SILVER GELATIN

There’s no denying it, working with film these days is hard work. There are no short-cuts and it all takes time, but I guess it always has. For every film or paper that’s bought onto the market, another two disappear, or so it seems. But it’s still so much fun, even after all these years!

The prints are all hand-printed by me in the darkroom, using film, enlargers and chemistry, the same way it has been done since the early days of the 20th century. I only use fibre papers and all prints are toned and processed to archival standards.

I’ve been using Ilford Delta 400 film now for about 30 years, processing it in PMK Pyro developer for around the same number of years, and while there are some good papers out there, I’m particularly fond of those by Ilford, Adox and Foma. I instinctively go for slightly warmer than neutral papers, but using a developer like Ethol LPD, gives me the option of adjusting the tone by dilution.

While I do work occasionally with digital, most days will still find me at the studio, working in the darkroom, processing film and making prints.

“Making an object is crucial to photography. Everybody who is just shooting JPEGs, they’re in trouble. They’ve got to learn how to make an object, whether it’s an image in a book or a print on the wall.”
— Todd Hido