MEET TIM LAYTON
Tim creates a peaceful and uplifting experience in the midst of a world in constant motion. His traditional black and white fine art photography represents the highest standard in the fine art community and his love of nature is brought to life through his work.
Tim is a large format black and white fine art film photographer specializing in making handcrafted silver gelatin and platinum prints.
Tim's floral and nature themed artwork is collected on an international level. He is an advocate for nature and helping save the environment for future generations.
Tim is the founder and editor of The Darkroom Underground Magazine where analog photographers and art collectors from around the world come together to share in their love of the visual arts. Tim has helped photographers from around the world pursue their creative dreams by teaching them how to realize their creative vision through using film as a medium and working in the darkroom to create handmade prints. Tim earned undergraduate and graduate degrees in business and marketing.
FINE ART PHOTOGRAPHY
Tim's work represents the highest quality in the fine art photography world today. Tim has invested a lifetime in making handmade artisan fine art prints that all started as a young boy when he built his first darkroom at the age of 14. Four decades later, Tim is recognized as a master fine art darkroom printmaker, creating emotionally moving and innovate artwork that is recognized as the standard in the fine art community.
Tim's fine art black and white photographs are available in two mediums, traditional silver gelatin darkroom prints, and historic platinum and palladium which represent the most archival type of art available today. Tim's artwork is available via two offerings, Limited Editions, and Artist Proofs.
PLATINUM & PALLADIUM
For my traditional art collectors, I specialize in making limited edition handmade platinum fine art prints using large format view cameras, black and white sheet film, and hand-coated emulsions on the finest papers available. You can learn more about my platinum printmaking process.
Platinum prints are a top choice for collectors and museums because of their long tonal scale, delicate highlight values, separation of mid-tones, and their total permanence. Once you see and experience one of Tim's platinum prints in person, it changes how you look at other images.
Platinum prints are completely resistant to oxidation, which is a leading cause of failure in other printing mediums. Platinum is more stable than gold and it is the only true archival photographic process. I love that a 19th-century photographic process continues to outperform all modern technology-centric advances and discoveries in the area of archival permanence. The chemical stability of platinum is a scientific fact, and that will never change.
A platinum print will look the same one thousand years from now which is incredibly important in a world that is digitizing almost every aspect of modern life. In the contemporary world of "selfies" and all things digital, I think it is critical that we continue to make physical prints of our most important subjects. Platinum is the ultimate choice for serious art collectors and also ensuring our history will be available for future generations.
Technology is not needed to experience, view, and enjoy a fine art platinum print, thereby making a platinum prints a solid choice for investment from a collectors perspective, but also a wise choice when permanence is required. In spite of all the technological discoveries and advances in the modern age, no other photographic printing method possesses the total permanence of platinum.
The most important subjects can be photographed and printed with the platinum process creating a permanent record for future generations. I leverage the total permanence of platinum as I seek out and filter potential subjects. Between evolving climate changes and natural events (e.g. fire, floods, tornadoes, etc.) the landscape and historic architecture is under constant threat of destruction or modification. I select subjects of significant importance and preserve their current state for future generations.
I first elected to specialize in the platinum process because of its archival permanence, and then I discovered the beauty and elegance of this medium. I discovered a rich depth and visual presence that I was not able to achieve with any other method. The details that I can render via my platinum processes are important from a visual record perspective, but also from a creative point of view as well.
Platinum prints have a unique matte (non-glossy) surface because the platinum metals are absorbed directly into the fibers and on top of the paper, rather than just sitting on the surface or suspended in gelatin. As a result, the tonal range and separation in tonal values with platinum and palladium creates a richer and deeper feeling often described by collectors and curators as ethereal and emotional. Platinum prints are often described as three-dimensional because they can give the viewer a sense of tactility as if you can step into print or reach out and touch things inside of the image.
Because platinum emulsions are mixed from raw chemicals and coated onto paper by hand, no two prints are exactly alike. Much like if a painter were commissioned to paint the same subject multiple times, the paintings would look similar, but upon closer inspection, each piece of artwork is original and has no duplicate. I go through a rigorous process of selecting papers for each project because the choice of paper not only impacts the permanence of each print but it also impacts the visual aesthetics as well. I am on an endless quest looking for new papers from around the world.
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