Printing
I chose to opt for printing my own images as I believe it not only gives my submission a full personal feel, but also it is myself as the artist that is choosing the final print (as well as the buzz of actually printing yourself along with the heartache of getting it wrong more times than getting it right).
I have found through experience that when the negs are sent away for printing it is the machine and operator that decide on the final outcome, even compositions come back a little different.
I did like the idea of printing really big images and even considered being part of the process by going to a commercial lab and being in the darkroom as the prints were being processed, but again due to expense, time, work and the fact that I enjoy my printing (although sometimes if you met me in the darkroom you could never guess) I decided to go for 20"x24" size paper and use the facilities at college.
I would not like to guess the number of hours spent printing in to the early hours of the evening, but the buzz of sitting at home and looking at the final print on an easel in my living room just can not be beat.
I've found that final exposure, composition and colour is a very personal preference, but hopefully I am learning as an artist to accept my personal preferences whilst listening to constructive criticisms.
People will always comment that may be the image could have been a touch lighter or a touch darker, it could be suggested that certain images could do with a slight blue cast within the shadows or even a yellow cast when there are no shadows. Each image I have printed has been printed at least half a dozen times at varying exposures and casts, with hours of sitting comparing them as they were positioned on easels, ending in my final edit for submission.
A couple of my prints work well with darker shadows and a longer exposure emphasising the effect of a setting sun, whilst lighter shadows and less exposure have worked to give a less imposing feel to the final composition of others. Again personal preference, which could help with the rhetoric of the image and help engage the intended viewer for a little longer than a quick glance.
A few times I've sat at home looking at the final print which is always protected by an archival sleeve and watched the varying light within the room alter the colour cast of the print - making me think I'd got it wrong and then rushing to view my print outside (even removing it from the protective sleeve) and then giving a big sigh of relief.
I do not feel it necessary to blog and blog about my research in to printing as these final images are a culmination of everything I have been researching over the last 3 years - all of which have been previously blogged about, I myself as a critique of my own work can see a difference and a personal quality appearing within my printing technique from my previous submissions.
This can also be said for my choice of film and equipment. I have found over the last couple of years that my Bronica really works well for me with my choice of lens and my good old wooden Wista field camera with a good 90mm lens - both cameras working well with Fujifilm Pro 160. The majority of all research should have been carried out by now, sticking to what works best for you at this stage.
This is not to say I am making do with it and not trying anything else, I am at one with my equipment.
As in Harry Potter and his wand - Your equipment chooses you.
I have found through experience that when the negs are sent away for printing it is the machine and operator that decide on the final outcome, even compositions come back a little different.
I did like the idea of printing really big images and even considered being part of the process by going to a commercial lab and being in the darkroom as the prints were being processed, but again due to expense, time, work and the fact that I enjoy my printing (although sometimes if you met me in the darkroom you could never guess) I decided to go for 20"x24" size paper and use the facilities at college.
I would not like to guess the number of hours spent printing in to the early hours of the evening, but the buzz of sitting at home and looking at the final print on an easel in my living room just can not be beat.
I've found that final exposure, composition and colour is a very personal preference, but hopefully I am learning as an artist to accept my personal preferences whilst listening to constructive criticisms.
People will always comment that may be the image could have been a touch lighter or a touch darker, it could be suggested that certain images could do with a slight blue cast within the shadows or even a yellow cast when there are no shadows. Each image I have printed has been printed at least half a dozen times at varying exposures and casts, with hours of sitting comparing them as they were positioned on easels, ending in my final edit for submission.
A couple of my prints work well with darker shadows and a longer exposure emphasising the effect of a setting sun, whilst lighter shadows and less exposure have worked to give a less imposing feel to the final composition of others. Again personal preference, which could help with the rhetoric of the image and help engage the intended viewer for a little longer than a quick glance.
A few times I've sat at home looking at the final print which is always protected by an archival sleeve and watched the varying light within the room alter the colour cast of the print - making me think I'd got it wrong and then rushing to view my print outside (even removing it from the protective sleeve) and then giving a big sigh of relief.
I do not feel it necessary to blog and blog about my research in to printing as these final images are a culmination of everything I have been researching over the last 3 years - all of which have been previously blogged about, I myself as a critique of my own work can see a difference and a personal quality appearing within my printing technique from my previous submissions.
This can also be said for my choice of film and equipment. I have found over the last couple of years that my Bronica really works well for me with my choice of lens and my good old wooden Wista field camera with a good 90mm lens - both cameras working well with Fujifilm Pro 160. The majority of all research should have been carried out by now, sticking to what works best for you at this stage.
This is not to say I am making do with it and not trying anything else, I am at one with my equipment.
As in Harry Potter and his wand - Your equipment chooses you.
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