My choice of the Moab papers is the Entrada Rag Bright White. It has a smooth, toothy feel similar to a traditional hot press watercolor paper and it's made in the USA of 100% cotton that is acid free and lignin free.

Chromoskedasic is a unique darkroom process that provides fun darkroom experimentation for those who like to put "play" back into the darkroom.

Photograms are generally made in a darkroom directly from the objects themselves and their interaction with the basic elements that make photography possible: light, time, and light-sensitive materials. I think of it as taking Edward Weston's interest in photographing the thing itself to another level, instead of making a camera image of the subject, I made images directly with the subject to capture both its inner and its outer character.

The combination of Platinum and Palladium over a Gold leaf results in an image that literally shines.

The encaustic process when used in photography refers to applying hot beeswax over a photographic image. This wax can be pigmented with color or remain white or creamy beige and it can give the image an intriguing surface and density.

The silver rich papers partially print out during these long exposures, but are also developed and fixed thus creating unique prints that are attuned to reflect the movements of our universe.

I've long been a fan of the soft, warm 'feel' of platinum prints. I searched for a way to make prints with a similar look using an enlarger and easily-accessible, normal darkroom materials. Enter Freestyle. (I've been shopping here since I was in high school photo classes... in the 70's!) My combination of choice today is Foma 132 (or 133, 542, etc.) paper with Kodak Selectol-Soft developer.

People usually think of doing tintypes in large format cameras such as 4 x 5 or 8 x 10's, but for years I have been encouraging students to use any type of camera they have on hand. Brownies and pinhole cameras have been used as well as something that has become a favorite – the Holga.

Dr. W. W. J. Nichol invented the kallitype in 1899. The process is based on Sir John Herschel's iron-silver reduction process called the chrysotype (the modern process is provided at the end of this section). This process is similar to platinum printing, except the kallitype image is made up of metallic silver instead of platinum.

In our high tech world toy and pinhole cameras remind us that a camera is just a light-tight box with a hole (aperture) at one end to admit light that strikes some light-sensitive material opposite from the hole. Cameras define and shape an image, which make them a basic component of the photographic language. To limit the choice of cameras is to reduce what one can photographically express.

Although pyrogallol (pyro) is the oldest b&w developer and was dominate in the 19th century, it was mostly ignored in the 20th century except for a few photographers mostly on the west coast.

Most thoughtful compositional decisions are made based on what elements to exclude from that frame. Using the Holga encourages this relationship between photographer and subject.

...The ease of reproduction denies the possibility of producing a unique photographic object. Liquid emulsions allow artists using photography to combine lens-based media with expressive and gestural applications, the artist's distinct hand and mark-making becoming additional aesthetic components that supplement the mechanical ones.

When I look at an Ilfochrome print, I get absorbed into the image. The image lives inside the material, not on it's surface. It has a depth that just cannot be matched.

Carbro prints are named because a bromide print is used, so if you want a 16x20 print you make a 16x20 print and put it in contact with a gelatin sheet that has been treated with potassium dichromate, potassium ferrocyanide, and potassium bromide.

In the world of photography, mordançage is a somewhat obscure process and often misunderstood. The draped veils even more confusing and often mistaken for Polaroid emulsion lifts or currently, Photoshop magic.

At least in theory, making a photographic panorama is entirely straightforward: take a picture, pan the camera and make a second picture partially overlapping the first, and so on as far around in any direction you please.

Given that Ansel Adams was my first and only formal photography teacher, it's probably no surprise that most of my early photographs were large-format sharply-focused B&W pictures of trees, rocks and water. Fact is, it took me years to realize that I don't even lead a fine-grained life - that while Ansel's world was timeless, monumental and sharply defined, my own world is quirky, ephemeral and decidedly fuzzy around the edges.

Collodion is to photography what watercolor is to painting -- fast, yet requiring exquisite manipulation. Each step of the process requires dexterity and quick decisions based on observation.

Most people think that printing platinum and palladium is done with precious metals, but actually we are nothing more than Iron printers. Iron salts in the emulsion coating of the paper form the light sensitive materials. Platinum replaces the iron during the processing of the print.

By using various kinds of contrast masks, the traditional photographer can have far greater contrast control, from subtle to extreme, on his prints than merely using standard methods such as paper grade or developer changes.

It's a glorious day when the mind discovers something new. For over thirty years I've been doing sharp, toned, large format photographs of the landscape and still lifes. Then one day three years ago I found myself photographing underwater---a world where I had spent much of my youth, and a world most people will never experience.

Like so many other photographers that are addicted to seeing the invisible, that puffy tree flicked the switch in me, and for twenty-some years I've been inspired by the poetry of infrared light for all my personal work.

There are two reasons for toning black and white photographs: to achieve greater longevity of the image by protecting or altering the silver in the emulsion of the print or to change the feeling of the photograph by modifying the print color.

I find it hard to believe that a thirty dollar camera with a single plastic non-coated lens, actually a plastic magnifying glass, has had such an impact on my students and me as a photographer. I am the product of a very rigid technical school, Brooks Institute of Photography; they beat all creativity out of me. Get it right, get it sharp, get it in the camera the first time, that is how I produced most of my professional images, that is until the little camera that could.

For more than fifteen years now, my inkjet paper of choice has remained Hahnemühle Photo Rag. I currently use Hahnemühle Photo Rag Bright White (308 gsm) for both my black & white and color printing needs.