{"id":61856,"date":"2015-09-30T11:44:10","date_gmt":"2015-09-30T10:44:10","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=61856"},"modified":"2015-09-30T11:44:11","modified_gmt":"2015-09-30T10:44:11","slug":"tim-rudman-darkroom-master","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/landscape_photography-technique\/tim-rudman-darkroom-master\/","title":{"rendered":"Tim Rudman: Darkroom master"},"content":{"rendered":"\t\t
\n\t\t\t\"Tim-Rudman,-After-dark,-Iceland\"<\/a>\t\t\t

‘After dark, Iceland’. Selenium and thiourea-toned silver gelatin. All images by Tim Rudman<\/p>\n\t\t<\/div>\n\t\t\n

It was back in the 1970s that Tim Rudman first contemplated photographing Iceland. Tim had always liked the idea of exploring, and the cold region seemed to be a wonderful opportunity, a wonderful landscape and an inspirational country. However, it took until 2007 for this to become a reality. An upsurge in the popularity of photographing Iceland deterred Tim for many years, but he finally took the plunge and the end result is his new book Iceland: An Uneasy Calm, which takes its subtitle from the constant underlying threat of volcanic activity on the island.<\/p>\n

Tim\u2019s love affair with photography and printing dates back to the late 1960s, when he picked up a book by the late Sam Haskins. \u2018From that moment I knew that\u2019s what I had to do,\u2019 he says. \u2018I\u2019d seen black & white photography used to document things for news, but I\u2019d never seen it used in a sort of avant-garde way. It was a revelation to me \u2013 tilting the image dynamically, using huge grain, blowing out whites, blocking out blacks for positive and negative space \u2013 and I just thought it was fantastic. Within two weeks I\u2019d found myself a community darkroom and was teaching myself to print.\u2019 Other big early influences for Tim included Eugene Smith and Ansel Adams, but his printing skills are all self-taught via \u2018practice and experimenting.\u2019<\/p>\n\t\t

\n\t\t\t\"Tim-Rudman,-Kirkjufell,-Iceland\"<\/a>\t\t\t

‘Kirkjufell, Iceland’. Selenium and thiourea-toned silver gelatin<\/p>\n\t\t<\/div>\n\t\t\n

The rollfilm route<\/h2>\n

Fast forward from Tim\u2019s early 1960s\u2019 inspirations to the present day and Opas Books is due to publish Iceland: An Uneasy Calm in October this year. The images for the book were all shot on Ilford Delta Professional 120 rollfilm, mainly ISO 100 or 400.<\/p>\n

\u2018I use a Mamiya 645 camera because it\u2019s a nice compromise between 35mm and 5x4in,\u2019 says Tim. \u2018I used to use 35mm, and I like its spontaneity, but the Mamiya 645 produces a bigger negative and it\u2019s not as static as, say, a 5×4 camera. I shoot mostly on aperture priority, but sometimes I have to shoot on shutter-speed priority because of the lighting or the effect I want. I don\u2019t have any other modus operandi other than to respond to what I see.\u2019<\/p>\n

Tim\u2019s kitbag also includes a Manfrotto Neotec tripod and a range of yellow, orange and red neutral grad filters. \u2018I use the orange filter quite a bit, but the red is a bit too heavy for my taste,\u2019 he explains. \u2018When I started I used prime lenses for everything, but then I got a couple of mid-range zooms. I used primes at the 35mm and 300mm end, and a couple of mid-zooms in between, because prime lenses left certain holes where you just couldn\u2019t get what you wanted. I\u2019ve got a 35mm fixed, a 300mm fixed, a 55-105mm and a 105-210mm lens.\u2019<\/p>\n\t\t

\n\t\t\t\"Tim<\/a>\t\t\t

‘Storm over Vestrahorn, Iceland’. Selenium and thiourea-toned silver gelatin<\/p>\n\t\t<\/div>\n\t\t\n

Finding locations<\/h2>\n

Tim initially went to Iceland with two groups led by US landscape photographer Bill Schwab. He admits he\u2019s not generally comfortable in groups, but accepts that it\u2019s a very good way of getting an introduction to somewhere he\u2019s never been. After his group trips he went back to Iceland with friends or with his wife, who shoots in colour. One of these trips involved being stranded in a whiteout on Iceland\u2019s highest road pass for eight hours before being rescued.<\/p>\n

\u2018I found photographing Iceland initially very difficult, partly because I went with a group,\u2019 explains Tim. \u2018It was a great group, but I don\u2019t like to stand around with others and all photograph the same thing \u2013 it\u2019s not the way I like to work. For years I\u2019d been photographing trees and lith printing them \u2013 then I went to Iceland and there wasn\u2019t a tree to be seen. I found that quite hard for a few days and I just couldn\u2019t get in touch with the landscape, which was a surprise. Then, suddenly, it started to speak to me and it was OK.\u2019<\/p>\n\t\t

\n\t\t\t\"Tim-Rudman,-Montana-Winter-series-1\"<\/a>\t\t\t

‘Montana Winter series #1’<\/p>\n\t\t<\/div>\n\t\t\n

Tim admits that his picture composition isn\u2019t defined by rules. \u2018It\u2019s just instinctively what feels right,\u2019 he says. \u2018Sometimes it\u2019s immediate and sometimes it\u2019s elusive and you hunt around, change a little bit here and there, and work at it for ages \u2013 and then suddenly it\u2019ll click or it doesn\u2019t. You just have to try to find how it speaks to you and respond to it \u2013 I like to do that. Most of the places I go to now I try to go off-track and find somewhere that says \u201cIceland\u201d to me, but isn\u2019t necessarily where everybody goes. It doesn\u2019t even have to be anywhere very scenic, but with the right light you can just pick up some detail, such as a pile of rocks on the side or something that has a feeling of Iceland about it. Often that\u2019s not where people go to photograph, generally because it\u2019s not one of the tourist spots.\u2019<\/p>\n\t\t

\n\t\t\t\"Tim-Rudman,-Eight-Trees\"<\/a>\t\t\t

‘Eight Trees’<\/p>\n\t\t<\/div>\n\t\t\n

Over the eight years of shooting his project, Tim estimates that he went to Iceland about 10 times. \u2018I spent anything from a week to the longest trip of six weeks,\u2019 he says. \u2018It\u2019s never the same \u2013 the weather\u2019s different, the clouds are different, the lighting\u2019s different. It may be covered in snow, raining or just sunshine. I\u2019ve been pretty much every month of the year except August and November\/December. I\u2019ve been there for the longest day and on the shorter days when, in the north, you\u2019re getting four hours of daylight. That\u2019s quite nice, but you don\u2019t have a lot of time to shoot. In summer, at the end of June, you can shoot all night as it never gets dark. It\u2019s a sort of soft twilight all night long.\u2019<\/p>\n

Tim\u2019s early images of Iceland were exhibited in Sydney, Melbourne and Ballarat, Australia, in 2010, not long after the eruption of the volcano Eyjafjallaj\u00f6kull, which caused widespread disruption to air traffic around the world. It was the curator of the Sydney exhibition who dreamt up the An Uneasy Calm strapline that has since
\nhas been incorporated into the book\u2019s title.<\/p>\n\t\t

\n\t\t\t\"Tim-Rudman,-Two-and-a-half-Trees\"<\/a>\t\t\t

‘Two and a Half Trees’<\/p>\n\t\t<\/div>\n\t\t\n

Darkroom equipment and printing<\/h2>\n

Tim\u2019s darkroom set-up includes, \u2018An old Leitz condenser enlarger and a couple of German diffusion-condenser enlargers\u2019. He also deploys an F-Stop Timer, which he adopted after much encouragement from his friend, the late US printer Gene Nocon, who invented it. \u2018It\u2019s a much better way of printing, with such fine control and it\u2019s reproducible at any size you want to print,\u2019 says Tim. \u2018I just think it\u2019s a brilliant tool.\u2019<\/p>\n

Tim\u2019s images for the Iceland book were developed using Ilford Ilfotec DD-X developer with some negatives being intensified in selenium. \u2018The prints were exposed with a diffusion-condenser enlarger onto Ilford Multigrade Warmtone fibre-based paper,\u2019 he explains. \u2018I use the F-Stop Timer and a split-grade timer as well. Everything on this work was split-graded using two filters (a Gr.00 and a Gr.5). This gives you all sorts of advantages when you get the hang of using it. It\u2019s not lith \u2013 it\u2019s dual-toned.\u2019<\/p>\n

Tim continues: \u2018The use of split-grade printing helps to ensure that initially both contrast and time exposure accurately match the negative and paper, thus ensuring that subsequent printing manipulation is all about interpretation and is not rescue work for exposure\/contrast mismatching. It also allows greater local contrast adjustment by dodging during the Gr.00 or Gr.5 exposures, as well as when burning.<\/p>\n

\u2018I tried this project in lith, when I started printing after my first trip, and didn\u2019t like it. I printed a lot of the pictures in lith and it just didn\u2019t seem to suit it. I wanted it to have a consistency through the body of work and the temptation with lith was to tone all the icy ones and snow ones in gold so they were all a bit blue, and tone the other ones differently, but then it lost its identity a bit so I abandoned that.\u2019<\/p>\n

A more in-depth description of Tim\u2019s printing process features in his book and, with some exceptions, the silver-gelatin prints from the book will be available as limited editions of 25. A deluxe edition of the book will also be available with three special limited-edition prints that will be in one size only and are unique to the book.<\/p>\n\t\t

\n\t\t\t\"Tim-Rudman,-Moonrise-Myrdalssandur,-Iceland\"<\/a>\t\t\t

‘Moonrise, Myrdalssandur, Iceland’. Selenium and thiourea-toned silver gelatin<\/p>\n\t\t<\/div>\n\t\t\n

Exhibition and upcoming projects<\/h2>\n

An accompanying exhibition for Iceland: An Uneasy Calm is planned for The Lightbox gallery in Tim\u2019s home town of Woking, Surrey, from April-June 2016. \u2018I\u2019m working on various other galleries to take it to,\u2019 adds Tim. \u2018I\u2019d be very open to other interest if anyone would like to show it because I\u2019d like to tour and may take it overseas if I can get support.\u2019<\/p>\n

Aside from the touring exhibition, Tim still has other photographic plans and projects for the future. \u2018I want to go to Greenland and spend some time in a village there,\u2019 he explains. \u2018I don\u2019t just want to cruise up and down the fjords \u2013 I\u2019d like to spend some time on land.\u2019<\/p>\n

Tim adds: \u2018I\u2019ve got a lot of work on trees, which is mostly lith and toned, that I\u2019ve been working on for some time and I want to produce a book on that. I\u2019ve had a touring exhibition in Australia on trees and I\u2019d like to produce a large-format book of this. I\u2019ve got a lot of negatives that I\u2019ve never printed and I\u2019ve got a lot of old lithable papers stored away in freezers, so I\u2019m looking forward to that.<\/p>\n

\u2018I like to keep experimenting. I have a scientific background, so I\u2019m quite used to the \u201clab work ethic\u201d of changing one thing at a time, noting it and keeping records, and I think that\u2019s really important when you\u2019re learning. I\u2019m super-critical: \u201cThat will do\u201d doesn\u2019t cut it. It won\u2019t do \u2013 if it\u2019s not right, do it again. When you make mistakes in the darkroom the most important thing is to figure out exactly what went wrong so that mistake becomes a learning step.\u2019<\/p>\n

Tim admits that he uses a small Panasonic Lumix model as a \u2018snapshot\u2019 camera, but says digital photography really doesn\u2019t interest him much.<\/p>\n

\u2018I\u2019ve never yet made a digital print,\u2019 he says. \u2018I like making prints \u2013 it\u2019s a manual thing. You start off with
\na virgin piece of paper that you take out of a box, then you put light on it and you spread the light around with your hands, develop it and see it come up. You wait and then maybe you fix it and\/or bleach it back and redevelop it in a different developer or tone it or do some local bleaching \u2013 whatever. Then you wash it and press it, and you end up with the same piece of paper with your artwork on it \u2013 the same piece you\u2019ve handled all the way through. I like that, whereas seeing a virtual image on a screen and then pressing print just doesn\u2019t have that manual craft bit that I like.\u2019<\/p>\n

Biography<\/h2>\n

Tim Rudman began his involvement with photography in the 1960s while studying medicine in London. He taught himself to print in the darkroom and, with his distinctive style of black & white printing, quickly gained some early recognition and publication. His work has been exhibited in over 50 countries, gaining many top international awards. Today he is respected internationally as a photographer, printer, author and authority on darkroom printing and toning techniques, particularly lith printing.<\/p>\n\"Tim-Rudman,-Iceland,-an-uneasy-calm\"<\/a>\n

To see more of Tim Rudman\u2019s work, visit www.timrudman.com. For more details about the exhibition, call 01483 737 800 or visit www.thelightbox.org.uk<\/a>. Tim\u2019s book Iceland: An Uneasy Calm (\u00a355) is available from www.opasbooks.com<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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