The paper I chose was Kodak Royal Bromesko, a paper that was available between 1962 and the late 1970s, so at best, it’s close to 40 years old. The image is from a series I have been working on titled Otherworld.
Another of the small shows that I happened upon was one in the basement archives of Tate Britain showing the work of Nigel Henderson. The Tate holds his archive of approximately 3000 photographs, made between the late 1940s to the mid 1950s in Bethnal Green, around London’s East End and the jazz scene in Soho. I wasn’t familiar with his work before, but these were beautiful.
Letter from Eduardo Paolozzi to Nigel Henderson — 20 September 1949
In this letter Paolozzi details the photographic enlarger that he would bring back from Paris as a gift for Henderson. (No way around the shadow, I’m afraid.)
The project will involve an small edition of clamshell cases that each hold 58 gelatin-silver prints hand-printed by Peter, which are stunningly beautiful. I’m debossing 4-ply Museum board and dry-mounting the prints into the resulting plate mark. There will also be a title page, statement and colophon. Once I’ve mounted the prints and printed the text sheets I’ll have a better idea of the exact depth required, then I can start making the cases. That number of mounted prints will result in a nice, substantial case that’s about 4.5” deep. I’m going to try and post more images of the production as we progress over the next few weeks!
Just a small section of 300 sheets of Museum board.
I’m slowly working my way through processing the film from a recent short trip to the Badlands of South Dakota. I don’t think I’ll ever tire of visiting there.
These are scans from the film originals which were made on Ilford Delta 400 with the Rolleiflex 3.5F and the Mamiya 6 and processed in PMK Pyro. Eventually I’ll get in the darkroom to make gelatin-silver prints from them but I often find it easier and cheaper to scan the film and to edit them in Photoshop, just to give me an idea of how to print them.