I’m heading toward a resumption of the three prints project. Feels good to be working again. Have spent some time learning to scan 4×5 negatives with an Epson V700 scanner and output on my Epson P800 printer. The images look great on Epson Exhibition Fiber paper but they don’t have the glow of a 4×5 negative on gelatin silver paper.

I know the dilemma of being behind reading and commenting. Amazing the guilt it generates in me.

View cameras are different animals. Slow, cumbersome and demanding. In the digital age they are truly an antique approach to making photographs. Heading to the darkroom shortly to process more film. Once I have some stuff finished I’ll share some things on the blog.

I hope your time alone at Thanksgiving offered some solace of thought or meditation. Holidays can be strange.

Film and Polaroid materials are expensive. My choice of 4×5 was driven partially by cost. Mostly by my back. I’m satisfied so far.

You’re a better man than me in undertaking a view camera restoration. I do not have the patience. I’ve repaired pinholes in bellows with black silicone rubber but that’s the extent of it.

My darkroom, on the enlarger side, is quite dark. Just a small OC safelight on a worktable to allow me to put a negative in a carrier. On the sink side it’s much brighter though nothing like some of the darkrooms I’ve worked in with Thomas Safelights that made the room seem almost like daylight. Mine is a cozier light level. And the white epoxy sink brightens the place as well. I can leave a sheet of paper out for 10 minutes before any fog begins. That’s plenty since I am using a 2.5 minute processing time in Dektol.

The printing process remains magical but I must admit that making contacts I don’t look at the image side of the paper until it’s in the fixed. So I don’t see the slow revelation. Just a sudden look!

The Zone VI camera is lovely. I used to have a Wisner Technical Field camera but like the Zone VI better. Also had an Ebony RW45 with titanium hardware — exquisite camera but not a Zone VI. Whatever I use has to resonate with my aesthetic sense. The Vespa, Leica M6 and the Zone VI met that requirement.

I’ve never attempted a black and white inkjet print. I’ve seen great ones though. Prints that were difficult for me to distinguish from gelatin silver. For me the print isn’t the concern. It’s the process of creation that’s so different that it just leads to a different image. I’m convinced the images I make with the view camera would never be seen if I was working with a digital camera. It’s not about best or better. Just different.

Good luck with your plans to revamp a darkroom. It’s a big step.

Digital is certainly fast and easy in comparison. I won’t be giving up my digital cameras. They serve me well for almost everything.

In 1972 I made my first foray into a darkroom at Penn State. Until then it was just processing film and making contact prints in my basement while in high school. I fell in love with the darkroom and remain smitten.

You’re in an exclusive club having been a processor of sheet film. Not many of us around anymore.

Slow travel and film photography with a view camera do have a lot in common for me with the way I ride and shoot. Not the case for all riders though I feel they should give it a try. At least the slow travel part. Very hard to do though for people in a hurry where the motorcycle or scooter supports speed and haste.

Sorry to hear the cold is approaching and your riding season is drawing to a close. That always feels like the day after Christmas when I hear it…

I have a 4×5 Beseler enlarger in my darkroom. With the sink and trays I have I can make prints up to 20×24 inches. I seldom print larger than 11×14 though and for the current project I can’t imagine exceeding 8×10. Time will tell though.

Glad to see you’re feeling better Dom. It had been so long since you suggested a sidecar that I thought you might be ill. Unfortunately, or fortunately, I’ve figured out a way to haul the view camera on the scooter. Will have to test it out.