I saw a quote by Ed Eckstein as I was preparing to write last week’s entry. I was going to include it, but on further reflection felt it was so important that it deserved a separate discussion. Talking about his wonderful Doylestown Hospital images he stated “I shot the project entirely in Black and White, which I feel is the true color of photography.” He went on to say “It enables you to see the emotional content of the photograph.”

To me these two sentences are profound and sum up well my own feelings about black and white photography, and black and white film photography in particular. When I make and see a black and white photograph I feel that I have reached into the essence of the thing itself. There is a directness and purity for me that I don’t find with color.  For me, color is for everything else … living my day-to-day life … and color can be quite beautiful, but I feel it can be like watching a series of postcards pass before me vs. viewing a beautifully shot black and white movie such as Woody Allen’s masterpiece Manhattan.

For some reason, when I look at paintings I get the opposite impression. In many ways paintings are about color and the choice of color(s) the artist makes to render a subject.  In the case of modern art, the work is only about the use colors (unless only one color used) their relationship to one and other and to space, and how color is used to somehow get across what the artist wants to say. The colorful world I see in painting … a different art form than photography … makes complete sense.

All right, you might say, what about photorealism paintings. Yes, I appreciate them and they’re in color, but still, they are not the same as photography. Color paintings strike me in a way that is similar to listening to my vinyl LPs played through tube electronics. In comparison, color photographs strike me in a way that is similar to listening to what a CD sounds like played through a solid-state transistor system. Wow, I think I just had an epiphany as I’m writing this!

One of my favorite photography books is the great Morley Baer’s The Wilder Shore. Baer used an Ansco 8X10 view camera for over fifty years to capture California’s farmlands, coastline, forests, deserts and buildings, usually in black and white. I said usually in black and white because in The Wilder Shore Baer displays both black and white and color images of similar subject matter. And while his color work is some of the best I’ve ever seen because of the great lengths he went to in order to make his color perhaps less colorful, when comparing the black and white and color images side by side, I am always drawn to his black and white pictures first. NOTE: I have written a longer piece on this outstanding book, including a description of how he made his color photographs. You can find it On My Bookshelf.  FURTHER NOTE: Do yourself a favor … find this book and buy it!

So I think what Ed said is absolutely spot-on. My own experience of over fifty years proves it to be true to me. Writing and posting here every week for over five years because I have a passion for black and white film photography proves it to me. The work of my Monalog Collective colleagues proves it to me. And Morley Baer’s great book along with the work of all the other photographers I admire proves it to me.

Thanks Ed!

Stay well,

Michael

Normally I would not suggest visiting a hospital unless absolutely necessary, especially during a pandemic, but in this case a trip to Doylestown Hospital would be a most memorable event! A couple of weeks ago I had to take my wife to the hospital for tests and ended up in the brand new cardiac wing (thankfully she is getting better!!!) and there before me on the walls were thirty nine incredible black and white photographs by Ed Eckstein that make up a permanent exhibit entitled Healing Images: A Doylestown Hospital Photo Essay.  I knew they were there, but had not gotten around to see them … a mistake now rectified!

Ed is a great photojournalist and documentary photographer who is also a member of the Monalog Collective. He also happens to be a great guy! It turns out that Ed was selected from over fifty photographers to document the many aspects of healing at the hospital, and the photographs chosen for the exhibit were drawn from over 4,000 images he made several nights a week during July and August 1997. Using his discreet Leicas and only available light, he became what he describes “a fly on the wall”, exploring the various public and restricted parts of the hospital looking for images to capture.

You never know where you will find wonderful photographs like Ed’s to see.  When looking for great photography where you live or when traveling, make sure to cast a wide net and don’t restrict yourself to galleries and museums. Do a little research and you might be surprised at the treasures you discover!

Another takeaway is the reaffirmation that subject matter sitting right in front of us that we often take for granted or completely overlook can yield powerful and emotional photographs. Openness to all that surrounds us can result real gems. As you’re out and about, be on the lookout for great images that fall outside your pre-conceived notions of what makes a good picture. Also think about projects focused on subject matter you might not normally consider important or photogenic. You might be surprised!   Looking at Ed’s wonderful photographs shows just how much opportunity there is to do great work if we’re open to the possibilities.

If you live in Bucks County, or are coming through Doylestown, check out this powerful and empathetic exhibit containing timeless images that really hit home!

Stay well,

Michael

Ta da … let the drums roll!

Is it true? Have we finally made it to the last step of my photographic process?

Well, the answer is YES! It’s been a long road for sure and this last step is pretty anti-climatic, but critically important!

Whenever I create the final print I usually make at least three or four of them. I do this for several reasons. I always want to have extras for sale or show, etc. and just in case there is a defect in the paper emulsion, I make a toning mistake, or one gets damaged somehow I’m covered.  Some may be mounted and toned, all ready to go, while others may be toned but un-mounted or un-toned and un-mounted. I keep each type in their own separate archival box and label the un-mounted print boxes for easy identification.

Right up there in the “nothing worse than” category is storing the work you have put so much time, effort and thought into in empty print boxes or other non-archival containers. Nothing!  I mean what’s the point of the whole exercise if you don’t want to maintain the integrity of your important photographs in the best way you can? In short, acid-free archival boxes provide best possible means to prevent dirt, dust and light, from attacking your photographs. Period! If your not storing your prints properly, don’t be a bozo and get some proper boxes!

In closing, I hope you have found this discussion of my photographic process helpful in some way. The point is not that you necessarily do what I do, but that you have a process that is manageable and repeatable, which enables the creative and quality results you want.  Having such a process will inspire you to photograph and to produce work that fully realizes your vision!

Stay well,

Michael

The other day I spent a couple of hours framing three prints for an upcoming show I will be part of along with the other members of the Monalog Photographic Collective (more on that to come!). Next to the picture itself, framing is the most critical part of what you are presenting to those who will see your work.

Everyone has his or her preferences, but to me I want something simple and clean that does not distract in any way from what is most important … the picture itself!  I’ve only used one frame and one frame size … Nielsen Style 15 black, 14X17 inches. If I remember correctly I read about this frame in one of Ansel Adams’ books some forty years or so ago. Good enough for him, good enough for me!  It’s truly a classic look and I can think of no better way to show black and white photographs.  The good news is that they are inexpensive and easy to assemble. You can order them from a number of suppliers with the pieces pre-cut to your exact dimensions and they come with all the necessary hardware to put them together.

The frames can be put together in just a few minutes. What takes time is to make sure there is no dust on your print or it’s over mat.  Finally, it is essential that that the glass (or Plexiglas, if you use that) is absolutely clean and dust free. Here’s what I do.  First I use a soft brush and make sure there is no dust or specs of anything else on the print surface or over mat.  Then I take an anti-static brush and go over both sides of the glass. Next I use Windex to remove any fingerprints or anything else on the glass surfaces. Sorry, if the glass is scratched you need to get another piece cut! After I have cleaned the glass with a lint free paper towel I brush both sides again with the anti-static brush and place it on top of the mounted print.  I look carefully to make sure I haven’t missed anything … even with all this care there may be a speck or two of dust under the glass … I wear cotton gloves to pick up the glass and brush away the last offending culprits!

When I am satisfied all is well I slide the print/glass sandwich into the frame and then attach the final frame section.  I then insert some thin metal spring-like strips between the frame and the back mat to keep everything secure and tight. Finally, I attach wire to the frame so it can be hung on the wall.  The choice of where you wish to sign your print … front or back … is yours.

So there you have it. We’ve come a long way together!  Just one more step to discuss – storage of mounted prints, toned un-mounted prints and un-toned prints in archival boxes.

Stay well,

Michael

I am drawn to Aaron Siskind’s great abstract photographs of paint on streets and walls, portions of rock formations, sand, weathered objects and other found fragments that caught his imagination. While made in interesting locations all over the world, they could have been made just about anywhere.  I like that because I believe great works of art, including those made with cameras, can be produced anywhere!  I once had a conversation with Michael Smith about this notion and he simply stated he could make a great photograph of anything, and I’m sure he could.

Siskind’s clean and direct work never fails to fascinate and excite me. And while it is not the kind of subject matter I tend to focus on very much, it inspires me to keep my mind’s eye open to the myriad of possibilities surrounding me in my daily life. Siskind’s work has also contributed to my Two Hour rule I have written about and stood by for the last several years – I photograph in areas that are within two hours drive of where I live.

One of my favorite books I own is Aaron Siskind 100, an incredible retrospective of his life work, which was published to celebrate the 100tth anniversary of his birth.  While not cheap, you can find a used copy at just under a hundred bucks. It’s a fine place to start and would in my opinion be a great addition to anyone’s photographic library.

In 2004 I was saw a major exhibit of Siskind’s photographs at the Phillips Collection in Washington, DC. One of the things that immediately struck me besides their simple beauty was the size of the photographs. They were large! If you’re a regular here you know I’m not a fan of large photographs and do not print anything larger then can fit on an 8 x10 piece of paper. But Siskind gets a pass … just like Adams, because their work stands up no matter what size it is printed! And while small prints of either master’s work would be like beautiful jewels, their large work is stupendous.

After I moved to Doylestown I learned that in 1934 Siskind, was commissioned to document Bucks County’s old homes and surrounding environs. In 1974, the Bucks County Historical Society published a book containing his work, Buck County, Photographs of Early Architecture. There is nothing abstract about any of this work and you would be hard pressed to find a copy, but I have a soft spot for the book and I guess, for the photographer.

If you’re not familiar with Aaron Siskind you need to be; he is one of the great masters of the Twentieth Century.

Stay safe,

Michael

Great news … you now have a print your happy with! Whether it is one you originally made and mounted, or a redo that has been done after further evaluation (see Step 17), it is essential to make sure there are no pesky little white spots on the print due to dust that accumulated on the negative and/or glass negative carrier (if you use one like me) and were not removed prior to exposure. A really good way to avoid most if not all of this is to simply use an anti-static brush to remove the tiny dust particles from your negatives and carriers before inserting them into the enlarger.

Even with the best of care it is still possible to get a white spot that shows up on your print. Let me be absolutely clear; in my opinion there’s nothing more bush league that looking at someone’s finished prints and seeing dust spots! Think about it … you’ve gone to all the trouble to produce a print you’re truly proud of, but you don’t care enough to finish the job? Even if you never show your work, why would you want to look at something done in a half assed manner?

You’re so close to the finish line! Now is not the time to get lazy!

Here’s what I do. I carefully examine my prints under a bright light. If I see a spot, then time to get to work. There are a number of products out there you can use. In year’s past I used Spotone #3, diluted as appropriate in water, and applied to the print with a sable art brush having the narrowest (e.g., the fewest hairs) of tips. Unfortunately this fine product is no longer manufactured but you might be able to find it on ebay. I friend and Monalog Collective member recently gave me a bottle so I might be back in business again! An alternative another Monalog member told me about is Nicholson’s Peerless DrySpot. I bought some but have not tried it yet. Finally there is SpotPen, which is what I have been using for the last fifteen years or so. It ‘s a set of 10 brush-tip pens containing photographic retouching dye.

When using any of these products it’s best to first test on a scrap print in order to visually determine the right dilution/pen to use. Don’t try to guess the exact matching color! Too dark and you can create a dark spot on the print. What I do is find a dye tone lighter than the adjacent area and build up to the proper color. Apply, let it dry, then re-apply until you are satisfied. It takes a little longer but is much safer!

All of this sounds laborious, but in reality it doesn’t take much time at all … especially if you were diligent about removing dust particles in the darkroom!

Do this and you can put the finishing touch on your perfect fine print! Congratulations!

Stay well,

Michael