In an earlier post, I discussed the history of sepia toning and its use in the early days of photography. Before I started sepia toning my gelatin silver prints, I used one of two different toners that enhanced tonal quality and archival (longevity) properties of black and white prints. Most of the time, I immerseContinue reading “All that’s Gold doesn’t Glitter”
Category Archives: Black and White Prints
The Color of Memory
Until recently, I wasn’t aware of the reason sepia-toned photographs. I learned the reason was not purely aesthetic. Early photographic papers weren’t very stable, and the process of sepia toning added a protective layer that improved the longevity and durability of photographs. The fact that so many of these photographs still exist, nearly 100 years later, is proof that the toning process was successful.
It’s a FOTOFestival!
March in Houston marks the start of Bluebonnets and spring festivals. On alternate years, it’s also the year of FotoFest. This year’s theme is Critical Geography, and I’m fortunate that I’m associated with two organizations that are serving as Participating Spaces.
Rest Stop, On the Road Again
This image was printed from film in a traditional wet darkroom. Following printing, it was bleached and hand-toned in sepia toner. This framed print is part of the Progress/Progresso exhibition at Silver Street Studios.
No More Ducking
In all honesty, this was no longer the beautiful plant it was in 2011, but there was some comfort in the sameness of seeing it–sort of like waving to a passer-by along your morning walk.
Upside Down You Turn Me
A few years ago, I was with a group of photographers who got special access to the newly-opened Cistern in Houston, Texas. It was a great experience that was marred only by a piece of my tripod falling off and slipping into the abyss. One of the images that I shot that day was ofContinue reading “Upside Down You Turn Me”
Early Fillin’ Station
In 1891, the tract of land that was to become the largest planned community in the United States was purchased by O. M. Carter. It was located 2.5 miles from downtown Houston, and because it was situated roughly 23 feet higher than the surrounding area, it was named Houston Heights. When I first moved toContinue reading “Early Fillin’ Station”
Rest Stop
This image was printed from film in a traditional wet darkroom. Following printing, it was bleached and hand-toned in sepia toner. This framed print is part of the Progress/Progresso exhibition at Silver Street Studios.