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Gordon Hutchings
Member, Freestyle Advisory Board of Photographic Professionals

 



Biography

Gordon Hutchings is a well known black and white fine art photographer living in Granite Bay, California. Gordon is a master printer and photographer whose work is dominated by the large format camera. He is the inventor of the PMK pyro developer and is largely responsible for the insurgence of interest in this developer in recent years. His articles and photographs are published in many countries and his book "The Book of Pyro" is well known all over the world. He has taught extensively in one-man workshops and co-taught with other well known photographers such as Ralph Talbert and Morley Baer. Many of his workshops have been through the University of California, extension. His work is represented in private collections and permanent collections primarily in California.

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Ask the Expert Question/Answer

QUESTION:

Dear Gordon, We spoke a few months ago about using Unicolor roller bases to get more even development with PMK, especially with 35mm in stainless tanks. Was it model 352 you recommended? Thanks, Brad

Mr. Hutchings's Answer:

Hi Brad, As far as I know Unicolor made only the one Uniroller. It works great, but all of the used ones I have seen require a little re-hab in the innards. Simply take off the base and clean the grunge off of everything. Then lube the axles and ...full answer

QUESTION:

Dear Gordon, I have been greatly encouraged in your photographic contributions and publications. I have a couple request that perhaps you may have time or ability to respond to at your convenience? These request pertain to photographic education and workshops, and also my more recent use of pyro with large format negatives. In the past I've worked exclusively with the Leica-M system for documentary and fine art work. I began serious work with 4x5 a little less than a year ago, and have learned so much in composition and the realization of such great negative information to work with in printing. Now my work is more focused upon the importance of tonality. I print with an Omega D2V on Bergger or Kentmere VC/FB paper generally. Cameras: Sinar F1 and Fotoman 45PS. I also desire to work with alternative processes in the future, and thus see the value of pyro formulations in both silver and alternative metals. While photographing for about 30 years and occasionally teaching basic photography, I feel like a newbie to photography all together! This time in my life is both rewarding and frustrating, for I know what I want to achieve and yet feel like an adolescent. I would ask for your kind assistance and recommendations. What workshops would you recommend that I could tie into for your instruction, looking at the Fall 2007? I live near Seattle, Washington but could travel outside the region. What would be a recommended pyro formula to self-formulate and work with as a foundational basis in my work? I tray process currently with the Farber recommended-- pyro triethanolamine formula and love the results that I obtain, but receive little stain, I presume, to the high concentration of sulfite in the formula. This has me worried that the negatives might not be benefiting form the correct amount or quality of stain for both silver and platinum. I have considered using the WD2D formula or the Herbst pyro (variant) formula as shown in the unblinkingeye article: The Effects of Pyro Stain in Platinum Printing. I plan to purchase your book again, since my old copy has been misplaced in a past move to the Pacific Northwest. In the digital age, I have decided to dedicate my life to preserving the traditional side of photographic arts and to hopefully master skills in this arena in the years to come. Thank you for your kind assistance. Sincerely, Mark

Mr. Hutchings's Answer:

Dear Mark, You are working with large format, good for you. There are many years of wonderful learning and exploration ahead of you. Q1. In your area, I would suggest a workshop from Bruce Barnbaum. He does not like pyro but he is a great arti...full answer

QUESTION:

I've used Oriental Seagull paper for several years. Initially the paper I used was Seagull G. A couple of years ago this started showing up in boxes labeled GF. Now it appears it is back to G. I noted a slight warm tone on the GF paper, which I liked a lot, but I don't know what to expect with the "Seagull G" paper. I'm involved in a series of photos spanning years and I hate to move back and forth between these papers for matters of consistency. Do you know anything about this? The folks at Oriental Seagull can't help and others I've asked don't know. Thanks.

Mr. Hutchings's Answer:

Dear David, I wish I knew the answer to your question, but I haven't used Seagull for many years ( I gave up on it during one of its withdrawals from the market) and haven't gone back. These days you cannot count on consistency from very many com...full answer

   
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