie # 4 - How to Build a Simple Contact Printing System 

Movie # 5 - Testing the Contact Printing System & Discussing Variables 

Movie # 6 - Making a Normal Grade 2 Contact Print as the First Step

Movie # 7 - Discussion of How to Use Variable Contrast Filters for Contact Printing 

Movie # 8 - Step-by-Step Demonstration of Making a Split-Grade Contact Print 

Movie # 9 - How to Control the Variables in Split-Grade Printing 

Movie # 10 - How to Selenium Tone Your B&W Darkroom Print for DMAX enhancement and maximum archival permanence. 

Movie #11 - Summary and Discussion for Further Exploration. 

You can register right now for $25 by going to my PayPal page and submitting $25.00 USD.  Please list the course title in a note for me during your PayPal checkout process. Once the course is released, the price will be $99.  

WHAT DO YOU NEED?

• Contrast printing filters
• A negative for making contact prints
• Darkroom development supplies 
• Time to complete the lessons
• A desire to create beautiful black and white darkroom contact prints

I share exclusive articles and information like this with my newsletter subscribers.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

B&W FILM & DEVELOPMENT TESTING

PRE-REGISTER TODAY (ONLY 10 PRE-REGISTRATIONS AVAILABLE)

I am holding an open registration for this course at this time.  As soon there are 20 people pre-registered for the course, I will close the open registration and complete and produce the final course.  

I reward early adopters by offering a 75% discount off the regular cost of the workshop.  You can register right now for $25 by going to my PayPal page and submitting $25.00 USD.  Please list the course title in a note for me during your PayPal checkout process.  

I will be sending you updates via email on a regular basis and I will also be asking for your feedback, input, and comments to help shape the final materials in the workshop. You also get early access to videos and course materials via a private dropbox share as I develop them.  Email me with any questions.

COURSE OVERVIEW 

Are you a black and white film photographer and want complete control over your creative process? 

Based on many years of experience in addition to the knowledge and wisdom from the greats like Ansel Adams and Fred Archer, I have created a repeatable process for establishing your films working EI (Exposure Index) and the associated zone system development times for N (Normal), N+ (expanded), and N- (contracted).  

Do you want more good news? The method that I teach does not require a densitometer!  It is all done visually which is the best way because, in the end, all that matters are your final output.  

This process uses a step wedge and this allows you to know the exact modifications needed to establish your personal EI rating and development times for your film and developer combinations based on the unique variables in your environment.  No more guessing or wondering the speed of your film or how long you should develop it for your creative intentions.

I walk you step by step through every part of the testing process and provide background information on every aspect of the testing process.

WHAT DO YOU NEED?

• A Stouffer 21-step Step Wedge (Available from Stouffer Industries)  - I demonstrate the 4x5 version in the course which is model TP4x5-21.  I have no affiliation with Stouffer, other than being a customer.  
• B&W Sheet film of your choice
• Basic darkroom supplies to develop your negatives and prints
• Light source to create contact prints

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

I share exclusive articles and information like this with my newsletter subscribers.

You can view the complete list of darkroom video workshops on my main workshops page.

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

ECO-FRIENDLY DARKROOM CHEMICALS

I am trying to become more eco-friendly in my darkroom processes and I know that a lot of other darkroom photographers would like to do the same. 

I created the video below to give you some ideas and to raise awareness.  Small improvements over time have a big impact.  

You may want to also read my article on how to make eco-friendly black and white developers.  

I share exclusive articles and information like this with my newsletter subscribers.

In the section below the video, I included the information that is available from Freestyle about their Eco-Pro chemicals.  I showed some of these products in the video.  To be clear, I have no affiliation with Freestyle or any organization regarding eco-friendly products. 

You can view the complete list of darkroom video workshops on my main workshops page.

"Eco-Pro chemicals are the safest and least toxic photo processing chemicals available to purchase.  Unlike other brands which claim to be eco-friendly, Eco-Pro liquid concentrate chemicals are COMPLETELY FREE of known carcinogens and mutagens, Metol, Hydroquinone, borates, phosphates, non-biodegradable organic compounds EDTA and DTPA, acetic acid, perfume, and dye.

Eco-Pro chemicals have been engineered from the ground up to provide the highest quality image tone and archival characteristics. Eco-Pro chemicals are comparable in speed and tray life to most lines of photochemistry but have a much higher chemical content allowing greater capacity.

Washing speeds are up to 50% faster when the system is deployed to its full potential. By using Eco-Pro pH, Neutral Fixer with a plain water bath instead of a chemical stop bath, film and paper is never exposed to an acid environment, making it much faster to rinse and wash to an archival standard.

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

INTRO TO PLATINUM & PLATINUM/PALLADIUM PRINTING (12 Spaces Available)

Have you ever wanted to learn how to make platinum and/or platinum/palladium prints?  

If so, you are in luck because I share my detailed process in this video workshop.  Based on experience and making a lot of mistakes, I demonstrate and discuss the processes and methods that allow me to consistently create beautiful hand-made platinum and platinum/palladium prints. I know how difficult it is to create these timeless prints and I love sharing my knowledge and experience with photographers that want to learn.  

You can read this article where I share details about my developer of choice for my pure platinum prints.  After a lot of trial and error, I  figured out the right combination of variables to master the pure platinum printing process which is one of the most difficult methods to master. 

You can register right now for $50 by going to my PayPal page. Please list the course title in a note for me during your PayPal checkout process.

You can watch this video of me making a platinum print.

In my article, Platinum Printmaking, A Chemical Introduction, I provide a comprehensive overview of the platinum process. 

In this video, I share some of my platinum artist proofs and discuss my first impressions of the prints and associated methods that I use.  

PRE-REGISTRATION DETAILS

I am holding an open registration for this course until there are 20 photographers pre-registered.  At that time, I will close the open registration and complete the development of the full course. The full price of the course for people that did not pre-register is $199 USD.   You can register right now for $50 by going to my PayPal page. Please list the course title in a note for me during your PayPal checkout process.

I reward early adopters by offering a 75% discount off the regular cost of the workshop. To be clear, you get access to the pre-release materials during the development of the course AND the fully released version of the course materials for the discounted price.  

I will be sending you updates via email on a regular basis and I will also be asking for your feedback, input, and comments to help shape the final materials in the workshop. You also get early access to videos and course materials via a private share as I develop them.  Email me with any questions.

I share exclusive articles and information like this with my newsletter subscribers.

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

VIDEO WORKSHOP - ADOBE LIGHTROOM FOR B&W DARKROOM PHOTOGRAPHERS - PRE-REGISTER NOW (14 Spaces Available)

With over 30 years of experience printing in the darkroom, I am excited to bring all of that experience to Adobe Lightroom for photographers that want to create digital images that are very similar to darkroom prints.  

You can register right now for $25 by going to my PayPal page. Please list the course title in a note for me during your PayPal checkout process.

You can view the complete list of darkroom video workshops on my main workshops page.

PRE-REGISTRATION DETAILS

I am holding an open registration for this course until there are 20 photographers pre-registered.  At that time, I will close the open registration and complete the development of the full course. The full price of the course for people that did not pre-register is $99 USD.   

You can register right now for $25 by going to my PayPal page. Please list the course title in a note for me during your PayPal checkout process.

I reward early adopters by offering a 75% discount off the regular cost of the workshop. To be clear, you get access to the pre-release materials during the development of the course AND the fully released version of the course materials for the discounted price.  

I will be sending you updates via email on a regular basis and I will also be asking for your feedback, input, and comments to help shape the final materials in the workshop. You also get early access to videos and course materials via a private file share as I develop them. Email me with any questions.

You can view the complete list of darkroom video workshops on my main workshops page.

VIDEO WORKSHOP OVERVIEW

In this video workshop, I walk you through every step of my workflow in Adobe Lightroom from preparing the source image to painting with light, just like I do in the traditional analog darkroom.  

For film-based black and white photographers, I discuss how to best expose, develop, and scan images for a digital workflow.  I share all of my specific techniques so that you can leverage my workflow in the context of your own style of photography.

For DSLR photographers, I go into detail of how to best expose images using your histogram and how to get your digitally captured file color RAW file to look more like a film-based image.

It is important for darkroom photographers to be able to present and share their prints in digital form, even if that is all you decide to do with it.  If you decide to create reproduction prints, then this workshop will open up a new path for you.  

WHAT WILL I LEARN?

Movie # 1 - Introduction & Welcome 

Movie # 2 - For film Images, I discuss the specifics of how I expose, develop, and scan my films to create a digital file suited for the workflow inside of Adobe Lightroom.  

Movie # 3 - For DSLR photographers, I walk through my process for exposing images in the field and how to read the histogram to produce the RAW files suited for black and white conversion inside of Adobe Lightroom. 

Movie # 4 - Step-by-Step walkthrough of a film image and a digital RAW file using my personal workflow inside of Adobe Lightroom to create black and white fine art images.  (PDF File Included)

Movie # 5 - Summary and thoughts for further exploration

WHAT DO I NEED?

• A desire to create amazing black and white fine art photos using Adobe Lightroom 
• For digital sourced files, any camera that creates RAW files
• For film sourced files, a way to scan or capture the analog media to a digital file (.TIFF)
• Adobe Lightroom CC

You can view the complete list of darkroom video workshops on my main workshops page.

I share exclusive articles and information like this with my newsletter subscribers.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

It is hard for me to believe that it is the first week of December.  I am hard at work developing a host of darkroom and large format workshops for the next two to three months.  I am starting to think about doing something fun after I get the workshops published.  

One of my personal goals is to do more analog photography on the road.  Over the last few years, I have tried a variety of processes on long road trips ranging from wet plate collodion to direct positive paper prints.  I travel in my Sprinter van (tiny house on wheels), so I have enough space to live and work comfortably for extended periods of time.  I plan to be out West in Rocky Mountain National Park, Grand Tetons, Yellowstone National Park, and Glacier National Park next summer for a good stretch, so I have to come up with my winter and spring trip idea soon.  

I share exclusive articles and information like this with my newsletter subscribers.

POSSIBLE OPTIONS

The easiest choice would most likely be Harman Direct Positive Paper (DPP).  After exposing the positive paper in the view camera, it is just a matter of developing the print. I travel with a small Jobo where I could develop the print using Rodinal very easily. Since it is a direct positive, there is no need to work with a negative making this option very appealing and easy on the road.  I don't like not having a negative, but there is something very special and simple about the direct positive paper that I really like and appreciate. 

Paper negatives are a good option too.  I built a portable darkroom box where I can develop and print up to 8x10 size.  I have done this many times, so I know the process works.  Between my 4x5 and 8x10 view cameras, I have four possible formats to choose from (4x5, 8x10, 5x7, or 4x10).  I might even just use my new whole plate camera for the entire trip.  I have fallen in love with this aspect ratio more than  I could have predicted.  I think my darkroom box is a little small for 11x14, but I will have to check into this a little more to see if that is even an option.  

It might be fun to travel somewhere warm to explore the landscape while most of the country is in winter mode.  I could easily use X-Ray film and develop it in the small Jobo with Rodinal and either create contact prints on silver gelatin fiber paper with the same box that I use for paper negatives, or I could push myself and make pure platinum prints while on the road.  I could try and experiment with using sunlight to expose my platinum prints, or I could take my small UV printer that I made for mobile use.  Controlling the humidity and warming my platinum developer would not be a lot of fun while mobile.   

Another option would be to work with E-6 slide films like Provia 100 in medium and large format sizes and develop the positive in the Jobo.  This approach is quick, easy, and also very rewarding for the right subjects.  I have never used positive films in the winter, so that might be something new to explore.  I tend to see in black and white 99% of the time.  

I am not sure what I will end up choosing, but it is just fun to think about the trip right now.  

More to follow in the coming months as I complete the workshops and work towards the opportunity to travel.  

You can view the complete list of darkroom video workshops on my main workshops page.

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

Cleaning up the darkroom for the workshops I am cleaning up and organizing the darkroom for all of the workshops that I am producing right now.  You can view the complete list of darkroom video workshops on my main workshops page.

I needed to clean up after a big run on making Platinum prints and some contact silver gelatin prints anyway.  It just feels better when the darkroom is clean and organized.  

You may notice the glass and the ceramic on the center island work surface.  I just finished getting that surface perfectly level in all directions for my next round of silver gelatin emulsion work.  

I have been testing various formulas and papers to create my own paper negatives versus using commercial papers, but still more testing is in front of me.  I wanted to say thanks to Denise over at The Light Farm for consulting and sharing her knowledge with me.  Denise is always helpful and shares her knowledge with others.  She is a mad scientist, artist, and all around good person. If you are into making your own emulsions for film, dry plates, paper, etc. then I highly recommend Denise's book.   

I share exclusive articles and information like this with my newsletter subscribers.  

-Tim Layton

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Male Cardinal - 12-23-16 - Missouri OzarksLearn How to Create Amazing Photos With Any Camera. Subscribe To My Photo Tips Newsletter and download a free Photoshop and Camera Raw Shortcuts Reference.


Select the "Buy" button in the upper right corner to purchase over 175 different products to include: fine art prints, greeting cards, calendars, canvas gallery wraps, metal ornaments, coasters, mugs, mouse pad, postage stamps, and more! Bird photography is fun!  I have been having a lot of fun photographing birds around my property in the Ozark mountains and in the Smokies too.  I was recently in the Great Smoky Mountains exploring the area for wildlife and winter landscapes.  That was a very challenging environment to get close enough to create the types of images I wanted, but I continue to build on that experience and try again.

A lot of people that I talk to about photographing wildlife with film think I have lost my mind... :)  My response usually goes something like this: "well, prior to about 15 years ago, how do you think every single photographer created the iconic wildlife photos that we continue to enjoy today?".  If they can do it, so can I.  

I have been practicing my technique and stealth methods with my digital camera for the purpose of ultimately using my Nikon F5 and F100 cameras to expose some black and white and color negative films.  I want to get everything dialed in before exposing the film.  It is going to be an awesome feeling standing in front of my enlarger making a fine art print one some birds.  You can view my photos from my current adventures in the bird gallery.  

I will keep you posted on my progress.  Scroll down and leave me a comment about your film-based wildlife photography experiences and adventures.  

You can view the complete list of darkroom video workshops on my main workshops page.

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

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Smoky Mountain - Morton's Overlook The Great Smoky Mountains National Park Nature Lovers Membership

I take you behind the scenes with me in the Great Smoky Mountains National Park to find the best places to photograph, hike, explore, and experience America's most visited national park.

If you are a photographer looking for those iconic photo opportunities, a nature lover seeking the best places to explore, or a family that wants insider tips to maximize your vacation time, I have you covered.  

You can subscribe for only $19 per month or you can save 35% by choosing the annual plan for $149.  That is a savings of $79!  That is like getting almost 5 months for free.  

Take a moment to enjoy some of the beautiful places and wildlife in the Smokies in my online galleries.  

Even if you can't get visit the park in person, the videos are an incredible way to experience the Great Smoky Mountains. I learned from my customers that they are giving the membership to loved ones with physical challenges and disabilities so they can enjoy the Smokies too.

MEMBERSHIP DETAILS 

Select the "Buy" button in the upper right corner to purchase over 175 different products to include: fine art prints, greeting cards, calendars, canvas gallery wraps, metal ornaments, coasters, mugs, mouse pad, postage stamps, and more!

Get access to my free Smoky Mountains Newsletter for insider tips or Subscribe to my monthly service that takes you behind the scenes with me in the Great Smoky Mountains National Park to find the best places to photograph, hike, explore, and experience America's most visited national park. If you are a photographer looking for those iconic photo opportunities, a nature lover seeking the best places to explore, or a family that wants insider tips to maximize your vacation time, I have you covered. I am exploring the Smokies every 6 to 8 weeks all year long, and more frequently at times.  I know every corner of this national treasure and I am excited to share my knowledge with you to help make you maximize every minute of your time when visiting the park.  

I publish in-depth videos and informational documents that make your visit more impactful, enjoyable, and just plain more fun.  You can print and take the documents with you for your next trip and even download my videos so that you can play them when you don't have an Internet connection.  

I share details and insider tips that simply make your visit better.  Knowing when and where to go and how to avoid common pitfalls is worth the membership by itself.  

The Great Smoky Mountains National Park (GSMNP) was established in 1934, and, with over 10 million visits per year, it is the most-visited national park in the United States.

I am excited to share the Smokies with you in my comprehensive updates to help make your next visit the best time possible.  

You can subscribe for only $19 per month or you can save 35% by choosing the annual plan for $149.  That is a savings of $79!  That is like getting almost 5 months for free.

Tim Layton

Blue-Jay at Sunrise Feeding - 1/4/17 During the winter months, I set up bird feeders and bird baths to help the birds out a little bit.  I cleaned up an area near my cabin to hang the feeders, set up a blind to watch and photograph the birds, and learn more about the behaviors for each species.  You can view my bird feeder images in my bird-feeder gallery and you can also view my latest bird images that are in the wild.   

I host a wildlife gallery where I share my best photos of birds and mammals.  I try and keep the gallery to 24 or less photos and I continually replace the weaker images with better ones over time.  It takes a long time to even get 10 very strong wildlife photos.  

The photo of this Blue Jay (Cyanocitta cristata) was taken at the feeders that I built specifically for Blue Jays.  It turns out that other birds like the Goldfinch and Sparrows eat from it too.  Blue Jays like to eat out of a feeder that is flat and open.  I built this feeder out of cedar, so it will last many years.  Blue Jays are quick to fly off the moment they sense anything that may appear dangerous or threatening to them.  Blue Jays like peanuts and black-oil sunflower seeds.  I stock the feeder every evening at sunset and then I get outside as the sun is rising to watch them.  

You can get access to my Free Photography Tips Newsletter where I share in-depth information and tips on how to photograph nature and wildlife subjects.  

I photographed this Blue Jay with the Nikon D500 and 200-500mm F5.6 lens at 500mm.  This is an effective focal length of 750mm.  In theory that sounds like a lot of lens, but when photographing birds you feel like you never have enough focal length.  

I photographed this Blue Jay from my front porch, 34 yards (102 feet/31 meters away) using the D500 and long lens at 750mm.  Take a look at the full size image highlighting the crop to create the photo at the top of this article.  You can instantly see how short the 750mm of focal length feels when photographing birds.  

There are only two choices for filling up the frame a little more when photographing birds.  You can invest in longer telephoto prime lenses, which are very expensive and out of the reach of most amateurs, or you can get closer to the birds and use the lenses that you currently own.  I actually use both approaches.  Honing your skills to get closer to the birds is a lot of fun and very rewarding.  I always keep my portable blind with me at all times because I never know when I may need it.  I made the investment in the Nikon 600mm prime telephoto lens and I use mobile hunting blinds to get as close as possible to the birds when viewing and photographing them.  

BLUE JAY INFORMATION

Blue Jays make a variety of musical sounds, and they can do a remarkable imitation of the scream of a Red-shouldered Hawk. Not always conspicuous, they slip furtively through the trees when tending their own nest or going to rob the nest of another bird.

Habitat
Oak and pine woods, suburban gardens, groves, towns. Breeds in deciduous or mixed woods, avoiding purely coniferous forest. May be in fairly low or scrubby forest in southern part of range. Favors habitat with many oak or beech trees. Often common in well-wooded suburbs or city parks.

Feeding Behavior
Forages in trees and shrubs and on ground. Comes to feeders for seeds or suet. Pounds on hard nuts or seeds with bill to break them open. Will harvest acorns and store them in holes in ground.

Diet
Omnivorous. Most of diet is vegetable matter (up to 75% of diet for year, higher percentage in winter), including acorns, beechnuts, and other nuts, many kinds of seeds, grain, berries, small fruits, sometimes cultivated fruits. Eats many insects, especially caterpillars, beetles, grasshoppers, and others; also eats spiders, snails, birds' eggs, sometimes small rodents, frogs, baby birds, carrion, other items.

Eggs
4-5, sometimes 3-7. Greenish or buff, sometimes pale blue, spotted with brown and gray. Incubation is by both parents (but female does more), about 16-18 days. Young: Both parents bring food for nestlings. Young leave nest 17-21 days after hatching.

Nesting
Courtship may involve aerial chases; male may feed female. Blue Jays become quiet and inconspicuous around the nest, but will attack with loud calls if the nest is threatened by a predator. Nest site is in tree (either coniferous or deciduous), placed in vertical crotch of trunk or at horizontal fork in limb well out from trunk; usually 8-30' above ground, sometimes 5-50' up. Nest (built by both sexes) is a bulky open cup made of twigs, grass, weeds, bark strips, moss, sometimes held together with mud. Nest is lined with rootlets and other fine materials, often decorated with paper, rags, string, or other debris.

You can view the complete list of darkroom video workshops on my main workshops page.

I share exclusive articles and information like this with my newsletter subscribers.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

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ADVANCED B&W DARKROOM PRINTING TECHNIQUES COURSE OVERVIEW

I am currently developing this video workshop.  If you are interested in the workshop, send me an email and I will put you on the notification list when it is ready for purchase.   

If you have ever wanted to take your black and white fine art printing to a new level, then this is the course for you.

In this course, I discuss and demonstrate advanced techniques to include: using potassium ferricyanide to paint in highlights in your darkroom prints, employing split-grade filtering to your contact prints, and exploring lith printing to help take your ordinary darkroom prints to a new level.

WHAT WILL I LEARN?

Movie # 1 - Discussion - Introduction & Welcome to Advanced B&W Darkroom Printing Techniques

Movie # 2 - Demonstration - Making a standard black and white enlargement and reviewing the creative opportunities

Movie # 3 - Demonstration - Exploring ferricyanide for painting in highlights and making your prints sing. 

Movie # 4 - Demonstration - Making a standard large format contact print and reviewing the creative opportunities

Movie # 5 - Demonstration - Exploring split-grade contact printing and how to improve the contrast of your print. 

Movie # 6 - Discussion - Introduction to Lith Printing 

Movie # 7 - Demonstration - Making a Lith print step-by-step to create a unique fine art print

Movie # 8 - Summary and discussion of ideas for further exploration

WHAT DO YOU NEED?

• You should be proficient at creating consistently good exposures, developing film, and making standard darkroom prints (enlargement and contact) 
• Select your best negatives for printing 
• Standard darkroom equipment to make enlargements and contact prints, and darkroom print processing capabilities 
• Distilled water 
• (Lesson # 3 ) - Potassium ferricyanide - available from Photographer's Formulary - http://stores.photoformulary.com/potassium-ferricyanide/
• (Lesson # 5) - Ilford Multigrade Contrast filters (or other comparable filters) that will work with your light source.  Filters available from B&H Photo - https://www.bhphotovideo.com Item # ILFSMG66Q
• (Lesson # 7) - Lith Printing Chemicals - Moersch Easylith A&B Lith Printing Paper Developer available from Freestyle Photographic Supplies at http://www.freestylephoto.biz
• (Lesson # 7) - Darkroom papers suitable for Lith printing - Foma Fomatone 131 VC FB Warmtone Glossy or Foma Fomatone 132 Classic VC FB Warmtone Matte.  Both papers are available from Freestyle Photographic Supplies at http://www.freestylephoto.biz
• (Lesson # 7) - Selenium Toner - Several choices available at B&H Photo https://www.bhphotovideo.com, Freestyle Photographic Supplies at http://www.freestylephoto.biz
• (Lesson # 7) - Darkroom paper suitable for lith printing.  I will be demonstrating with the following papers:  Foma Fomatone 131 VC FB Warmtone Glossy, Foma Fomatone 132 Classic VC FB Warmtone Matte.  Make sure you have at least one of these papers. 

You can view the complete list of darkroom and large format video workshops on my main workshops page.

-Tim Layton

Subscribe to the BEST NEWSLETTERS ON THE PLANET for darkroom and large format photographers. 

New overhead switched red LED lights in the off grid darkroomYou can subscribe to my Darkroom Photography Newsletter and my Large Format Photography Newsletter to get special inside tips and information from me. In this article, I share some important details on the scientific aspects of darkroom printing that are good to understand in order to take advantage of more advanced techniques and methods of darkroom printmaking. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops.

PHOTO PAPER EMULSION

Contact and enlarging darkroom papers have a light sensitive coating called, emulsion. The emulsion that you can’t see with your eye are silver halides suspended on a gelatin coating.  Photo paper actually contains a mixture of silver halides and this is what responds to your light source and darkens when the paper when exposed.  Halides are a group of elements consisting of bromine, chlorine, iodine and fluorine and their corresponding salts are what we refer to as “halides”.  These halides are referred to as bromide, chloride, iodide and fluoride.  I will explain this in more detail below, however, the key part you should take away if nothing else is that silver halides are the magic ingredients in your photo paper and films.

The silver halides used in photographic papers are silver bromide, chloride, and iodide. Silver bromide emulsions are considered to be “fast” meaning they react very quickly to light.  Silver bromides are associated with large silver grain and contain a cold black or a blue-black color range.  You are not likely to see too many pure bromide papers any longer other than a few niche products.  Freestyle Photographic Supplies has historically stocked Kentmere Silver Bromide fiber glossy papers in several grades.  

The light-sensitive silver halide emulsion layer has a silver content of approximately 1.7 g/m2. The emulsion is covered with a gelatine supercoat which protects the emulsion from stress fogging and physical damage and also contains a small amount of developing agent.

Silver Chloride papers are considered to be very slow papers and they are not suited to be used as an enlargement paper.  Kodak AZO is the best-known paper and is no longer in production.  Chloride emulsions are fine-grained and are considered to be warm and brown-black in color.  This fact alone may direct or steer you away from this paper based on your artistic goals.  I create emulsions by hand and coat my own paper negatives and printing papers.  The knowledge in this article is critical to understand in order to be able to do these types of things.  

Historically silver chloride was combined with silver bromide and therefore called “bromochloride” for neutral tone papers they were “chlorobromide” for warm-tone papers.  The only known silver chloride paper available today is Lodima Silver Chloride available exclusively via Michael A. Smith via his website.  The other option is to make your own emulsions and coat your papers by hand like I do.  

Silver iodide is used in very small amounts in some papers in combination with bromide and chloride to modify the paper’s properties and characteristics.

LET THERE BE LIGHT

When you expose your light sensitive photographic darkroom paper via your light source you may have guessed that the light-sensitive silver halides will darken in various shades.  Modern day photo papers don’t require nearly as much light as the papers in the past because there is an electrical charge affecting the halide in the paper.  Once you expose your paper and negative to light there is actually an image on the paper but you can’t see it yet.  This is referred to as the latent image.  Now you will need your first chemical in the print development process called “developer” to darken the image on the paper.

THE DEVELOPER

The latent image that was exposed with your negative and light source is now ready to be developed and darkened on your paper.  The development step is where the “magic” happens for many people.  You can literally see the image appear in front of your eyes. Your developer chemical is actually changing the invisible silver halides into grains of metallic black silver resulting in the image you see with your eyes.  As you may have figured out the developer only acts on the silver halides that were exposed to light.  Now you have those magical particles of silver suspended in the gelatin emulsion.  We need to stop the development from continuing.  

STOP BATH

The stop bath does exactly what it sounds like, it stops the development process from continuing.  It literally neutralizes the development from continuing.  Some will argue that you don’t need a chemical stop bath and just use plain water at 68F/20C.  I typically use a stop bath from Ilford that is considered to be an acid stop bath.  Besides obviously stopping the development process the use of stop bath drastically extends the life of your fixer which we will discuss next.  By using the stop bath I am finished with the stop bath process in 30 seconds versus having to thoroughly soak the paper in a water bath and rinse frequently turning over the water supply.  I also use it because I don’t want any of the developer getting carried over into my fixer.

THE FIXER

Remember that only the silver halides that received enough light were converted to metallic silver by the developer as discussed above.  For example, your highlights and shadows received much less light because your negative was more dense in these areas.  Because of this your paper still has undeveloped silver halides and if you have white borders on your print from a frame, mask, etc. then there is a significant amount of silver halides still on the paper.  We must remove these halides or they will expose or print out over time.  Removing these halides is the job of your fixer.  Your fixer will dissolve the halides but now you need to wash them away.

DOING THE WASH

After we have completed the fixing step we need to literally wash away the dissolved silver halides.  Depending on the type of paper and archival intentions the washing time and technique will vary.

SUMMARY

I hope this article has given you a better understanding of the science that is taking place when you are printing your masterpieces in the darkroom.  This knowledge will serve you well in many different ways.  When you read the technical specifications on your darkroom paper of choice this information should make more sense to you now.  There are many other more advanced variables to discuss such as toning, bleaching, redeveloping and others at a later time.

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi" to introduce yourself. 

-Tim Layton

I am very happy to announce that I am developing video lessons to illustrate and bring to life key concepts from The Darkroom Cookbook (4th edition, 2016) by Steve Anchell.  

I consider this book to be a must have for any serious darkroom photographer.  The information in the book helps darkroom photographers of every skill level express their creative vision through the many different techniques and methods available to analog photographers.  I've had the Darkroom Cookbook on my shelf in the darkroom starting with the first edition in the 1990's.  

I am creating step-by-step videos bringing the information from the book to life to help darkroom photographers transform the text into usable techniques and processes in their creative pursuits.  

For the latest information and special discount codes, be sure to subscribe to my free darkroom newsletter if you haven't already. I will be publishing updates via my newsletter as the videos are released.  

For example, in chapter 3 (Developers), Steve walks through a method to manipulate developing formulas and the effects of different chemicals in your print developer. There is an opportunity to bring this information to life in a few videos where I will start with mixing a general-purpose paper developer (Kodak D-72) and then I will select a full-scale negative that prints well on grade-2 paper or with a #2 Variable Contrast filter to make a test print. This will be the "control/reference print".  

Then by exposing thirteen more identical pieces of darkroom paper and placing them in a light-tight box without developing them, we have a means to really explore the effects of developer agents on the print. The prints do not have to be large, 4x5 or 5x7 inches will suffice.

Next, we will mix a Metol-based developer and create the first test print.  Next, we will add carbonate to the developer and make the second test print.  Then we will add bromide and make the next test print, and so on. This process really helps a darkroom photographer visualize the effects of each developing agent in their print developer.  By working through each stage of these tests in its entirety, you will familiarize yourself with the full range of effects and controls possible with any developer and create mental markers that you will be able to reference when pre-visualizing your fine prints in the field.  

It will also help you learn how to create your own formulas based on your creative vision.  I think this information and experience will transform how you approach black and white fine art printmaking in the future and give you the practical skills to execute on your vision.

The above was one example to illustrate the type of video lessons that I am creating. There are many opportunities like this throughout the book to include print toning, bleaching, re-developing, and just as many for film development and methods to create your own formulas.  This is going to be a lot of fun.     

BACKGROUND

I had the idea to create select video lessons from this classic guide for analog photography after I started developing and producing comprehensive darkroom and large format video-based workshops on a wide variety of topics.  Based on many discussions, I realized that photographers needed smaller pieces of knowledge in order to expand their range of darkroom techniques to ultimately realize their full creative potential.  Since the art and craft of darkroom photography are visual in nature, it only makes sense to create videos of key concepts and bring the information to life in a way that isn't possible with plain text.  

I talked to Steve about this idea and he loved it.  Steve is a long-time advocate for analog photography and the classic darkroom.  I am excited to develop and bring these videos to darkroom photographers all around the world.  Steve hosts a forum for the Darkroom Cookbook online that you will want to check out.  

VIDEO LESSONS

I am currently developing the first video lessons.  As each lesson is completed, I will make it available on my main workshops page where you can get the detailed information about each video lesson and purchase it for immediate download or steaming. You will be able to pre-order the video lessons and my newsletter subscribers will be receiving discount codes via email as I make each announcement.

WHAT WILL YOU NEED?

In order to take full advantage of each video lesson, you will need a copy of The Darkroom Cookbook.  I will be referring photographers to specifics inside the book in the video lessons.  Items that are needed for each video lesson are detailed on each individual video workshop description page.  

THE DARKROOM COOKBOOK

This is the classic guide for analog photography enthusiasts interested in high-quality darkroom work. The fourth edition from darkroom master Steve Anchell is packed with techniques for silver-based processing. In addition to "recipes" for darkroom experiments, this book contains invaluable information on developers, push-processing, reversal processing, enlarged negatives, pyro formulas, printing, and toning prints. The Darkroom Cookbook also offers advice about where to get darkroom equipment, how to set up a darkroom, safe darkroom working spaces, and more. Key features of this revised edition include:

• Over 200 step-by-step or do-it-yourself formulas
• Tips for mastering the "ingredients" of analog photography processing, namely the chemicals used to develop, fix, stop and tone
• Special technique contributions and stunning black and white imagery by professionals such as Bruce Barnbaum, Tim Rudman, John Sexton, and more.

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi" to introduce yourself. 

-Tim Layton

Subscribe to the BEST NEWSLETTER ON THE PLANET for darkroom and large format photographers.

Get Access Now to the Great Smoky Mountains Nature Lover Subscription that takes you behind the scenes with me in America's most visited national park.  

SUBSCRIPTION SERVICES & BENEFITS

As a professional nature photographer and certified master naturalist, I take you behind the scenes with me in the Great Smoky Mountains National Park to find the best places to photograph, hike, explore, and experience America's most visited national park.

• I develop and share detailed information guides to some of the best places in the Great Smoky Mountains National Park.  The guides are provided in PDF format so that you can print them or save them on your smartphone for easy access when you need them.
• I create detailed photography guides to help my subscribers photograph some of the most beautiful and frequently untapped locations and wildlife in the smokies.  It is critical to know where to go, what time of year and time of day to be in place to have the best opportunity for those special photos.  My photo guides will help you maximum your time and increase your level of enjoyment.
• I provide accurate and detailed hiking and explorer guides for some of the most beautiful hikes in the Great Smoky Mountains National Park.  I rate the hikes (e.g., easy, moderate, difficult, kid/family friendly) along with photographs and videos to help you determine if the hike is for you or not. You will feel like you are next to my side.
• I provide comprehensive updates on spring wildflowers to include the best places to find and enjoy them.  I share the updates via written guides in PDF format, photos, and video updates.   ​​​​​​

​SUBSCRIBE NOW and start receiving your updates for this year.  

Visit my online galleries to view some of my select photos from the Smokies.  

Al Roker from NBC's Today Show shines the light on old-school analog photography today as he takes viewers behind the scenes to make an 1860's era wet plate collodion tintype.  His production team produced the video segment completely from analog photos.  Now that is pretty cool!  Way to go, Al Roker. 

Enjoy the video and scroll down to the comment section and share your thoughts.  

NBC TODAY’s Al Roker is still going cold turkey from digital technology, continuing his series on all things analog. This time Al explores the world of pre-digital photography, and instead of film, the entire segment is shown in old-fashioned still photographs!

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi" to introduce yourself. 

-Tim Layton

You may or may not be aware that the View Camera Magazine is no longer being published.  This iconic magazine started publication in 1988 and had a respectable run of 29 years!  

I talked to Steve Simmons about this and I was sad to learn the magazine was no longer being published.  Steve did a fantastic job for nearly three decades and this publication will be missed.  

I am sharing this message on my blog to determine if you have any interest in supporting a new magazine focused on both technical and creative content for darkroom photographers?  

I would be willing to make the investment to create and produce a new print magazine if there was enough interest from the darkroom community.  I would need your help creating meaningful articles in addition to featuring your best darkroom photography artwork.  

In a modern all-things-digital world, I hold out hope that there are enough of us that still appreciate a real magazine with thoughtful articles and presentation of analog fine art photographs versus a digital file that gets consumed and lost in a sea of information.  My vision would be to provide high quality technical and creative articles as well as spotlight feature photographers and their latest photography.  

I look forward to hearing your thoughts.  Send me an email if you have an interest in supporting a new print magazine.  

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi" to introduce yourself. 

-Tim Layton