we talk about blending quite a lot when we talk about printing, more than the saucier at a classic french restaurant.

the brain’s main function is to regulate our body, breathing comes first i guess, but a large portion of it goes to vision, so i'd like to talk about how it also shows me what i see.

it's game i've played for as long as i can remember.

it started because i wanted to be able to recognize a certain intensity of light

in these strange times when i don't step into a darkroom for six months, these strange times when everyone is affected by a single virus

it starts with closing the door. it's not a darkroom until you close the door, and the run doesn't start until you close the door behind you and face the road ahead.

ok. so, i'm waiting in line at the airport, about to go through security, shoes off, no belt, and a lead bag full of film in my hands.

photographers sometimes forget that a light sensitive surface can be non-representational.

i'm afraid printing with an enlarger is being misunderstood lately, with the newly found interest in film photography.

sodium in general has taken over my life. sodium sulfite being the obvious guilty party in my darkroom, and sodium chloride being added everywhere in my food.

yes, no doubt, the darkroom can be an escape from the turmoil of the world outside. and i use it as such often.

i would like to take a moment to remember al.

well, for me at least. my sense of timing is off.

at the beginning i was merely printing. i was transferring a negative image on acetate onto a piece of paper as a positive.

i 'll get right to it: here's what doesn't work between digital and analog photography:

for the good news, ilford is improving their neutral tone multigrade emulsion

it was in the late nineties, at lexington labs. lou reed needed some help to print some of his negatives.

when A.P. wanted to print a show of their images of the vietnam war, i wanted to print it because nothing in these images glorifies the act of war.

looking back on my last 3 weeks in the darkroom, chasing after my short term memory, digging into the long term, i do feel lost.

in theory, toning a black and white fiber base silver gelatin print adds a new layer of tones, for different reasons

“i want to make this or that type of print, what should i do with my negative?”