Darkroom Processing Quotes

I'm staying with film, and with silver prints, and no Photoshop. That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer... I'm not anti-digital; I just think, for me, film works better.

When I was working, there was no digital. We actually worked; we used Polaroids.

I have very interesting hobbies like archeology and photography.

I began after college, about 1972. I began to teach myself photography. I went to work for a local newspaper for four years as a kind of basic training.

In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.

Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.

My story with film is kind of different because I started with photography because my father was a photo buff. He had all sort of cameras, and I grew up with that.

Computer photography won't be photography as we know it. I think photography will always be chemical.

Then I thought I was going to be a photographer. I tried a hand at darkroom technician. I played in a band. It took me quite some time to discover that I wanted to write.

I used to do a lot of casual photography - back in the olden times when one used film - but it had fallen by the wayside over the years.

I've found even after nearly 30 years of doing this, there are all kinds of new surprises that rear their heads at various times and I truly believe that 51% of the images, success takes place in the darkroom.

I have equal parts film and digital cameras in my collection. I think that there are ways to Photoshop photos so that they look like you shot them on film, but is that as rewarding? It just depends on the person.

I'm pretty selective. I generally edit the contact sheets and then do work prints. Because I have my own lab and printers, I can afford the luxury of going through the contact sheets for black-and-white, making up work prints, seeing them big, and honing them down.

In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.

When I left art college, I was a still photographer for a year.

I only shoot on film. I like the quality, the grain and the imperfections. It offers me something much more rewarding than any digital camera can give me. I believe the extra expense is worth it.

The length of exposure (one minute in sunlight) is still too long for the portrait. It was fifteen minutes when I first began my work. Progress may continue.

Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.

I try to shoot film wherever possible. There's nothing like it.

I read like a crazy person, I play the piano, and I'm a photographer. I always say my photography keeps me sane. I spend a lot of time in the darkroom. It's a very solitary, quiet life when I'm not working.

I have a dark room, and I still process film, but digital photography can be a totally lying kind of experience; you can move anything you want... the whole thing can't be trusted, really.

Everybody's got to do something... I'd been on my own since an early age and I thought I better find something to do to buy biscuits and stuff. From high school onwards I was earning my way with photography, one way or another, working in darkrooms and taking pictures of weddings, neighbors' children and so on.

I was known as a 35-mm photographer with a view-camera mentality.

I have no animus toward digital, though I still pretty much take everything on a silver-based negative, either a wet plate or just regular silver 8x10. But I've started messing a little bit with scanning the negative and then reworking it just slightly.

I bought all the stuff, but nothing was as satisfying to me as using the Rolleiflex because it was one shot.