I’m very grateful to have time to play with these photographic materials. I enjoy it so much. I find meaning in making images with different materials and exploring and trying new things, gives me a lot of ideas for this work. Most of the time, my experiments fail, but it teaches me so much. Through the failures, I find what doesn’t work and what the limitations are for any given material. The thing I love about historic photographic processes is that there’s enough to work with for five or six lifetimes, or more. I’ve played in a lot of them and have barely scratched the surface.
Today, I redesigned my approach to my glass plate oil prints. I enlarged my working surface (glass support) to 10” x 12” to allow the magnets to “grip” better onto the steel plate pouring surface. I also allowed a lot more time for the gelatin to set up before removing the magnets. This will allow me to swell and clear the gelatin without it peeling off of the glass.
I also tried a few Kallitype prints and Argyrotype prints today. The one I found most interesting was the Argyrotype printed on 16-pound drafting vellum. I couldn’t believe how good it looked. It gave me a very “grainy” painterly look. I love it. The paper is virtually see-through which opens up possibilities for unique display options. I was so excited about it, that I poured gelatin on some to see if I can make oil prints with it.
Every day there’s something new to discover. I’m working on this project full time, so I work a few hours in the studio/darkroom each morning and then study, write, and research in the afternoon. It’s the life I’ve dreamed of for 40 years. I’m so grateful, have I mentioned that?