shooting film for my own work is the fruit of a long period of time thinking about and visualizing how the print will look

last week i went to sid kaplan's exhibition here in new york. sid showed me how to get to the next level for printing black and white in the late 80's.

exposure time. can i be in a relaxed mood and make a harsh-looking print?

… bear in mind that analog printing is all about feel.

everyday i print, and everyday i wonder: am i improving the state of the print as an object ?

the art of the straight print.

in my everyday i enjoy all sorts of light from different sources. but when i'm working in my darkroom i like clean light…

thousands of miles away from new york, sun and heat all around, and what did i pack along with my cameras? paper. photo paper…

goodbye darkness my old friend, i´m taking a break for the holidays.

as what is now called an analog printer, i have been dealing with digital photography since its beginning.

musicians get photographed all the time, it seems as if we never have enough images of the music scene.

well, it's thanksgiving, time to say thank you. thank you to a few people who have helped me over the years as a printer.

a large print for a gallery or museum is different, it is figured out almost inch by inch, with a precision that sometimes seems impossible to reproduce.

so with sandy and the election behind us, i went back in my darkroom.

quite a week here in new york! no printing, we lost power at griffin editions in tribeca, but the lab itself is on the 5th floor, so no flooding.

if i may write a few words about printing for mitch epstein:

this is not a blog about printing techniques, it's about how a print ends up looking the way it does.