Creative Process - Darkroom Printing

[@GONZOFAM7]

I just walked out of my darkroom for a break and dinner. Saw your video and now going back in inspired.

[@Distphoto]

Love it!!! Have fun 🤩

[@philipu150]

Your thought beforehand and careful planning are once again manifest in this video. I enjoy the concept. I think it is enormously valuable for those unfamiliar with silver printing and the time and care we put into our work, to see it laid out fully as you have, even somewhat abbreviated. The shot choice and edited pacing of the video work very well. And I am SO glad -- no offense to those who would like it -- that you chose not to have a music track playing (blaring? crashing?), which would have subtracted significantly from the message of the piece. I continue observing, as I have for more than four years, comments and commentary on the revival of film photography. The thread continuously weaving through it is, in essence, "It makes me slow down and think about, and value, what I am doing and producing." I think this contribution speaks to that especially well. At at local art studio tour yesterday, I mentioned this in conversation with multimedia artist. She replied (my paraphrase), I think we're going to see more of it with AI exploding; more people will want something they know is real.

[@Distphoto]

Thanks Philip! My thoughts on the AI situation exactly. My digital work has a very automated and AI workflow to it now. Not so much the image as a whole but the workflow. It is really wild. I do embrace AI but am very curious as to where this goes and feel it makes physical analog things more respectable and valuable. Glad you enjoyed the silent approach. will play around with this more 👍🏻

[@szabodaniel9447]

A real pro never leaves the house without a camera!

[@Katana2040]

When photography becomes artistry. Brilliant stuff, man.

[@Distphoto]

Thank you Michael, really appreciate that!

[@Katana2040]

@@Distphoto You got it, man. I’m a film shooter myself. I’m so glad that there are people like you out here keeping the Art alive, and well.

[@nickfanzo]

As it should be 😂

[@ianland4768]

You're a terrific printer, love watching you work

[@Distphoto]

Thanks Ian, appreciate that!

[@lightloving683]

My wife has a picture of me with 10 other people surrounding me taking the same pic. They weren’t there when I started. Something ordinary but extra-ordinary on that particular day and time. Enjoyed the video.

[@Distphoto]

I love stuff like that, thanks for sharing!

[@duncanthomas7431]

Thanks for sharing this video. Fantastic photo.

[@Distphoto]

Your welcome Duncan!

[@chunkiestatom3872]

Are you able to make a video on the custom negative carrier you use?

[@jogrev]

Excellent Matthew, good job. Thank you. Keep going!!!

[@Distphoto]

Thanks Jose! Will Do!

[@anthonyfarah3857]

Great video--thank you! I'm totally stealing your hack though. A windshield wiper as a squeegee? Oh, that's bloody brilliant.

[@Distphoto]

Please do! It works well ( I replace them every so often) Can not remember where I read that but have been using them for as long as I can remember. I had a photo squeegee at one time but it was way to stiff and rigid. I did not like it nearly as well.

[@michaelricco81]

Wow!!! This is the most interesting darkroom video I've come across. Thank you!

[@Distphoto]

Thank you!

[@sbills]

Thanks!

[@Distphoto]

Thanks Steve!

[@arindamkumarchatterjee]

Can you make a dedicated video on f-stop printing with detailed explanation? It will help me and others who are struggling to understand the method.

[@Distphoto]

I do not really use F-stop printing... I do use a version of it I guess. But not in the true strict sense. I could do a video on how I work with it. Let me see what I can do.

[@sbills]

Just a wonderful video about how you go about the process. I have learned so much from this channel and I'm very grateful for that. I honestly believe I've become a better printer from learning from you. You still need to do a darkroom workshop somewhere 🤣

[@Distphoto]

Thanks Steve, appreciate that. I will, I have started and restarted a few times but will for sure!

[@sbills]

@@Distphoto I'm curious why you dry mounted the photo? I was under the impression that for an image to be truly archival - the print needed to be loosely attached. I don't know if there's a correct answer to this question.

[@Distphoto]

@@sbills A little while back I was looking at some of the print’s hanging in my house. All of my older work was dry mounted and some of my smaller newer prints were not. I just really liked the look of the trimmed edges better. So it is really just a preference. From there I have chosen to use Buffermount tissue ( I used to use the Arista) as it is supposed to be reversible. Though I know nothing about how to that (nor do I care to) I have read arguments for both and both are valid. It is just an aesthetic for me. And admittedly a pretty picky one as I am sure that no one else in my family would notice or care about the slight difference in look 🤷🏻‍♂️

[@KentuckyDarkroom]

Nicely done. Few pieces of equipment I don't know. Next one like that you might subtitle (close caption, so optional) with what each step is just for those of us who are not sure what each step is.

[@Distphoto]

Will do 👍

[@barryburns911]

Thanks for this behind the scenes look. Is that a windshield wiper?

[@Distphoto]

Yes, been using them for as long as I can remember.

[@rudihuisman6134]

Great artwork Matthew!!

[@Distphoto]

Thank you!

[@StephenEdgar]

Brilliant video, for what was unspoken I’ve a lot of questions

[@Distphoto]

Hey Stephen, I’m an open book. Will answer what I can 👍

[@mendezproductions]

Wow congratulations one day i will trying to do the same congratulations I enjoyed watching you how you work in the dark room , I do remember my old man doing the same cheers bud

[@Distphoto]

Thank you so much! If you ever need help, do reach out!

[@mendezproductions]

@@Distphoto Thank you, most definitely I will asking you 🙌🏽🙌🏽🙌🏽

[@ricardoleao_music]

Your work is inspiring. Thanks for sharing

[@Distphoto]

Thank you!

[@andrewtan99]

Hi, I’ve enjoyed watching your videos! I am working on setting up my first darkroom, just got given an old 4550XLG, that I need to buy a Heiland head for. It looks like yours has both the LPL negative masking plate and a Precision Pin-registration Carrier system. How did you get both to fit in the enlarger? Mine came with both jammed in, but the prior photographer had taken the lamp house off in order to get everything to fit, with a lot of resulting light leaks. I’ve taken both out and plan to use just the masking plate as a negative stage (not having the original) and standard negative carriers instead of the Precision Pin-registration system. Am looking forward to getting my first prints made once my dark toilet gets completed!

[@andrewtan99]

I watched your video a bit more closely and re-examined my enlarger. I think you do not have the negative masking plate. I tried the pin registration carrier alone, with no negative plate of any kind, looks like it works. I think the prior owner tried to jam both in so that he could adjust a mask, without having to cut one out. Thanks for making this video!

[@Distphoto]

The ngative plat floats in this one and just pops out. The "housing" for the pin register carrier ( From - Lynn Radeka Radekaphotography.com) Just sets in and is pressed down by the head. So I can just switch between the two which is nice. I do use Omega neg carriers that tend to leak light. What I do sometimes for them is cut black strips of craft foam and wrap them around the negative stage with a little gaffers tape. Hope that helps, Have fun in the dark!

[@randallstewart1224]

I'd kill for a decent pin register punch to fit the pins and spacing in my 6x9 cm Durst enlarger carrier. 4x5 inch is still possible, but smaller is just not out there. I like your idea of putting smaller format negatives on a 4x5 carrier film, but when the enlarger head is smaller than 4x5, that's not a path I can follow. Since I'll never find a punch to fit the Durst layout and pin size, I may have to continue aligning negative and mask with a high magnification loupe and a bit of tape.

[@Distphoto]

Not familiar with the enlarger. It’s a bit more convenient but not 100% necessary. You could craft one yourself out of glass and registration pins? I had made one long ago that worked well other than repeat registration in the enlarger head.

[@swMUSIK]

love the video its motivation.

[@Distphoto]

Awesome to hear, Thanks!

[@joseerazevedo]

Great job!

[@Distphoto]

Thank you Jose!

[@Usermane-ef1pu]

Perfection from start to finish 👍 Is the burning on the bottom side with grade 5 or how did you prevent the swan going grey?

[@Distphoto]

Thanks, the whole print was at a 5 filter. When I first printed it it needed about a 4 to get the contrast, but the unsharp mask reduced the contrast so had to up another filter to get it back. The bird did still go a bit darker than I wanted. I wanted the dark contrast of the water on the bright bird so I used light bleaching and a spotting brush carefully and it worked great 👍

[@finnmcsorley6803]

Thanks for an excellent video, youre a great printer. I see you use glass plates to carry the negative. How do you keep them clean? I recently bought spare plates for my enlarger and cleaned them with some isopropyl alcohol, but still got some streaks. Any recommendations?

[@Distphoto]

Your welcome! I've been using spray-away glass cleaner with Quickie cloths. Seem to work pretty good. I also clean with a razor blade (sometimes before and after and an antistatic brush. Put the links here to what I have been using. I feel the razor blade might make the biggest difference for stubborn stuff 👍🏻 Glass cleaner - amzn.to/43zztxo Cloths - amzn.to/3OkTLpX

[@finnmcsorley6803]

@@Distphoto Thanks ever so much for your reply! I eventually used some glass cleaner, just like you suggested, and that seemed to clear it up remarkably. Ill try the razor blade trick for the stubborn bits. Thanks!

[@Distphoto]

@@finnmcsorley6803 great to hear!

[@RustyKnorr]

I’ve never seen such incredibly long exposures, how is that possible?

[@Distphoto]

This is pretty common for me. I will often use nd filters to extend exposures for more manageable dodging and burning. In this case I was getting a noticeably sharper print using my 105mm lens which brought my enlarger head all the way up… I ended up with a 60 sec burn which was longer than what I would have liked but is what was necessary.

[@GavinLyonsCreates]

Too perfect, impressive!

[@Distphoto]

Thanks Gavin!

[@calvinfarrow1720]

What’s the liquid you’re touching up the print with?

[@Distphoto]

That would be Potassium Fericianide Bleach (aka highlight brightener)

[@FrankAUnger-bz8fo]

Whats the thingy you put on with the small brush? Nice video 👌

[@Distphoto]

Potassium ferricianide bleach aka highlight brightening bleach. 👍

[@FrankAUnger-bz8fo]

@@Distphoto big thanks for fast answer, I saw Anders Petersen using that also, and I couldn't find anything on what he was doing, but now I know, big thanks.

[@ЕвгенийМалышкин-з6к]

👏

[@Distphoto]

Thank you!

[@danem2215]

Is the dry mount press worth it? I started selling prints locally at art shows recently. I sell them rather cheaply because I mount them cheaply - photo corners and tack down the mats to the mounting board. Seemed a good option at the time but also it feels rather tacky when I watch your process.

[@Distphoto]

Hey Dane, this is a tricky subject… here’s my opinion. For smaller prints ( and most likely bigger prints) I feel photo corners may be a better option as far as archivabillity. I say maybe because the buffermount tissue I use is supposed to be reversible ( though I have never tried and heard it is a pain in the ass) So in my case as of now I do consider it a permanent bond where as photo corners allow me to remove the print, treasury, spot and tone the print ( I could really easily re-spot a dry mounted print but refining I would have to tackle the buffermount) Dry mounting in my opinion just has a nicer look with with a very crisp edge and the mount board on the edges looks a little nicer than a photo border. And the main reason I will do it is it lays the print perfectly flat. On smaller prints the flatness will not be as big of an issue but when you get larger is more noticeable. Another thing to consider is the learning curve. Over the years I have scrapped quite a few prints after spending hours on them because I messed something up with the trim or mounting process. I had done a lot of art shows (early 2000) and I would use Pigment Prints with just a linen tape to the upper mat. I had still used the cotton rag mats because I had a wholesaler who I could get them for 8 a 32x40 sheet through (wish I still could) I would sell these 16x20 size frames with Nielson frames for 100 dollars or so. So I guess you need to know your market and if they are willing to spend more for the added time and cost. I have been selling photos for a long time and there are many people who will buy the best simply because it is the best AND more expensive. Sorry for the ramble. Hope that helps some but again in the end I am not sure one is better than the other. Lots of opinions on this and would be interested to hear what others have to say as well. (Especially anyone who has reversed or removed buffer-mount ☝️)

[@keithfox2995]

@@Distphoto I've never reversed buffer mount, , but I do consider a drymount press almost mandatory for anything 11x14 and larger with fb paper. Great stuff as usual!

[@Distphoto]

@@keithfox2995 Thanks Kieth, Yeah with Fiber paper my limit would be 11x14 and would definetly prefer it dry mounted. I think with RC or inkjet you could get away with larger without issue.

[@danem2215]

@@Distphoto I appreciate the response. I sold more prints than I imagined during my first two art shows and was pleasantly surprised that anyone took interest at all. I would love to dry mount but the price is my main factor at the moment in continuing to use the photo corners. Same with the cotton rag mats. I would love to invest in uncut boards to make my own but it's a bit prohibitive to me at the moment. My area is coming up the art scene so it's not all that difficult to find buyers - I sold 6 prints in my first show. Whether I would they have sold if I priced them higher, I can only speculate. Some other photographers locally are selling their prints around the same price range so I feel a bit safe with not underpricing myself or being too high.

[@pd1jdw630]

I wanna do this. But in color.

[@Distphoto]

Been thinking about that a bit myself 🤔

[@pd1jdw630]

@@Distphoto for me the problem is the chemicals need to be at 100°f . So I either need a drum system to develop the paper in. Or tray heaters. And I haven’t decided yet which. But probably it’s going to be the drum system. Cause it needs to be completely dark.

[@Distphoto]

@@pd1jdw630 drums seems to be the most cost effective convenient solution. A full professor would be ideal but space $$$ etc…

[@pd1jdw630]

@@Distphoto pretty much the same deal. Processor would be nice. But needs time to warm up and all. Drum rotator are pretty easy to find ore make. Chemicals can be heated with a sous vide bath.

[@alecleo3434]

no wonder it looks different when I check thru old family albums. Digital print sucks... i really enjoy the old way.. much better

[@Distphoto]

I agree ☝️

[@alecleo3434]

@@Distphoto I really wish darkroom never disappear from this modern day. I'm a newbie to photography and I'm really disappointed when i receive the photos. Streaky, printer lines and weak color saturation. I thought it was my camera fault since i'm using medium format (Agfa Billy Record 8.8, Agfa Solinette II and Franka Solida Record B). It only looks better in a digital scan. Looks like i need to practice developing films and make my own darkroom.

[@Distphoto]

@@alecleo3434 My darkroom never disapeared :) Don;t give up hope on digital printing. Seems to me you have had subpar prints made. You can get wonderfull results digitally, they just have to be done right... But I think you should still get a darkroom👍🏻