The future of the Professional Darkroom in this age of Increased Digitization discussion notes by Roy Snell 2011 This paper is a slightly revised version of a paper I delivered at The Alternative Photography International Symposium 6,7,8 June 1997 held at Royal Photographic Society Bath England http://www.rps.org/ I have prepared these words only as a basis for positive discussion on ‘The Position of the Professional Darkroom in this age of increased Digitization’ and I will be happy to answer any questions as I am able. My contribution comes out of thirty six years of personal experience in the provision of Darkroom Service to the areas of Advertising, Fashion, Editorial Portraiture, Personal Portfolios, Exhibitions and Book Publications. In common with most labs, the processing of film has been the financial mainstay of my twenty eight years in the basement of a South West London Victorian Terraced House. Professional Freelance Photographers and Painters work in many different ways. For some, the printing process is a shared journey with the print maker. For others, prints are made in their absence. Either way the reputation of everyone involved becomes totally reliant upon the print quality as viewed in different lighting conditions by those who use photography to communicate something of this world to the many. Print making is a very subjective business and it is my view that in the cold light of day, despite much thought and contemplation, we do not see chemistry, salt crystals nor ink droplets left upon paper sheets. What we do see is image content expressed through well constructed grayscales. It is the scale of many, or not so many shades as we may choose, that give support to, or is supported by the use of color. We choose chemical processes and Digital Technology simply because they help yield the grayscale and colors we seek. whilst a good working relationship with Darkroom and digital practice is prerequisite for the making of fine prints, an understanding of the grayscale and it’s importance over any chosen print practice, will underpins the making of effective visual form in this world of chaos. In this world of chaos my client list to date includes the following: Eve Arnold David Anthony Julian Broad Glen Burnip Giovanni Diffidenti Arthur Elgort Eliane Fatal Ken Griffiths Sasha Gusov Keith Henderson David Hockney Kim Knott Peter Lavery Andrew Macpherson Andrew Montgommery Sarah Muirhead Allwood Cindy Palmano Janie Rayne Herb Ritts Lord Snowdon Christian de Suza Sheila Rock Tessa Traeger Gazing to the past, we inform the present and enliven the future Speculation as to the future of the professional darkroom and the print maker will only become possible when present day objectives are fully understood: On photography . . . . . Images are recorded but formless to share On painting . . . . Images are given form using Brush Strokes On Print Process . . Images are given form using Crystals On Computers . . . . . Images find form using Pixels On inkjet Prints . . Images find form using droplets of ink For many thousands of years. painters were ever called upon to convey information and details of their time through good craft technique. Painting methods were painfully (or therapeutically) slow but found momentum in the 17th century with the aid of the Camera Obscure. The transference of information onto paper or canvas became quicker and easier and the effectiveness of their communication was measured by the ever increasing demand and financial reward given for well crafted images. In the early 1800’s photographic processes speeded things up even more and, for many years painters and photographers were in the same business. One of seeing and the conveyance of that seen to others through the use of good craft. Photographic processes, enabling the quick and effective conveyance of information to much wider audiences, took the lead and became very heavily information based in their use. Photography and Printmaking became mainly responsible for recording and communicating the reality of our world The painters of 150 years ago were then free to explore and express something of themselves through the painting process. At the expense of information and factual correctness, they were truly able to become ‘Artists’ in the expression of feeling and emotion using the ‘brush stroke’ as their main building block. The recorded image is an expression of the moment inwhich it was captured The Photographic Print is an expression of the many hours one may spend working with the crystals Photography and Printmaking must be viewed as separate each requiring different human skills The lack of immediacy experienced requires the printmaker to contemplate upon his or her work in the shelter of a safely lit room. Silver Halides, exposed to actinic light and grown through development into crystals, become the building blocks of our images. The tactile quality of silver gelatin and other alternative processes, the adjustment of the image Size, composition, grayscales and color applied harmoniously to the overall picture, helps our image speak loudly or quietly as preferred. As in all well constructed music, feeling and Informational content will flow together becoming one moving experience and as such, both the painting and print making crafts may be appreciated equally as art. Visual art is made with feeling and collectors should not just ‘see’ but ‘feel’ the pieces they purchase. Serious galleries will offer photographic works for sale in many forms but to include Silver Gelatin, C-Types and Ink Jet Prints, the editions of which will be signed on verso and, true to the literary sense of the word, will have been made at the same time. Fine photography is more often than not, enjoyed through Posters, Books, Magazines, Newspapers and the Internet. The following was predicted by the President of Kodak’s Professional Division, Richard Pignataro, “By the year 2000 every image shot by a professional will be enhanced digitally either through inputting, outputting or retouching” Photography is concerned with the seeing and recording frozen moments of a world in motion through a lens. This art has been practiced for over 300 years since the Camera Obscura was invented. Whether these moments are recorded with pen and ink or paint, chemically or digitally, it matters not. What does matter is that worthy moments find sharable form In the world today, digital technology is able to give form to our seeing more quickly and efficiently, a facility increasingly within the reach of many who, with digital cameras, may record their perceptions of life and direct them to where they are most effectively viewed within minutes. As our ‘seeing’ can now move effortlessly via satellite to anywhere on this planet, photographers will move towards the use of digitization for its speed and accessibility. In the way painting uses the Brushstroke, and printmaking uses the Crystal, so Digitization will find form using the ‘Pixel’ as its main building block. Whilst the Print records a journey and the collaborations thereon, The conveyance of information will favor digitization The conveyance of that which cannot be seen will favor hands on craft techniques The Professional Darkroom of the past will become the Computer Room of the future, working under intense pressure to move visual information into a world of business and commerce. In the new millennium the grouping of Pixels will become an Art Form in itself. The Professional Darkroom of the future will be seen as ‘The Safe Light Room’ from where Photographers will work contemplatively with Printmakers who have the craft skills needed to give the captured moment good form. Maple Bud Photogram Roy Snell 1992 Rudyard Kipling spoke of the garden..... “The glory lies in more than meets the eye” ‘In more than meets the eye is found the glory of photographic printing’ Darkroom service will not exist for the perpetuation of information The Darkroom will become a Safe Light room for the healing of souls Safe Light rooms will become Creative Centers from where expression may be sought and visual form given to \ the elusive nature of Life . . . . Roy Snell 2011

The future of the Professional Darkroom in

this age of Increased Digitization

discussion notes by Roy Snell 2011

This paper is a slightly revised version of a paper I delivered at The Alternative Photography International Symposium 6,7,8 June 1997 held at Royal Photographic Society Bath England http://www.rps.org/ I have prepared these words only as a basis for positive discussion on ‘The Position of the Professional Darkroom in this age of increased Digitization’ and I will be happy to answer any questions as I am able.

My contribution comes out of thirty six years of personal experience in the provision of Darkroom Service to the areas of Advertising, Fashion, Editorial Portraiture, Personal Portfolios, Exhibitions and Book Publications. In common with most labs, the processing of film has been the financial mainstay of my twenty eight years in the basement of a South West London Victorian Terraced House.

Professional Freelance Photographers and Painters work in many different ways. For some, the printing process is a shared journey with the print maker. For others, prints are made in their absence. Either way the reputation of everyone involved becomes totally reliant upon the print quality as viewed in different lighting conditions by those who use photography to communicate something of this world to the many.

Print making is a very subjective business and it is my view that in the cold light of day, despite much thought and contemplation, we do not see chemistry, salt crystals nor ink droplets left upon paper sheets. What we do see is image content expressed through well constructed grayscales. It is the scale of many, or not so many shades as we may choose, that give support to, or is supported by the use of color.

We choose chemical processes and Digital Technology simply because they help yield the grayscale and colors we seek. whilst a good working relationship with Darkroom and digital practice is prerequisite for the making of fine prints,

an understanding of the grayscale and it’s importance over any chosen print practice, will underpins the making of effective visual form in this world of chaos.

In this world of chaos my client list to date includes the following:

Eve Arnold David Anthony Julian Broad Glen Burnip

Giovanni Diffidenti Arthur Elgort Eliane Fatal Ken Griffiths

Sasha Gusov Keith Henderson David Hockney Kim Knott

Peter Lavery Andrew Macpherson Andrew Montgommery

Sarah Muirhead Allwood Cindy Palmano Janie Rayne

Herb Ritts Lord Snowdon Christian de Suza

Sheila Rock Tessa Traeger

Gazing to the past, we inform the present

and enliven the future

Speculation as to the future of the professional darkroom

and the print maker will only become possible when

present day objectives are fully understood:

On photography . . . . . Images are recorded but formless to share

On painting . . . . Images are given form using Brush Strokes

On Print Process . . Images are given form using Crystals

On Computers . . . . . Images find form using Pixels

On inkjet Prints . . Images find form using droplets of ink

For many thousands of years. painters were ever called upon to convey information and details of their time through good craft technique. Painting methods were painfully (or therapeutically) slow but found momentum in the 17th century with the aid of the Camera Obscure. The transference of information onto paper or canvas became quicker and easier and the effectiveness of their communication was measured by the ever increasing demand and financial reward given for well crafted images.

In the early 1800’s photographic processes speeded things up even more and, for many years painters and photographers were in the same business. One of seeing and the conveyance of that seen to others through the use of good craft.

Photographic processes, enabling the quick and effective conveyance of information to much wider audiences, took the lead and became very heavily information based in their use.

Photography and Printmaking became mainly responsible for

recording and communicating the reality of our world

The painters of 150 years ago were then free to explore and express something of themselves through the painting process. At the expense of information and factual correctness, they were truly able to become ‘Artists’ in the expression of feeling and emotion using the ‘brush stroke’ as their main building block.

The recorded image is an expression of the moment

inwhich it was captured

The Photographic Print is an expression of the many hours

one may spend working with the crystals

Photography and Printmaking must be viewed as separate

each requiring different human skills

The lack of immediacy experienced requires the printmaker to contemplate upon his or her work in the shelter of a safely lit room. Silver Halides, exposed to actinic light and grown through development into crystals, become the building blocks of our images. The tactile quality of silver gelatin and other alternative processes, the adjustment of the image Size, composition, grayscales and color applied harmoniously to the overall picture, helps our image speak loudly or quietly as preferred.

As in all well constructed music, feeling and Informational content will flow together becoming one moving experience and as such, both the painting and print making crafts may be appreciated equally as art.

Visual art is made with feeling and collectors should not just ‘see’ but ‘feel’ the pieces they purchase. Serious galleries will offer photographic works for sale in many forms but to include Silver Gelatin, C-Types and Ink Jet Prints, the editions of which will be signed on verso and, true to the literary sense of the word, will have been made at the same time.

Fine photography is more often than not, enjoyed through Posters, Books, Magazines, Newspapers and the Internet. The following was predicted by the President of Kodak’s Professional Division, Richard Pignataro,

“By the year 2000 every image shot by a professional will be enhanced digitally either through inputting, outputting or retouching”

Photography is concerned with the seeing and recording frozen moments of a world in motion through a lens. This art has been practiced for over 300 years since the Camera Obscura was invented.

Whether these moments are recorded with pen and ink or paint, chemically or digitally, it matters not. What does matter is that worthy moments find sharable form

In the world today, digital technology is able to give form to our seeing more quickly and efficiently, a facility increasingly within the reach of many who, with digital cameras, may record their perceptions of life and direct them to where they are most effectively viewed within minutes. As our ‘seeing’ can now move effortlessly via satellite to anywhere on this planet, photographers will move towards the use of digitization for its speed and accessibility. In the way painting uses the Brushstroke, and printmaking uses the Crystal, so Digitization will find form using the ‘Pixel’ as its main building block.

Whilst the Print records a journey and the collaborations thereon, The conveyance of information will favor digitization

The conveyance of that which cannot be seen will favor

hands on craft techniques

The Professional Darkroom of the past will become the Computer Room of the future, working under intense pressure to move visual information into a world of business and commerce. In the new millennium the grouping of Pixels will become an Art Form in itself. The Professional Darkroom of the future will be seen as ‘The Safe Light Room’ from where Photographers will work contemplatively with Printmakers who have the craft skills needed to give the captured moment good form.

Maple Bud Photogram Roy Snell 1992

Rudyard Kipling spoke of the garden.....

“The glory lies in more than meets the eye”

‘In more than meets the eye is found

the glory of photographic printing’

Darkroom service will not exist for the perpetuation of information

The Darkroom will become a Safe Light room for the healing of souls

Safe Light rooms will become Creative Centers from where

expression may be sought and visual form given to

the elusive nature of Life . . . .

Roy Snell 2011