I think it was last week that I had stumbled onto the deal of the century at a booksale. Well, since I want you all to enjoy a bit of it, I photographed and O.C.R.'d one of the articles.
I know the book it still copyrighted, though probably largely out of print. So if anybody doesn't feel OK with the content, just PM me and I'll remove the text and images...
I chose W. Eugene Smith's segment, not because his images strike anything in me, but simply because his lab hit me like a ton of brick. I've never seen a more cluttered lab than this!
So I hope you enjoy this little part of photographic history.
W. Eugene Smith has been one of the leading American photojournalists since shortly before World War II. His involvement in photography began when, as a young man, he was interested in becoming an aircraft designer. In the course of taking photographs of airplanes his goals changed and he has since been committed to photography as a form of visual communication. Best known for his photoessays for Life Magazine ("Spanish Village," "Country Doctor," etc.), he has recently produced extensive photoessays such as "Minamata," which was published in book form.
Smith dislikes printing but he does not back off from its demands because it is only through the control of the entire process that he can be assured that his images convey the meaning that he intends. One of the ways he relieves the monotony is to listen to music while printing, and it is said that he has over 25,000 records from which to choose. He also occasionally watches television; as shown in the accompanying photographs he has covered the screen with a safelight filter that protects the printing paper from unwanted exposure.
Over the years Smith has developed his printing techniques to match his vision. He makes extensive use of ferricyanide to bleach out his highlights and open up shadow areas. He also uses diffusion screens of either wire mesh or black stockings, moved rapidly back and forth, between the lens and easel during the exposure to soften and break up the image grain.
Since he does considerable print dodging and burning he has equipped the darkroom with a foot switch that controls the enlarger while leaving his hands free. As a final step he tones most of his prints in selenium toner to enrich the mid-tones and blacks.
DeMaio, Joe, Curtin, Dennis, The darkroom handbook - A complete guide to the best design, construction and equipment. Curtin & London inc. Marblehead, Massachusetts, 1979[Sorry, image deleted during forum software upgrade. Please re-upload if so inclined.]
