www.jbhphoto.com
Last summer at Yosemite I lent a boy my 4×5 camera. He said, “what do I do with this now?” and I said, “unscrew it and find out for yourself.” Why shouldn’t he learn how to collapse a camera? Why should I teach him that? You mustn’t treat a child as if he’s a nitwit; tell him something and let him go to it. I don’t believe we do enough self-education.
Interview, Imogen Cunningham, “Dialog with Photography”
I personally have always been one to learn on my own. I have never been much to attend classes nor workshops. I do enjoy meeting with other like-minded people and talking shop, and exchanging ideas and techniques, but serious learning for me is a very personal thing. When I need to learn something new I find a book and start to read. In this modern world of high-tech, I can also do an Internet search. I have always been a self starter and learner, that is just how I think. I do love the atmosphere of a workshop though. A good workshop is short and sweet. An intense few days of focused study. But, it seems that the idea of the photography workshop has changed over the years.
What has happened to the old-fashion photography workshop? It seems that most every workshop now days is more about the destination, than the art of photography. For me, learning anything new, or honing the skills you already possess, can be accomplished just about anywhere you can find a comfortable, and appropriate place for learning. I find it hard to understand why in order to attend a photography workshop you have to trek to some far and picturesque location. This is expensive and if you believe you are going to bring back a portfolio of prize winning prints. . . well. . . I just don’t see it happening.
A workshop is a place to go to learn. It is a place to expand your skills, learn new skills, interact with like-minded people, and learn from an experienced instructor. You need to attend a workshop for the purpose of learning and this can be done anywhere. Why not spare the expense of exotic travel and attend a local workshop? All you really need is a classroom. . . most any classroom will do. It would be nice to have an interesting place near by to go outside and get some hands-on field experience, but this need be nothing more than a small park. The idea is to learn procedures that you can use when you do travel to some great place and find something interesting.
Once you have honed your technique in familiar territory, then you can head to the beautiful places. I can never make meaningful images amidst the distraction of a group of people. My concentration is continually interrupted and I find it difficult to stay focused. Only when I am out alone with my subject can I think artistically. The workshop environment is too cluttered and the distractions are far too great. You need to be paying attention to the message, as Fred Picker said, “steal with your eyes.” Watch others, especially the instructor, and note how they approach a particular situation. Ask questions as to why he chose to work in this manner. Watch intensely and make notes, both mentally and physically. . . yes carry a notebook and a pencil. Take notes, make diagrams and sketches, whatever it takes so that you can remember and learn. Do not expect to make meaningful images at a learning workshop. Whatever images you make within the workshop atmosphere are for the purpose of learning. Leave the really serious photography for when you are alone and are not distracted. You will make images that are more meaningful and be more focused when you are able to concentrate on your subject. This is when you put into practice those things you learned in the workshop.
I would love to see more local, small workshops that teach the basics through advanced photographic technique. A classroom-type workshop, where those that are interested in learning the how-to, can learn the ins and outs. Where one can hone those skills necessary for serious work when they do travel to those wonderful places and find things that inspire them to be creative. A learning experience, not a travel experience. How about more workshops that are a learn now, travel later event?
JB
Since I had posted my original piece titled “SPOTTING MICROSCOPE” I have received numerous additional questions. Seems everyone is looking for an easier way to spot prints, and I will tell you one thing; there is nothing better for print spotting than a good stereo microscope! There just is no better way that I have found to see and eliminate those pesky spots we all have to deal with.First a little information on what to look for. The microscope is a modular device and you can configure it to suit your needs. There are five main items you will need.
Most of the questions I have received pertain to what microscope I use. I had to do a little research as to the exact model I have. What I use is not the latest model and is probably at least 30 years old. The good news is quality microscopes are well-made and will last a lifetime if taken care of properly.
The unit I have is made by Bausch & Lomb and is the StereoZoom 4. Here is a brief description; “One of the most popular stereo microscopes of all time is the Bausch & Lomb StereoZoom 4 (SZ4), later taken over by Leica and also marketed under the Cambridge Instruments name. It was introduced in 1959 and made until 2000.”
They must have made many thousands of these units in many configurations. They are plentiful on the used market. Another question I get is how much do they cost? That depends on condition and where you find the unit. We have had ours for some time now and it seems we paid about $450.00 from a seller on eBay including shipping.
reconditioned and fully guaranteed unit from a specialty company will be more expensive. Keep in mind that the stand is very heavy and adds to shipping cost. My best recommendation is to purchase a unit with a good return policy if possible.
Here is a great site with instructions on how to service and adjust the StereoZoom 4:
http://www.covingtoninnovations.com/stereozoom
I will add a few more comments that might be helpful. When it comes to the Illuminator there are numerous choices. The unit we use is an incandescent-type that uses lenses to focus the light into a concentrated beam that illuminates the print surface. It mounts in the Focus Mount and works very well. You can also use a Ring Light mounted to the bottom of the Pod. There are numerous illuminators and some even use LEDs. I am going to try a Ring Light that I have to see how well, and evenly, it lights the print surface. Another thing I have not tried so far.
Another thing to consider is the Stand. There are times I wish the arm of the stand was longer when working on larger prints. I have been seriously looking at an Articulating Boom mount that attaches to the wall. Wall mounting will free up work table area and the boom has a reach of about two feet. Just something else to consider.
Hope this helps to clear up some of the questions. As I said in my PREVIOUS POST, “. . . a stereo microscope is the Rolls Royce of spotting magnifiers.”
JB
We would like to thank Larry and the TCC Exposure Club for inviting us to speak to their group last Wednesday. We had an enthusiastic crowd, with plenty of questions and discussion about big cameras and black & white film.
JB
I keep harping on the same old line, but it is true that everyone has their own way of doing things and I am no different. But it seems that I continue to get questions about how we work. There seems to be a misconception that when you contact print that Burning and Dodging (B&D) are not possible. That is 100% malarkey! Whether you use a spring back or vacuum frame, the image on the negative is visible against the white printing paper. Burning and dodging is exactly the same as enlarging.
Now having dispelled the myth about contact printing, and understanding things work the same, I find there are two B&D tools I use all the time. Yes, there are times you will have to cut strange shapes to make a particular B&D tool for a certain image. No matter what special shapes I may need, I find two shapes that are universally used most of the time.
By far my most used B&D shape is a rectangular piece of mat board. I use this for edges, sides and most any other large areas. The second most used B&D shape is a specially modified rectangle for edge burning. I seem to forever need to burn all four edges of most prints and why burn each edge one at a time? I cut a piece of mat board smaller in both dimensions than the print I am making. Then I cut off all four corners at a 45 degree angle. This is my Edge B&D tool and it sees a lot of use. I can burn all four sides of a print in one exposure. The farther you hold the tool from the print, the larger the area that is held back. Moving the Edge B&D card either in a slow circular motion, or moving slowly up and down, yields a nice even edge burning all the way around the print.
I mostly print 8×10 and 11×14 negatives, and I mostly contact print, so I have two Edge B&D cards for those size prints. I use a custom handle to hold dodging shapes fashioned after Fred Picker’s Lawton Dodger. Most of the time, I have my Edge B&D card taped to my dodger.
This is something to think about and may work as well for you as it has for me. And, this is not just for contact printing. It works equally well for enlarging. Try making your own Edge B&D card, you may like using it!
JB
We went on another December and early January expedition to the Southwest again this year. This time we trekked to California and the Eastern Sierra, then backtracked to Utah to visit some of our favorite places to photograph. We saw mild weather and very cold weather on our journey. We had blue skies, cloudy skies, rain and snow. Susan and I shot a lot of film, and now it is time to get the notes in order and begin the darkroom work.We photographed 20 days of the 30 days we were out. We drove 4,102 miles and made a lot of snapshots. HERE is our latest trip album. . . enjoy!
JB
Let me begin by qualifying what I am about to discuss by saying that I am a traditional B&W photographer. I shoot film and print in a wet darkroom using traditional materials and techniques. Whenever I talk about photography, I am talking about traditional B&W. I know little about color photography and even less about digital.
I have often heard the argument that traditional B&W is so complicated. I actually heard that from several old-time wet darkroom color photographers. The truth is, working with traditional B&W, wet darkroom materials is very simple. But, there is sometimes a complex deception in simplicity. Keep in mind that the most complex machine, or procedure ever devised is little more than a lot of simple things all working together to create a seemingly complex outcome. True, as you add more steps, each step can interact with the others, but if you break each piece of the greater puzzle into less complex, bite-size pieces, it is understandable and controllable.
When it comes to traditional B&W photography, you only have four basic controls to worry about. There are only four simple things that have power over the major aspects of the end product. . . the B&W photograph.
The Zone System is always a controversial subject among serious B&W photographers. Seems there are numerous versions and sub-versions of the system devised by Ansel Adams and Fred Archer. Each artist must choose what works best for them. Like most everything in photography, it is a very personal choice. 
Been some discussion lately about getting started in photography. We seem to have a lot of people interested in film photography. Everyone started somewhere and everyone has a story. I had written earlier in another BLOG post about the book that got me started doing my own darkroom work, but I never mentioned my first camera. I used my Mother’s Kodak No. 2A Hawk-Eye folder for my very first photographs. My Mother always had to break out the camera and make a quick snapshot when anything interesting was happening, mostly family gatherings, maybe a trip or school event. She always said, “now let me get back a little farther so I don’t cut your head off.” I have many snapshots of the great scene with these little tiny people in there somewhere. I never could break her of that habit.