Grand Canyon of the Yellowstone
This image came from Yellowstone National Park this past summer. The image may-not jump out illustrating the power and magnificence of YNP. However, what’s most rewarding to me, it’s not the can’t miss hero image everyone makes from the iconic Lower Falls of YNP. This image is about 90 degrees to the right of the hero image where scores of people were making, and I myself made of my wife and traveling partner as seen in this color photo taken only minutes before the featured image this month.
For me, the image is more about the shapes and tonalities that were possible with the B&W process, even from a digital camera. Reading on will detail why the image was chosen for this month’s story.
The month of September over the last 25 years lays claim to the most important anniversary of my adult life. The 2024 change of seasons from Summer to Autumn so too would include another major event in my artistic life. The weekend of the autumn equinox I would hand off for the last time a borrowed 5×7 Deardorff film camera to a dear friend. Never say never, but this would most likely signal the end of “film capture” photography for me going forward. The new Sony digital camera has plenty of power, in the end, it is simply a different tool to record, not what the scene looked like, but what my mind saw in the way of B&W image potential. “Making an image” is where visual artists are separated from those who simply “take pictures”. Ansel Adams coined the phrase, “You don’t take a photograph, you make it” !
Beginning around 1980 the next 25 years I would be consumed with the challenges of large format Black & White film imagery. The “perfection” of a little known B&W film processing technique in 2003 would tie my name to a global audience, albeit to a very narrow genre of Black and White film photographers processing their own film…no one understood the technique like I do. The ensuing 18 or so years would give birth to Silver Gelatin prints that were clearly set apart from other silver prints. I’m an adequate silver printer, however, that film processing approach gave reason to how powerful this technique has become, my prints were markedly different and set themselves apart from the norm. Numerous B&W photography household names would offer unsolicited praise when asked if they knew me, or of my work. One of the 5 finest Silver printers in the world, IMHO, called and asked me to give several week long Silver printing workshops at his lab in Toronto, CA. My silver prints have been purchased by private collectors from 5 of the 7 continents worldwide. I only offer this narrative to paint the picture that B&W film and Silver printing at the highest level were no longer providing new challenges or avenues for further exploration that I sought.
The confluence of 70 years old, a 40 pound backpack and technological advancements in digital sensors and printers would arrive at an intersection of my thirst for new challenges and less friction to make visual imagery. While it took 2-3 years to actually accept this seismic shift in both approach and implementation of the creative process I had exhausted all uncertainty for a total new approach. For nearly 40 years I was all about the B&W film & silver “process”…over the last 5+ years the challenges to make imagery that originated in my mind’s eye would overtake the sole focus and love of the film process. To be clear, the final output of my photographs will always be wet-processed B&W Silver prints. To my point, it’s become much more about the visual idea then the actual process.
My wife, at the time of this email just 5 days short of 50 years married was always supportive of my passion at every turn. Sometimes gone for weeks at a time, she always had genuine interest and appreciation for my exploits. However, a 6 week trip to my beloved SouthWest would be the final test whether the new approach would take hold. The two of us tied together in the front seats of an SUV and 9400 miles across country was a constant concern rattling around in my head. It had been 15 years since I was last in the SouthWest, there would be photo opps whizzing by and I was a bit suspect the photo thing could get out of hand. That never happened, in fact quite the opposite. So many of the roads out West and in the mountains have little to no shoulder to pull off and out of harm’s way. I’d drive by something and say “damn, there’s an image, but nowhere to stop”. VicMom would say, well there is usually a turnout every so often, simply pull off and walk back, “I’ll be fine here, no worries” ! I really didn’t want to push the issue, but it never became an issue, simply never ending support for the passion that took hold of me back in 1980. All that said, VicMom would be the last hurdle in this major shift in my photography approach. When she did hear of my thoughts, there was some pushback followed by many questions…which really meant, once again, real interest and concern for the new path I was embarking on.
For those who’ve never shined light on a blank piece of white paper, put that blank, no image paper into essentially a clear liquid developer. Then watch a positive image slowly, and magically come to life is intoxicating to see unfold. It may be difficult to imagine why I would embrace such a steep learning curve as opposed to pushing a button on the latest high-tech printer. That same printer I use to generate a digital negative to make those wet-processed Silver prints…there’s something quite undefinable to creating and admiring a B&W silver print made by your own hand !
SS! Your life with photography is well noted. You tell an interesting tale of unknowns and surprises. Be happy that your creative genius has allowed others to enjoy your developments. Painstaking exactitude is evident in your story and is truly appreciated.
Hey Tim,
Thanks for reaching out, you always have a way of thoughtful and insightful takeaways from the Story Behind Blog. Do look forward to your perspective every month.
SS
Steve, I almost hesitate to ask, but what digital camera system did you find compelling enough to replace your large format film cameras? This is something I toy , and struggle with as well.
Hi Larry,
Appreciate your interest in the monthly Story Behind series. I went with the Sony due to the auto focus system as my original interest was in grandchildren sports photography. With age and weight of backpack going in opposite directions made the transition at least plausible.
Stay well,
SS
Hi Steve, What a wonderful story and how your creative image making is still progressing. I too struggled for a long time in making the transition to digital use, but still enjoy making real silver gelatin prints from my files. If I understand you correctly, you plan to make digital negatives for silver prints. I have tried making my own without acceptable success, so I now use Digital Silver Imaging. Will be very interested in how you go about making your silver prints from files. As always, my best to you and your family. Dennis
Thanks as always for checking out the month Blog Stories, and of course time to offer your own insight.
I’ve been chasing this digitally printed negative for close to 2 years, always with the idea of moving on from, weight, time and not cooperating weather conditions, not so much from the film process itself. Simply the friction associated with the big film. It’s a topic for an adult beverage and in person.
Nevertheless, I have pulled the trigger with most of the LF equipment gone except for a couple of pricey lenses. At this point the learning curve is quite steep, nevertheless the software and particularly a very inexpensive Photo Shop plugin made by Tony Kypur and his TK 9 Luminosity masking system. Once I get a handle on that I do believe the corrections that are possible far outdistance darkroom printing techniques, at least at my skill level.
Steve – Quite the unexpected transition, But, you will need to tell us briefly how you go from the digital image (presumably through software) to the negative that you will then use in your enlarger – unless you go full digital to the printer. Bob
Hello Robert,
I’ve been working on this transition with the EPson 900 printer to produce transparent negs for contact printing to ordinary Ilford papers. It’s a steep learning curve, particularly with the Photoshop side of things. That said a very inexpensive and extremely powerful PS Plugin made by Tony Kypur, called the TK 9 plugin will provide minute corrections nearly impossible in the enlarger world and impossible in the contact printing world. Thanks as always for reaching out with your thoughts !
SS
Love your story and can relate. By the way, a warm Piezography print made on thick rag paper shot with a Fuji GFX will blow your mind, good luck.
Hi ALex,
Thanks for checking out the Story Behind this month. For sure I’ve got new challenges and a steep learning curve, it will breath new artistic life into my imagery hopefully.
SS
So I take it this one was not born wet.
Hi Jim, No it was not, this came for a late model Sony with a large sensor, thanks for checking in !
SS
Hi Steve, I can relate to your decision to shoot digital but still print in the darkroom. While I still shoot film, and I do print in the darkroom as well, on occasion I have made a digital negative of the scanned negative, and then printed on silver gelatin paper. I usually do this if I am unsatisfied with the outcome of the print I obtain from the original negative. I also have scaled down my gear from 8×10, 4×5 to 120 and 135 formats. In fact I really love shooting with my Leica M2 and get beautiful images, particularly from Ilford FP XP2 plus film. And I do have a new (used) Leica M10 monochrome from which I also want to also create digital negatives and print in the darkroom as well. Hope all goes well.
Hello Fred,
Thanks for reaching out with thoughtful words and insight. I’m really excited for the new challenges that await, the mind is a funny thing, never sure what lies ahead. I have a friend who has than monochrome Leica, I wonder if that’s when the idea began to creep into my head.
Stay well,
SS
I am very surprised at your decision but will be waiting for your first image of your new era. Enjoy every minute!
Hello Alberto,
Thanks very much for your time to read, and then of course to repsond with your thoughts. The transition will be a new challenge just as it was 40 years ago, need to get after it as the clock is always ticking.
Cheers, and stay well,
SS
I always enjoy your “Story Behind…” segments. I think one of the most difficult things to do for a photographer is to find an image from an iconic location, like the falls on the Jellystone River, that is different, and interpretive. Since the sad/glad imposition of the i-Phone and Fart Phone on everyone it becomes very difficult. But you have solved the issue here brilliantly, and I would expect nothing less!
Hi Nathan,
Really nice to hear from you, haven’t seen much activity on social media, but then I have scaled back myself, too much craziness.
Appreciate your kind words about the YNP image. You know I love Jay Dusard, as do you, I immediately thought of him and his “seamless’ landscapes, as he was mentored by Fredrick Sommer years back. I did however chicken out by including a sliver or sky. It’s always a learning and growing process.
Hope all is well in NM,
SS
Hey Steve
Having been in your wake when you make some of these images, I find it interesting that the guys are still dwelling on technique, and I found your wife’s patience the gist of this story. Whether she was home with the kids and family, or reading her book at a turnout,
Vic is quite the lady, a rare person indeed! Congratulations to the 2 of you on 50 years!!
Yes indeed, I’m glad that came through as she, as you say, quite the life partner. The next 50 gonna be different…no work, more $$, less stress and more family !!
SS
Steve, congrats on 50 years (we are 51), and congrats on figuring out how to blend the future with the past!
At first glance look’s like roads to Heaven that may never end. Maybe a sign that you might not get there or it’s just not your time.
To be able to catch such a wonderful photo of Vic at the moment of crashing waterfall. Just simply WOW. Your travels at this age is a tribute of 50 years of Love.
Live by that saying by Ansel Adams: “ You made it”. You always make your photos come alive in that very different brain of yours!
This one’s a keeper indeed.
D