Process Statement
All my images are printed in traditional darkroom from the multitude of negatives assembled under one enlarger using a masking technique I will try to explain here as simple as I can.
The process is always the similar more or less. Once the concept is sketched and all components of the future image are photographed the darkroom period starts.
Before the original print is assembled, there is a period of tests and adjustments for every negative to be used. The notes indicating technical parameters and all sequences of manipulations for every negative to be used are meticulously recorded. After all decisions are made the “dry printing” starts. I call it a “dry printing” because no chemicals are involved in this longest part of the process.
The sheet of masking material is attached to the blades of an easel and all components of a future image, one after another, are precisely outlined. Then the outlined first component is cut and removed from the rest of the mask and the outline of the opening in the mask is precisely aliened with a corresponding negative. Next, in a dark, photo paper is attached to the easel using a ”pin register” to allow the same piece of paper to be returned to exactly the same place again and again. Then the blades of easel with attached mask are lowered down to be on top of photo material to block all the surface of it excluding the area opened by detached part of the mask.
After being exposed the paper is removed from the easel and stored in a light safe box.
Next, the piece of removed mask is precisely reinstalled and attached to the rest of the mask before the same process repeats itself for as many times as a number of negatives will be used..
My images usually consist from fifteen to a hundred different negatives.
To print a picture can take several weeks. I usually print a limited edition of seven prints with three artist proofs. It is a laborious process involving constant decision making and technical precision in every phase.
The last step is a traditional process of developing prints. A big advantage of my technique is that mistakes can be made but not corrected. This notion makes you to perform your best. After the first print is developed and closely inspected, the tension disappears. It feels like returning safely home from a long, long drive.
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