When I was kid I worked at a place in the mid 70s called General Graphics in San Francisco. Eddy Dyba was the master printer and did all the mural work. Printed with an 8x10 Durst he usually projected onto a large wall. Printed Dorothea Lange's, Bill Owens', and others' negs. Kirk Anspach was the second leading printer, and he did all of Jim Marshall's negs. Kirk used a 5x7 Durst. Heady times for a kid like myself who retouched all the prints. Nice to see the craft still pursued. After I left GG, I ended up as an assistant in a food photog's studio who primarily used 8x10 Deardorfs. There's nothing like an 8x10 chrome, it seduces you.
Thanks for sharing - it’s great to see old masters inspiring the next generation to slow down, compose and enjoy the magic of large format film photography.
You did an amazing job!!! The way that you produce this giant photo print is wonderful. I am really glad, that some people still uses large format in this way.
omg this was SO COOL to watch! I started learning with film, developed my own stuff in school, then shifted to digital and now suddenly I feel stupid because this is WAY cooler and fancy and wow wow wow. Thank you so much for sharing!
At 1:49 minutes we can see the cloth mounted on the camera the wrong way! the white side should be on the outside it will reflect the sun so it will be much cooler under neat and inside with the black inside will make it darker and easier to adjust the focus.This is a tip for the "OLD MASTER "
I'd love to meet Clyde Butcher, such an amazing photographer and I love his work with old analog cameras. I shoot a lot of medium format (120 usually) film, but have yet to take the step up to large format. I do hope I can one day. I really enjoy his work done in Florida seeing as how that's where I was born and raised, and still currently reside in.
This is not exactly the way I did it but it is a good overall introduction. When I had very large prints to develop I used a narrow trough and a piece of PVC pipe to hold the print in the soup while I "agitated" it by rotating the pipe. In a sense this is what the drum processors did. Any darkroom needs to be well ventilated.,
Wow I'd give anything to spend a week with you if gain so much experience I'm 17 going on 18 and love film I'm saving up for my own darkroom and can't wait to get started on an amazing setup like yourself
I first saw Clyde's photography at an art festival in Fort Lauderdale around the early/mid 90s...I went to one of his classes in Jupiter a short time later with my Mamiya RB 67, but the day of the shoot turned nasty and rainy...I chickened out...unfortunately...I missed the chance to learn with a true master of large format B&W.
Great video, thanks Clyde. I'll bet you have no sense of smell left after 40 years in that darkroom ;-) I think the number 1 skill required for darkroom work is patience. All the rest comes 2nd.
do you know of any place that still does chemical enlarging? or do you happen to own a business that does so? you seem very skilled, so was hoping maybe you made a business out of it lol. lately all i can find are places that scan your film and then just print digitally, which works pretty okay, but unless they use a drum scan, i find the quality is very lacking
***** that is 100% what i'm looking for actually, is an actual chemical print in a dark room with an enlarging lens like what this guy does in his video. i already have a dslr with a macro lens so if i wanted a digital print i usually just scan the negatives manually then change the color curve to correct the orange mask, while time consuming it has brough decent results. I figure though an actual enlargin lens and chemicals may come out with better dynamic range or maybe warmer colors, i don't know how many bits of colors paper and chemicals have though as i've never found an article on it nor have i ever gotten a real chemical print to touch in real life.
When I was kid I worked at a place in the mid 70s called General Graphics in San Francisco. Eddy Dyba was the master printer and did all the mural work. Printed with an 8x10 Durst he usually projected onto a large wall. Printed Dorothea Lange's, Bill Owens', and others' negs. Kirk Anspach was the second leading printer, and he did all of Jim Marshall's negs. Kirk used a 5x7 Durst. Heady times for a kid like myself who retouched all the prints. Nice to see the craft still pursued. After I left GG, I ended up as an assistant in a food photog's studio who primarily used 8x10 Deardorfs. There's nothing like an 8x10 chrome, it seduces you.
Thanks for sharing - it’s great to see old masters inspiring the next generation to slow down, compose and enjoy the magic of large format film photography.
You did an amazing job!!! The way that you produce this giant photo print is wonderful. I am really glad, that some people still uses large format in this way.
So wonderful to discover this. Beautiful work, painstakingly made. Thank you for sharing this with us.
Thanks!! I'm working with 4x5 now and likely will never go bigger. I was good to see your operation.
Magnific Large Format Photography,magic,fantastic art work!
Thank you so much 😀
A lost art until you look at the final result, then, you'd want to do anything to get there.
omg this was SO COOL to watch! I started learning with film, developed my own stuff in school, then shifted to digital and now suddenly I feel stupid because this is WAY cooler and fancy and wow wow wow. Thank you so much for sharing!
At 1:49 minutes we can see the cloth mounted on the camera the wrong way! the white side should be on the outside it will reflect the sun so it will be much cooler under neat and inside with the black inside will make it darker and easier to adjust the focus.This is a tip for the "OLD MASTER "
I'd love to meet Clyde Butcher, such an amazing photographer and I love his work with old analog cameras. I shoot a lot of medium format (120 usually) film, but have yet to take the step up to large format. I do hope I can one day. I really enjoy his work done in Florida seeing as how that's where I was born and raised, and still currently reside in.
I was at Clyde's studio last month and saw the dry side of his darkroom. I'd give anything to apprentice there for a week while prints are being made.
Thanks Archy. Glad you stopped in.
This is not exactly the way I did it but it is a good overall introduction. When I had very large prints to develop I used a narrow trough and a piece of PVC pipe to hold the print in the soup while I "agitated" it by rotating the pipe. In a sense this is what the drum processors did. Any darkroom needs to be well ventilated.,
Pure soul and very spiring. Thanks for sharing that!
Wow I'd give anything to spend a week with you if gain so much experience I'm 17 going on 18 and love film I'm saving up for my own darkroom and can't wait to get started on an amazing setup like yourself
Did you get a darkroom yet?
True Inspiration!!! A true Black and White MASTER PHOTOGRAPHER!!! Cheers!!! :)
I first saw Clyde's photography at an art festival in Fort Lauderdale around the early/mid 90s...I went to one of his classes in Jupiter a short time later with my Mamiya RB 67, but the day of the shoot turned nasty and rainy...I chickened out...unfortunately...I missed the chance to learn with a true master of large format B&W.
Great video, thanks Clyde. I'll bet you have no sense of smell left after 40 years in that darkroom ;-)
I think the number 1 skill required for darkroom work is patience. All the rest comes 2nd.
Your a gent, thank you Clyde!
Amazing!
Thanks for showing that Mr. Butcher.
Amazing... Hehehe speechless.. Thx very much
amazing,
Thank you for sharing!!!
Hi Mr. Butcher, amazing video I keep watching it from time to time. Do you mind sharing which camera are you using in this video.
Interesting he puts the filter behind the lens. I wonder how it is held in place
Hey Clyde, I'm just curious is there a place in central Florida that does fix disposal? Thanks.
Ok I usually shoot medium 120mm and 35mm but I need a view camera. I feel like this is what I’m meant to shoot
How do you find a film lab that can develop large format and put it on large paper?
+Arkansas Journal You're the film lab, You gotta know what you're doing, Such as Dodging and Burning, Film labs can't dodge and burn your vision.
+Arkansas Journal You're the film lab, You gotta know what you're doing, Such as Dodging and Burning, Film labs can't dodge and burn your vision.
You do it yourself.
Thanks for this vidéo
спасибо, интересно и познавательно :)
Respect
"That's all there is to the darkroom". Ha, Ha!
Who can service and cla these Deardorff today?
I search for parts and fix them myself!
@@clydebutcher my Deardorff has a stiff rear rail. How can I make it smooth?
@@vangstr just a tad of lubricant.
do you know of any place that still does chemical enlarging? or do you happen to own a business that does so? you seem very skilled, so was hoping maybe you made a business out of it lol.
lately all i can find are places that scan your film and then just print digitally, which works pretty okay, but unless they use a drum scan, i find the quality is very lacking
***** that is 100% what i'm looking for actually, is an actual chemical print in a dark room with an enlarging lens like what this guy does in his video.
i already have a dslr with a macro lens so if i wanted a digital print i usually just scan the negatives manually then change the color curve to correct the orange mask, while time consuming it has brough decent results.
I figure though an actual enlargin lens and chemicals may come out with better dynamic range or maybe warmer colors, i don't know how many bits of colors paper and chemicals have though as i've never found an article on it nor have i ever gotten a real chemical print to touch in real life.
Nothing like working for 2 days on this and getting a half moon or kink in your final print. Urrrrr.....
Is your art for sale anywhere?
+scottmuck His gallery in Ochopee, FL