PROCESS

I begin my creative process with Kodak film: Plus-X pan, Tri-X pan, T-Max or High Speed Infrared Film. Each possesses its own unique qualities.

After a photo shoot, I develop the film and make a full negative contact sheet; I selectively enlarge a few onto 8x10” resin coated paper; I then burn, dodge and/or montage an image—until I am satisfied.

Next, I fine-tune and enlarge chosen pictures onto archival quality premium fiber based paper, usually Ilford Galerie or Kodak Fine Art—each has a high silver content and a beautiful depth.

At this point I play—I may go with a straight print, collage, montage, or employ varied painting methods.

While still in the darkroom, I may choose to employ Solarization/Sabattier Effect—a difficult and precise process used to produce a positive/negative print in which a distinct Mackie line is formed around objects.

For painting, I use Marshall’s transparent photo-oil colors, or spot-tone dyes—applied like watercolors; this paint marries imperceptibly with the print’s gelatin silver emulsion. I also may employ Golden acrylic paints and/or glazes—often impasto.

To further produce a product of archival quality the finished print is dry-mounted, matted with acid-free museum board, and assembled in a chemically neutral metal frame.

Only black and white photographs containing all of these processing considerations ensures that the final artwork is archival—that is, with normal use, it will never fade or deteriorate.

Yolanda Tooley 2009