Winter Tulips Study

Winter Tulips 2013 StudyFor the Winter Tulips Study I ordered 50 fresh white tulips from a farm in San Francisco California. Upon arrival I put the fresh tulips in a vase of fresh water and sat them in the daylight studio to settle in and begin the blooming process. Single tulips have six petals. Variations today include lily-flowering types, double flowers, fringed petals and ruffly parrot varieties. Tulips also come in a wide variety of colors to include: white, yellow, pink, peach, orange, red, lavender, purple and bi-colors.

You can view all of the plates in this study by clicking on the main image to the left and you will be taken to my online gallery.

Tulips are originally native to Eurasia. They are believed to have been brought to western Europe in the mid 1500′s and they were called “Tulipa”, which is Latin for Turban. History tells us that demand soared for tulips after this and historians have dubbed the 17th century in the Netherlands as “Tulip Mania”. The price of a single tulip in the Netherlands soared so high that it caused markets to crash.

In Victorian times, flowers were used as symbols and gestures to communicate something that words could not. I like that tradition because I am drawn to peace and quite and often find times when words are not suffice. Just like roses, tulips represent perfect love and I think that is why people are naturally drawn to them. Forgiveness and worth are said to be exclusively associated with white tulips.

The tulip is thought to be the world’s most favorite flower only behind the rose. The white tulip is the national symbol for four countries: Hungary, Kyrgyzstan, the Netherlands and Turkey.

Study Information

I used sheet film in a large format camera for the images in this study. For the color plates I used Fuji Provia 100F slide film and for the black and white I used Tri-X.  I watched and studied the tulips in my daylight studio over the course of 10 days and when I felt there was something worthy of expressing, I captured the moment. For collectors I am offering artist original darkroom gelatin silver prints on gallery fiber paper ranging in sizes from 4×5 contact prints from the original negatives to 20×24 gallery enlargements. I process all of the artist original prints for archival permanence and selenium tone them. I hand print each image in my darkroom on demand and ship to any location with a valid postal address. If you are interested in a print, use my contact form to connect with me.

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New Meetup Group in St. Louis – Urban Architecture

Meetup GroupWith spring weather right around the corner I decided to create a new meetup group where local people in St. Louis could come together and explore some of our beautiful and historical architecture.

If you want to join the group, just head on over to the meetup link at http://www.meetup.com/St-Louis-Urban-Architecture-Group/ and sign up.

I will be creating new meetings for us soon and if you have any suggestions, let me know.

Tim

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I am Still Developing Film and Printing in the Darkroom in 2013

Ebony Large Format ArchitectureI have many people ask on a regular basis why I am still using film, printing in the darkroom and working with analog processes.  I don’t think there are any right or wrong answers to the reasons why a photographer/artist uses particular tools because it is his choice, and his choice alone.  I think back to the turn of the 20th century when many photographers were likely going through the same kinds of struggles and quandaries.  The only difference is the medium (e.g, wet plate collodion, dry plates, sheet film, etc).  Photographic technology will continue to evolve for as long as I can imagine in my mind.  I don’t think it will ever really stop because that is simply how the world works.

But, for me, film is the single best answer to vision whether it be for commercial architecture, black and white fine art, or even every day photography.  Forgetting about all of the technical jargon, I just think the results whether they be analog prints or scanned digital images from the film, just looks better to my eye.  I have a more emotional connection and response to photos, images, and prints that sourced from film.  Its organic, somewhat unpredictable, and yet perfectly tamable as well.

Most Frequently Used Equipment & Mediums

I get a lot of questions about equipment and mediums so I thought I would cover some of the most frequent combinations that I am currently using.  As with anything, a tool is a means to an end, and in my case, it is a means to creating an image or print for a specific purpose.

Ebony Large Format ArchitectureCommercial Architecture – I frequently use my Ebony SV45U2 large format view camera (pictured above at top of article and directly to the left) for my commercial architecture work.  Clients want color images for this type of work so I typically use Fuji Provia 100F slide film in 4×5 sheets or 120 roll film when I use my 6×9 roll film back.  The most frequently used lenses with this setup are the Schnieder Super Angulon 47mXL and Rodenstock 75mm, and Nikkor 90mm.  These lenses and camera will last anyone a lifetime and more than a lifetime if cared for properly.  The view camera is the perfect tool and was the standard for decades for architectural photographers for good reason.  It allows you to control perspective and plane of focus.  By altering the plane of focus using the Scheimflug principle, a large format photographer can have every detail in focus at wide open apertures and not have to stop down to achieve this result.  You have the ability to do rise and fall movements to eliminate the keystone effect (distortion of image from not keeping film plane parallel to subject).  I develop all of my own E-6 slides in a Jobo processor so I can still deliver same day images if my client needs that, therefore eliminating a lot of the argument to move to a digital solution.  I scan the slides and edit in my normal workflow using Photoshop for key edits and Lightroom as the catalog.  I use a Canon 5D Mark III and Canon’s Tilt-Shift lenses when digital is a requirement for the job.  I also carry and Canon EOS 1V with me and use the tilt-shift lenses on it as well when 35mm is appropriate.

Black and White Floral Still - © Tim LaytonBlack and White Fine Art – For my black and white fine art work it is more about the film and paper than it is about the camera equipment.  As a general rule I standardize on Tri-X in all formats (35mm, 120, 4×5, 8×10).  The only exception to that is if I want to make a large optical print in the darkroom (16×20, 20×24, etc) when using 35mm and I don’t want the grain structure of Tri-X, I use Pan-F 50 Plus.  Otherwise Tri-X in large format can print as big as you want and grain is never an issue.  In fact, when I want grain, I go to my small format cameras and use methods to exaggerate the grain.  By the way, compairing film grain and digital noise is like comparing character and insanity in my opinion.  In my current projects I use wet plate collodion, and large format Tri-X for the most of the work, but a few are 120 medium format and a couple 35mm using Pan-F 50.  I leverage the zone system in my exposure, developing and printing processes.

LandscapesLandscapes – For all serious landscapes I use large format, either 4×5 or 8×10 and depending on my vision, I will use Tri-X or T-Max for black and white work and Velvia 100 or Provia 100F for color slides most of the time.  I have some coveted Velvia 50 in 8×10 large format that I use on the right occasion.  I will use my Mamiya RZ67 Pro II and my Mamiya 7 Rangefinder as well when medium format is the right choice and portability is required or needed. I am not afraid to shoot square for some landscapes and will use my Hasselblad 503CW or 903SWC.  I can crop my Hassy square to traditional aspect ratios if I prefer to do that.   I don’t find any printing limitations using medium format 6×7 over 4×5 in most cases.

Historic ArchitectureHistoric Architecture – Historic architecture is a personal passion for me.  I get lost in the history and beauty of historic architecture.  For my historic work I like to try and photograph the subject is the relevant medium that would have been appropriate for the structure, if that is possible.  In the United States we don’t have a tremendous amount of architectural history and predates large format photography processes, so it usually isn’t too difficult to use the appropriate medium.  In other cases, I just use whatever film camera I have on me at the time.  For architecture work I always try and use large format when I can to eliminate distortion and keystonning problems, but I am not afraid to use whatever I have in my hand and try and make it work.  Most of this work is done with Tri-X film and hand printed in the darkroom.  When I am out walking and scouting I typically carry the Mamiya 7 Rangefinder or the Nikon F or Leica M3 with me and if it makes sense I will return with the large format equipment.

Street PhotographyStreet Photography – In my spare time I love to roam the streets and photograph everyday people doing everyday types of things.  I think people are extremely interesting from a subject perspective and I enjoy trying to look inside the minds of random people based on their exterior presentation.  I am rarely ever right probably, but I have fun and enjoy the journey.   I typically always use Tri-X for this type of photography and will use anything from my Leica M3 with a classic screw mount lens to my Hasselblad 503CW, Nikon F, and even my Mamiya C220 TLR.

I always like to hear your thoughts and comments so send me an email or submit a comment.

Tim

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Keeping Classic B&W Photography Alive

Winter Tulips 2013 StudyThere is so much banter and talk happening in regards to comparing contemporary digital photography to previous mediums such as film and wet plate.  In particular, film and digital seem to get the most attention, probably because they are the closest in comparison. In my mind, there are no comparisons.  They are simply differences.  At least in most of my photography, I can’t achieve my personal goals with digital as I can with the traditional mediums such as film and wet plate.  I don’t see the overlap or reason for all the comparisons.  It has always been about personal creativity and vision in my mind and I simply just see my work rooted in film and plates versus the use of a sterile and perfect digital sensor that requires a computer and software to make something.  I like being able to make something with my hands and not require a computer and software.  That doesn’t make my view right or wrong, just simply my view.  I have no hard feelings towards anyone that wants to use a DSLR and Photoshop to create their vision.  More power to them and good for them.  Just isn’t my thing, but that’s okay.  The image in this article is from my 2013 Winter Tulips Study where I used Tri-X sheet film and Provia 100F slide films with my large format camera.  I’ve shot plenty of high end digital SLR’s and medium format backs and none of them produce the type of image that I did in this study.

Even in my commercial architectural photography work I mostly use a view camera with Provia 100F sheet film or a Canon EOS 1-V with tilt-shift lenses.  In any case, film is at the core.  I process my own slide films using a Jobo system and I am able to review my work on my light table and scan in the selections and provide the proofs to my client all within the same day, just as I could if I used a DSLR as the capture medium.

Why Not Film?

I’ve written several articles on this blog about “why film” and for today, I think the easiest way for me to sum up why I use film and traditional mediums for my fine art is simply because it is how I see my work.  I enjoy working with film, I like cutting the glass plates and working in the darkroom.  I love being able to touch and feel my prints along with the way and make creative choices to influence the final work.  Even when I develop my color slides (chromes) I am an integral part of the process and participate in every step of the process.

In my opinion, the average consumer today would have little or no idea of the differences between a computer ink print versus an optical wet print.  I am okay with that.  I work for myself and not for the approval and acceptance of others.  I personally have no problem with any type of print, but my target market are the people that appreciate traditional fine art.  It will be interesting to see how things go over the long run, but all I can do for now is stay true to my vision and wait for things to unfold over time.  Poor results, or even great results won’t change what I do in any event because I do what I do because it is part of my inner core.

Keeping Traditions Alive

I am trying to keep the art of classic photography alive in our modern digital world.  I love all kinds of technologies and the advances it has afforded us, but when it comes to photography and fine prints, I am forever sold on the classic darkroom processes for the creation of fine prints.  Classic darkroom prints just scream character to me, and they possess an ethereal quality unlike modern digital ink prints in my opinion.  It is hard to explain in words, but I feel it when I view them.  I can certainly appreciate digital images and ink prints, but I simply don’t have the same reaction to them when viewing them in person as I do with optical wet prints or even ambrotypes.

I routinely visit the St. Louis Art Museum to view prints from the greats like Ansel Adams, Irving Penn, Julia Margaret Cameron, and others.  I always leave their humble and inspired.  I just can’t believe they were able to create that level of beauty and quality in their day.  Every time I view one of Ansel’s prints, I simply can’t believe the range of tones and his highlights are the whitest I think I have ever seen.  As Ansel once said, he uses all 88 keys to create his music.  It makes me want to do better work.

I appreciate your support and your feedback.

Tim

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Telephone – +1-314-643-8118

 

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One Camera, One Lens, One Film, One Developer

  • Article: One Camera, One Lens, One Film, One Developer
  • Author: Bob Soltys
  • Date: 02/10/13

Some of us use a variety of films and carry a lot of equipment. If that works, that’s great, but if you find yourself frequently wondering what camera, what lens and what film to use before you leave the house, you might consider whether a simpler approach might work better, especially if you’re new to film photography.

Some films, like Ilford’s Delta 3200, are designed for a specific purpose, and are well suited to making images at night without a tripod, like the 1940′s era Mercedes Benz in Paris.

Same goes for lenses. If you’re photographing birds, a telephoto lens is de rigueur, as was the case with the Great Grey Owl in Dairyland, Wisconsin.

For anything else, especially street photography, weddings and baptisms, or “everyday” photography, sticking to one camera, one lens, one film, and one developer means you carry less, shoot more quickly, and process and print your film more efficiently.

Using only one camera and one lens eliminates the need to decide which camera and lens to use. The decision to stay with one film simplifies your shoot because again, you don’t have to stop and think about whether you’re going to work in black and white or in color. Working in black and white eliminates color temperature problems, too – no need to worry about fluorescent lights coming out a bit green, or the yellow tinge associated with incandescent bulbs.

Tri-X is a good, all around film for bright daylight, cloudy days, and many indoor scenes. The images of the couple walking outside Notre Dame, the baptism, the wedding, the cowboy, and of Lucky the Jack Russell Terrier were all made on Tri-X film with a 35mm lens, developed in D-76 1:1, and printed on Ilford Multigrade paper.

Working with a shorter lens like a 28 or 35mm gives you the benefit of a bit more depth of field, and forces you to get up close and personal. As Robert Capa put it: “If your pictures aren’t good enough, you’re not close enough.” Using just one lens eliminates the need to change lenses and missing an exposure while changing lenses.

Working with a rangefinder camera and one lens – or a point and shoot – will allow you to work quickly and unobtrusively because small rangefinders and point & shoot cameras don’t stick out and attract the attention that a DSLR and 28-90 zoom do. Another benefit – you’ll “learn” what that lens does and be able to see potential pictures in mind’s eye.

And when it comes time to develop and print the film, an all around developer like D-76 will handle Tri-X exposed under almost any conditions, and allow you to standardize your processing and printing. If your negatives are exposed and developed consistently, you’ll find that you’re able to get a usable work print much more easily on the first sheet of paper.

Why process your own film? In the long run, it costs less, you get to do it the way you want, and in the words of Stanley Greene, “There’s nothing finer than putting a piece of paper in chemical and seeing an image come up. That’s magic. They used to burn people at the stake for that.”

While the vast array of equipment and film help interpret our view of the world, there’s a lot to be said for a simple, quiet approach to capturing the joy of living.

Bob Soltys


Bob Soltys took his camera along with seniors at Lew Wallace High School who walked out in 1971 to protest a teachers’ strike that would have prevented them from graduating. The weekly paper bought his pictures, launching a 40-year career capturing people and events on film. His photos have appeared in newspapers, in Sports Illustrated, and have been exhibited at the Beverly Art Center in Chicago and Open Shutter Gallery in Durango, Colorado. Bob’s images of Paris and of the West grace homes and offices worldwide, and are in the permanent collection at the John Rehner Gallery in Lakewood, Ohio.

Fifty percent of the proceeds from his book of Paris – The Art of Living and from A Lucky Life go to charitable endeavors, including Jack Russell Rescue.

You can find Bob online at:

  • http://www.BobSoltys.com
  • http://blkwhitefilmpix.tumblr.com
  • http://www.friendsofanton.org/prints/bob-soltys-paris-the-joy-of-living
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A Call for Guest Writers on Analog Photography

loud_speakerI am sending out this call for guest writers and contributors that have a passion for analog photography.  I’ve been writing articles on this blog for a few years now and it is time to get some fresh views and perspectives.  If you have been practicing any type of analog photography, darkroom or alternative printing, then send me an email and introduce yourself.  I know I have a lot of quality readers of this website, so now it is your turn to help keep the analog photography movement going forward.

Tim

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A Video Tour of Ansel Adams Darkroom

In this video Marc Silber interviews Ansel’s son, Michael Adams.  Michael shows us around his home and darkroom and discusses many of Ansel’s most famous prints.  In my mind Ansel was a master of printing over everything else he was good at.  Of course he was a great photographer that could create excellent negatives for printing, but what I most admire about him is his printing abilities.  Michael also discusses Ansel’s use of glass plates and a red filter for the first time while taking the Half Dome image.

Ansel had one chance to expose a piece of film for his famous Moonrise over Hernandez print, and that exposure produced a printable negative, but nothing too exciting.  It was Ansel’s darkroom knowledge and skills that made this a phenomenal print.  In his later years he even pushed the contrast even further than he did in the past, and I really liked that movement in that direction. I think you will enjoy this video and will come away inspired to elevate your work to new levels.

Tim

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