Seeking a Master Printing Workshop

I'm interested in finding a master printing workshop, or private
instruction. I would like to find a true master printer that is not
1.) alternative process oriented 2.) masking oriented 3.) toner
oriented 4.) or any other whistle and gong. My idea of a great printer
in the silver process is one who can make prints from my negatives
that I never thought possible, without resorting to anything fancy,
even including bleach. I don't usually care for spectacular, punchy
images. I'm far more interested in long tones that retain richness of
contrast, and evenness. Seemlessly evening things out , and juggling
twenty areas without going through a whole box of paper, is more my
problem. Of course an alternative process printer may be the best man
out there, but I am not interested in launching into yet another
materials oriented technique with its promises when my underlining
skills have not been resolved. Time by the way has not resolved the
impass. I started printing in 1973.

Too tall an order? It's my feeling that I am making above average
prints, but my working approach is somehow flawed, and the exceptional
is too rarely acheived, even though the negatives are well under
control, (thanks to Pyrocat.) All these other approaches I'm sure have
their place, but I want to first acheive exceptional straight forward
printing. Some people might say I
have done just that, as I've been hired several times to print shows
and portfolios. I feel however that I am at best an 8 out of 10 and am
struggling to close the gap.

I can no longer justify ten to twenty sheets of paper per print, even
though many printers will say that's exactly average. I say, how is
anyone supposed to get portfolios together when hundreds and hundreds
of dollars end up in the trash? So...does anybody know of a great
printer that has a workshop, or would perhaps even take on a private
few sessions that address a master level of silver printmaking, and
does not spend 90% of the class on basics, or veer off into elaborate
techniques?

On 1 Feb 2004 15:55:50 -0800, (Ken Smith) wrote:


I can no longer justify ten to twenty sheets of paper per print, even
though many printers will say that's exactly average.

If it ever took me 20 sheets of paper to get a good
enlargement I'd throw in the towel.

9/10ths of the work is done in the camera. Frankly I rarely
expose more than 1~2 sheets prior to making a good final print.
Honestly I don't know how I do it but the other night when I printed
with the Elwood for the first time I simply looked at the light coming
out of the lens which I had never printed with and made a good 8X10 on
the very first print. Not perfect. Took one more print for that.

BTW, why do you believe that Pyrocat has helped your images ?
Developers have many qualities but they rarely are actually capable of
addressing dramatic problems in a negative.

So what area are you in ?


Regards,

John S. Douglas, Photographer - http://www.darkroompro.com
Please remove the "_" when replying via email

Many experienced printers can look at a negative and make at least a
semi-respectable first print. One or two more tries will usually produce a
nice proof print. Then it's time to go to work.

"John" wrote in message
...
On 1 Feb 2004 15:55:50 -0800, (Ken Smith) wrote:


I can no longer justify ten to twenty sheets of paper per print, even
though many printers will say that's exactly average.

If it ever took me 20 sheets of paper to get a good
enlargement I'd throw in the towel.

9/10ths of the work is done in the camera. Frankly I rarely
expose more than 1~2 sheets prior to making a good final print.
Honestly I don't know how I do it but the other night when I printed
with the Elwood for the first time I simply looked at the light coming
out of the lens which I had never printed with and made a good 8X10 on
the very first print. Not perfect. Took one more print for that.

BTW, why do you believe that Pyrocat has helped your images ?
Developers have many qualities but they rarely are actually capable of
addressing dramatic problems in a negative.

So what area are you in ?


Regards,

John S. Douglas, Photographer - http://www.darkroompro.com
Please remove the "_" when replying via email

"John" wrote in message
...
On 1 Feb 2004 15:55:50 -0800, (Ken Smith) wrote:


I can no longer justify ten to twenty sheets of paper per print, even
though many printers will say that's exactly average.

If it ever took me 20 sheets of paper to get a good
enlargement I'd throw in the towel.

9/10ths of the work is done in the camera. Frankly I rarely
expose more than 1~2 sheets prior to making a good final print.
Honestly I don't know how I do it but the other night when I printed
with the Elwood for the first time I simply looked at the light coming
out of the lens which I had never printed with and made a good 8X10 on
the very first print. Not perfect. Took one more print for that.

BTW, why do you believe that Pyrocat has helped your images ?
Developers have many qualities but they rarely are actually capable of
addressing dramatic problems in a negative.

So what area are you in ?


Regards,

John S. Douglas, Photographer - http://www.darkroompro.com
Please remove the "_" when replying via email

If 9/10ths of the work is done in the camera, almost anyone could print a
world class image. Perhaps your standards are different than mine but I
would venture to say that most good photographers would disagree with this.
'Wasting' paper is the hallmark of great printers. I mean really great
printers.

You've pretty much described John Sexton and his darkroom workshops. Start
with "The Expressive Black and White Print," then take the others.

"Ken Smith" wrote in message
om...
I'm interested in finding a master printing workshop, or private
instruction. I would like to find a true master printer that is not
1.) alternative process oriented 2.) masking oriented 3.) toner
oriented 4.) or any other whistle and gong. My idea of a great printer
in the silver process is one who can make prints from my negatives
that I never thought possible, without resorting to anything fancy,
even including bleach. I don't usually care for spectacular, punchy
images. I'm far more interested in long tones that retain richness of
contrast, and evenness. Seemlessly evening things out , and juggling
twenty areas without going through a whole box of paper, is more my
problem. Of course an alternative process printer may be the best man
out there, but I am not interested in launching into yet another
materials oriented technique with its promises when my underlining
skills have not been resolved. Time by the way has not resolved the
impass. I started printing in 1973.

Too tall an order? It's my feeling that I am making above average
prints, but my working approach is somehow flawed, and the exceptional
is too rarely acheived, even though the negatives are well under
control, (thanks to Pyrocat.) All these other approaches I'm sure have
their place, but I want to first acheive exceptional straight forward
printing. Some people might say I
have done just that, as I've been hired several times to print shows
and portfolios. I feel however that I am at best an 8 out of 10 and am
struggling to close the gap.

I can no longer justify ten to twenty sheets of paper per print, even
though many printers will say that's exactly average. I say, how is
anyone supposed to get portfolios together when hundreds and hundreds
of dollars end up in the trash? So...does anybody know of a great
printer that has a workshop, or would perhaps even take on a private
few sessions that address a master level of silver printmaking, and
does not spend 90% of the class on basics, or veer off into elaborate
techniques?

You've pretty much described John Sexton and his darkroom workshops. Start
with "The Expressive Black and White Print," then take the
others.

The problem with Sexton's class is that you don't get to do the printing. You
watch him make prints from his own negs that he has frequently owed people for
sometime. A better approach is to find a class where you can do the printing
yourself. George Tice used to do one at the Maine Photo program and he is an
excellent printer. Gordon Hutchings does a large format class that includes
printing at the Maine program as well.

Also, go to galleries where images by Tice, Paul Caponigro, Adams, etc. are on
display so you know what is possible.

steve simmons

On 02 Feb 2004 04:02:20 GMT, (Largformat) wrote:

The problem with Sexton's class is that you don't get to do the printing. You
watch him make prints from his own negs that he has frequently owed people for
sometime. A better approach is to find a class where you can do the printing
yourself. George Tice used to do one at the Maine Photo program and he is an
excellent printer. Gordon Hutchings does a large format class that includes
printing at the Maine program as well.

Also, go to galleries where images by Tice, Paul Caponigro, Adams, etc. are on
display so you know what is possible.

I attended a seminar by Scott Griswold in Somers Point, N.J.
which was very interesting. We didn't print during the class but
rather would bring in images and discuss them for about a half hour at
the end of each session. Scott is certainly a great photographer.
Unfortunately I haven't spoken to him in about 10 years now.

Regards,

John S. Douglas, Photographer - http://www.darkroompro.com
Please remove the "_" when replying via email

On 02 Feb 2004 04:02:20 GMT, (Largformat) wrote:

Also, go to galleries where images by Tice, Paul Caponigro, Adams, etc. are on
display so you know what is possible.

Certainly a good idea.

IMO, experience and a good log are the best teaching tools you
can have. Going to a workshop can open your eyes to 1~2 things but
spending a week of your vacation just photographing and making notes
will go a long towards perfecting both.


Regards,

John S. Douglas, Photographer - http://www.darkroompro.com
Please remove the "_" when replying via email

In article ,
John wrote:

On 02 Feb 2004 04:02:20 GMT, (Largformat) wrote:
Also, go to galleries where images by Tice, Paul Caponigro, Adams, etc. are on
display so you know what is possible.

Certainly a good idea.

IMO, experience and a good log are the best teaching tools you
can have. Going to a workshop can open your eyes to 1~2 things but
spending a week of your vacation just photographing and making notes
will go a long towards perfecting both.

Up close I like Strand's and Weston's prints,....too bad they are both gone.
--
LF website http://members.bellatlantic.net/~gblank

Steve Simmons said in part:

The problem with Sexton's class is that you don't get to do the printing.
You
watch him make prints from his own negs that he has frequently owed people
for
sometime.

I don't know which of John's workshops you've taken. I took the three that
he offered in 1995-1997. I don't know what is offered today. At "Exploring
the Expressive Black and White Print" we worked in the darkroom until late
at night making our own prints. John would stay there as long as anyone was
still in the darkroom to critique and assist. At "Advanced Techniques:
Exploring the Black and White Print" we also spent almost every evening,
after the day's lectures, demonstrations and field trips, making our own
prints with John's critiques and assistance.

The only one at which the students didn't make their own prints was "Fine
Tuning the Expressive Print." There is no student printing at that workshop
because it was offered at John's home and studio. Perhaps that's the one you
attended and perhaps that's the only one still being offered since digital
has undoubtedly cut into the market for darkroom workshops. But even at that
one the students didn't just sit there and "watch him make prints from his
own negatives," we watched various darkroom techniques being demonstrated
(in addition to the critiques, lectures, and field trips). I learned a lot
about printing and photography in general at that workshop and I'd highly
recommend it to anyone interested in improving their printing and
photographic skills regardless of whether they do their own printing or not.
There are far worse ways to learn than watching demonstrations by a master
printer (plus participating in critiques, going on field trips, and
listening to lectures).

I have no idea what you mean by his "making prints from his own negatives
that he has owed for some time." It sounds like you're suggesting he uses
workshop time to make his own prints in order to satisfy obligations to
purchasers or others. Hopefully I'm wrong since that would be such a
mean-spirited and completely false statement. In the three workshops I
attended I don't remember ever seeing a final print being made by John. The
printing was done only to demonstrate certain specific techniques, not to
make final prints, and everything I saw ended up in the trash can.

"Largformat" wrote in message
...
You've pretty much described John Sexton and his darkroom workshops. Start
with "The Expressive Black and White Print," then take the
others.

The problem with Sexton's class is that you don't get to do the printing.
You
watch him make prints from his own negs that he has frequently owed people
for
sometime. A better approach is to find a class where you can do the
printing
yourself. George Tice used to do one at the Maine Photo program and he is
an
excellent printer. Gordon Hutchings does a large format class that
includes
printing at the Maine program as well.

Also, go to galleries where images by Tice, Paul Caponigro, Adams, etc.
are on
display so you know what is possible.

steve simmons