Why I Choose Black and White Darkroom Photography in the 21st Century
I receive a lot of emails about black and white photography, so I thought I would share some of my key thoughts about why I continue to choose black and white photography for my photography while the masses seem to be producing super-saturated color images.
There are no right or wrong answers, my views are my own and I share the underlying reasons and experiences of why I love traditional black and white film photography.
About 35 years ago, I exposed and developed my first roll of medium format black and white film and I made some enlargements after weeks of study and reading. I remember that day like it was yesterday. I worked for weeks on building my darkroom at my parent's house while my dad supervised my work. He did the electrical work, but I did the construction part under his supervision. I continue to share that same level of joy and enthusiasm to this day when I watch my images come to life in the darkroom.
There was no Internet when I started in photography, I read books. I remember the first time I looked at Ansel's photos in a book. I was transported to a new place in my mind and I knew that I wanted to be able to create beautiful and impactful photographs one day. I recall the first time I went to the St. Louis Art Museum and had a private viewing of about 20 prints from Ansel Adams, Irving Penn, Julia Margaret-Cameron, and Paul Strand. I went back soon after I viewed the prints of Edward Steichen, Alfred Stieglitz, Edward Weston, Minor White, and Wynn Bullock. I was emotionally shaken and left there in awe of these masters of photography. On one level I was in awe of the technical abilities of these masters, and at the same time, I was emotionally moved by their work. While I love other mediums such as painting, I continue to have this connection with traditional darkroom photography that never waivers.
I invested many hours reading everything I could get my hands on to learn the technical details of traditional black and white photography. My original versions of Ansel's Trilogy (The Camera, The Negative, and The Print) have traveled the world with me and I still continue to read these books to this day. I read the Daybooks of Edward Weston and I was taken to a fantasy world that seemed like outer space. I have read every issue and viewed every photograph published in Camera Work. Camera Work was a quarterly photographic journal published by Alfred Stieglitz from 1903 to 1917. It is known for its many high-quality photogravures by some of the most important photographers in the world and its editorial purpose to establish photography as fine art. I would trade the bulk of the camera equipment that I have collected over the years for the full set of original Camera Work.
In particular, I have always been moved by Pictorialism. Pictorialism is the name given to an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general, it refers to a style in which the photographer "creates" an image rather than simply recording it. This was an important concept in the evolution of photography as a fine art and it will be forever relevant in my mind.
Of all the genres of photography, I eventually settled on nature and landscape photography because it was what was in my soul. I have the same level of passion, curiosity, and love for nature that I do for the art and craft of photography, so in a way, I was destined to tell nature's story through the lens of classic black and white darkroom photography.
The most profound principle of photography for me was the concept of Equivalence that Alfred Stieglitz wrote about in the 1920s. I would describe Equivalence as the core backbone of image-making and expressive creation. Minor White described Equivalence as a function, an experience, not a thing. Any photography, regardless of subject or source, might function as an Equivalent to someone, sometime, someplace. If the individual viewer realizes that for him what he sees in the photograph corresponds to something within himself - then this experience to some degree is Equivalence. My version of Equivalence is different than Minor White and Alfred Stieglitz for example, and that is exactly the way it is supposed to work. Minor White's and writings on Equivalence is something that I carry with me into every creative experience.
My expressive vision includes the linking of humanity with nature. I see relationships between people and trees for example, and a connection between human emotion and flowers. I see myself in nature and I think many other people are able to connect themselves and their emotions, life experiences and inner-self with nature through my photography.
When I look at the masterful prints of Ansel in particular, I fully appreciate that he was a true master printer. I think the vast majority of us today will never live up to his level in spite of having the luxury of living after him and having access to information and technology that didn't exist for him. He had to create the things that we now use and leverage today. The tonality and separation of his highlights and shadows are still to this day something that I chase. It is impossible to describe the beauty and impact of his prints. The only way to fully understand is to view his original work in person. Also, the ground-breaking and unique work of Julia Margaret Cameron and other Pictorialist's from the late 19th century continue to inspire me as I evolve and grow.
Why do I choose black and white darkroom photography in 2016? Mostly because it is how I see the world and I feel that I am best equipped to communicate my thoughts and emotions. I feel that my results are much more emotionally evocative with traditional black and white darkroom processes versus other mediums, chemical or digital.
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