Elephant, Beverly, MA. Christmas, 2015

Elephant, Beverly, MA. Christmas, 2015

Sad.

 

In the Forest, Cumberland Springs, 1986. Platinum-palladium print on 100% cellulose (Van Gelder Simili Japon) from original 8x10 negative.

In the Forest, Cumberland Springs, 1986. Platinum-palladium print on 100% cellulose (Van Gelder Simili Japon) from original 8×10 negative.

like an incessant chant:
sudek janacek sudek janacek

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detail

In the Forest, Cumberland Springs, 1986. Platinum-palladium print on 100% cellulose (Van Gelder Simili Japon) from original 8x10 negative.

In the Forest, Cumberland Springs, 1986. Platinum-palladium print on 100% cellulose (Van Gelder Simili Japon) from original 8×10 negative.

Plum Trees, Cumberland Springs, 1986. Platinum-palladium print o

Plum Trees, Cumberland Springs, 1986. Platinum-palladium print on 100% cellulose (Van Gelder Simili Japon) from original 8×10 negative.

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The image is the paper, with pure platinum and palladium particles deeply bonded to the very fibers that make up the paper. The fibers, transparent macaroni-like strands of cellulose, filter, scatter and reflect light arriving at the paper’s surface. Small cathedrals of noble metals and space. One of the great joys of holding a platinum-palladium print in your hands is just this–to bring it up close, and tilt it this way and that, to almost hear the flow of light around tiny clusters of metal. This detail shows the unexposed paper surface beside the left edge of the printed image.

Plum Trees, Cumberland Springs, 1986. Platinum-palladium print o

Apple Blossoms, Cumberland Springs, 1986. Platinum-palladium pri

Apple Blossoms, Cumberland Springs, 1986. Platinum-palladium print on 100% cellulose (Van Gelder Simili Japon) from original 8×10 negative.

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Apple Blossoms, Cumberland Springs, 1986. Platinum-palladium pri

Bough, Cumberland Springs, 1986. Platinum-palladium print on 100

Bough, Cumberland Springs, 1986. Platinum-palladium print on 100% cellulose (Van Gelder Simili Japon) from original 8×10 negtive.

“This unheimlich place, however, is the entrance to the former Heim (home) of all human beings, to the place where each one of us lived once upon a time and in the beginning.” Sigmund Freud, from ‘The “Uncanny”‘, quoted from Norman Bryson’s ‘Looking at the Overlooked: four essays on still life painting’, Reaction Press, London. p.170.

I think Freud was barking up the wrong tree. We may all be barking in the wrong forest. Thinking about individuality, the subject and the subjective has been a useful paradigm. But oh the places it has taken us. And oh the cords we have dissed. But who am I to say? Nothing. Just some where in the forest.

view full scan detail: Bough, Cumberland Springs, 1986. Platinum-palladium print on 100

Dogwood and Sumac, Cumberland Springs, TN. 1986. Platinum-pallad

Dogwood and Sumac, Cumberland Springs, TN. 1986. Platinum-palladium print on 100% cellulose (Van Gelder Simili Japon) from 8×10 original negative.

It had been well established that the addition of mercuric chloride to platinum-palladium sensitizers would render a warmer and smoother image, along with lower contrast. I wanted the prints from this series, made during a personally transformative time, to feel tenuous but certain. A strange mix.

Now we know that mercuric chloride creates some problems, archivally speaking. Hence the edge marks. The print was made about 20 years ago.

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Dogwood and Sumac, Cumberland Springs, TN. 1986. Platinum-pallad

Orchids, Thanksgiving, Sewanee, TN. November, 2015. Platinum-pal

Orchids, Thanksgiving, Sewanee, TN. November, 2015.
Platinum-palladium print on Reich CT Vellum from enlarged digital negative.

[and more:

Photographed with a Sony Alpha 7 r II, Zeiss Sonnar 150mm / f4 Hasselblad mount lens with an extension tube and adapter.

The DNG file was processed in Lightroom:
Treatment set to Black and White;
Tone Curve inverted;
and Split Toned
with hue and saturation levels set for Highlights at 246 / 43 and Shadows at 3/84;

then printed via Lightroom’s Print engine:
Color Management set to
360 ppi,
16 bit output,
Epson Stylus Pro 7900 Premium Glossy Photo Paper,
Relative intent,

and in the OS X Print Driver, Advanced Media Controls:
Color Density at +10%;
Drying Time per print head pass at 5;
Paper Thickness at 3

and printed on Pictorico OHP Sheet,
allowed to dry/cure for at least 12 hours before using

then printed using ammonium platinum and palladium salts
with ferric ammonium oxalate,
hydrated in an almost 100% RH / 68F atmosphere
for 15 minutes,
exposed under fluorescent UV for 2 minutes and 30 seconds,
thereby rendering almost 90% print-out
(where the image appears almost completely during exposure),
then clearing in
ethylenediaminetetraacetic disodium salt for 10 minutes,
sodium sulfite for 15 minutes,
ethylenediaminetetraacetic tetrasodium salt for 15 minutes
and a final wash for 30 minutes.

The print was flattened between blotters under weigh,
changing blotters after about the first hour,
and finally dry mounted on museum board.

… a baffling poem.]

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Orchids, Thanksgiving, Sewanee, TN. November, 2015. Platinum-pal

Thankful for Indians, Thanksgiving, Sewanee, TN. November 25, 20

Thankful for Indians, Thanksgiving, Sewanee, TN. November 25, 2010

Masao Yamamoto teaching Luca Malde how to walk. Sewanee, Novembe

Masao Yamamoto teaching Luca Malde how to walk. Sewanee, November 7, 2005.

10 years ago, Luca on his 1st birthday, with Masao.

Allan B Jones, 1992. Platinum-palladium print on Wyndstone vellu

Allan B Jones, 1992.
Platinum-palladium print on Wyndstone vellum from 8×10 inch original negative.

I wrote about this portrait and Allan in previous posts. He is a most humble, and wonderful, painter. I hope someday that he and Richard Walker meet.

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Allan B Jones, 1992. Platinum-palladium print on Wyndstone vellu