Inspiration for building Darkrooms, Alt and Silver and Hybrid

[Rich Ullsmith]

Very noble challenge there Bob, but obviously you are passionate about it so something tells me it will come to fruition. I can't be of any help, in fact if you ever establish such a workshop the first thing you should do is ban me (or others like me) from the premises lest we turn your darkroom into the same garbage can I have here at home. God, what a mess . . .

There is something of a resurgence in film and I think it has a lot to do with Holga and pinholes. Me, I contact Zero Image and Holga and whoever else is selling these alt cameras, see where their hot markets are, see if any match up with your localities. Hell, they might even give you a hand if you tell them your mission, as it dovetails with theirs. You have a international business reputation too, you aren't some yahoo looking for free money.

These young urban techies, they have deep pockets and their leisurely pursuits are geeky but they tend to be more organic and tactile than their professions would suggest. They dig science and they dig art, they love tinkering. They would go nuts over graphic arts films and lith.

 

[DREW WILEY]

I'd never set up anything in Frisco itself. Only Caligula or Heliogabalus would feel at home there, and even a Roman Emperor couldn't afford
the rent. Now they're talking about some kind of "low income" housing option again, for those who make ONLY 150K a year. Won't happen.
Traffic is anarchistic hell. The peripheral areas I am looking at are dicey for the very reason I mentioned earlier: cute older gallery-esque spaces without major hazmat or seismic issues aren't common. Nor does one ever want to be adjacent to a restaurant. Kitchen fires are awfully common. Takes a bit of patience. A simple brick wall in this part of the world might need hundreds of thousands of dollars of retrofitting behind it. Things do shake around here, which is one reason only the movers n' shakers can afford some of these spaces.

 

[blindpig]

Hey Bob,be international and come on down to south west Missouri and let an old geezer help out.Low cost real estate high tourist traffic and large arts/drafts interest.Just a thought...
Don

 

[mgb74]

It's probably implicit in your plans, but leave room for the casual first time user of traditional film and printing. Most will never get beyond the "tried it and got bored" stage, but some will and they'll be the ones executing their vision in the future.

 

[xvelids]

It's probably implicit in your plans, but leave room for the casual first time user of traditional film and printing. Most will never get beyond the "tried it and got bored" stage, but some will and they'll be the ones executing their vision in the future.

I think this is a key point. I feel that perhaps you can do a membership fee? Something that's affordable, but so that people are seriously committed to the space. I know on a personal point if it's a community darkroom or shared darkroom space, there needs to be a personal space for your negs, chemistry and paper. Maybe with some personal lockers?

For example, it's one thing if you run out of RC paper for contacts, but if someone fogs or "borrows" paper from you - it can be frustrating because you go in to print and what you need isn't there. The so-called shoe leather cost is frustrating. For me, to be specific, was I'd show up at the darkroom, find out my papers are missing and then it's another trip to B&H, but then it's Saturday so that means Adorama and B&H is closed so then you can't really print - 2/3 hours just got killed. Or, I'd share a flatfile space with someone, but they spill chemistry and now it's all over my prints etc...It's kind of smaller transgressions that can really help improve workflow/experience and sets the difference between a community space or a professional environment. Furthermore, we can see that you are dedicated, but people can be careless with other people's possessions.

Bob mentioned he was a control freak - I take this to mean that he would assume everyone would be responsible. Having people administer and oversee the space is extremely important and also you will definitely need a rulebook/guidelines and safety protocols esp. for any accidents/insurance. It's probably not pleasant to think about, but accidents happen and everyone should be prepared.

Just my two cents!

P.S - I know this might be too commercial for some of you, but the Mana Contemporary art space (Kelton labs is based there. I visited it and it's great!) is definitely interesting and you can definitely learn things from their example.

 

[Terry Christian]

come on down to south west Missouri

Small world -- I have relatives in Neosho. My late uncle was a teacher and was heavily involved with the fish hatchery there.

 

[Bob Carnie]

If I was 10 years younger Montreal would be a city for me to seriously consider.

I actually am thinking the Hamilton area, I started my career there and it would be ironic that I ended it there.

I will be posting all my projects in Montreal, funny I had a big opening here last night and I think I may
actually have an entourage coming with me for my show.
We have also booked Philip Jessup in November so I think I will be in your city a lot over the next few years.

I'm still pushing for Montreal. I'll help run the place.

 

[Bob Carnie]

I think there are places that are much better suited than the idea I have. For example Project Basho in Philly, Gallery 44 in Toronto , are really set up to help the casual worker sink into our lifestyle.
I am really not thinking about a place where beginners find themselves, but rather a place where working pro assistants(actually thousands of them out there) and art project workers who understand how the darkroom works will come and use it for their personal projects.

As it stands I have about 10 ex - assistants still working on long term projects that know how to work in my darkrooms( did I mention I am a control freek) everything from cleanliness to proper drying on screens is critical.. mix ups in trays and so on are the things that drive me crazy.

My background before starting my own business was working in very large photo labs that ran shifts and had in one case over 200 employees. It was critical that all technicians were able to work in common spaces and keep the tools and space in order. Otherwise it would be chaos.

I will definitely pass this mantra on to those who join me.


I should mention that a new wave of Contact Printing with enlarged negs, ink and silver, is becoming the norm and using many processes, I will be very
active in this field as digital cameras now have an outlet for silver and alt prints.

It's probably implicit in your plans, but leave room for the casual first time user of traditional film and printing. Most will never get beyond the "tried it and got bored" stage, but some will and they'll be the ones executing their vision in the future.

 

[Tom Taylor]

Bob,

Check this out in SF: http://www.minnesotastreetproject.com/

Thomas

 

[Bob Carnie]

Hey Thanks Thomas I will look into the link

Bob

 

[Bob Carnie]

I am getting nice PM's with links thank you all, keep them coming.

 

[mgb74]

I think there are places that are much better suited than the idea I have. For example Project Basho in Philly, Gallery 44 in Toronto , are really set up to help the casual worker sink into our lifestyle.
I am really not thinking about a place where beginners find themselves, but rather a place where working pro assistants(actually thousands of them out there) and art project workers who understand how the darkroom works will come and use it for their personal projects.

As it stands I have about 10 ex - assistants still working on long term projects that know how to work in my darkrooms( did I mention I am a control freek) everything from cleanliness to proper drying on screens is critical.. mix ups in trays and so on are the things that drive me crazy.

My background before starting my own business was working in very large photo labs that ran shifts and had in one case over 200 employees. It was critical that all technicians were able to work in common spaces and keep the tools and space in order. Otherwise it would be chaos.

I will definitely pass this mantra on to those who join me.


I should mention that a new wave of Contact Printing with enlarged negs, ink and silver, is becoming the norm and using many processes, I will be very
active in this field as digital cameras now have an outlet for silver and alt prints.

No doubt beginners and casual users will be the bane of the control freak. And even the bane of the serious user. But having recently joined the card carrying cadre of "old farts", I realize that many of the endeavors we enjoy will soon become extinct without fresh blood. As long as they have someplace to begin, all is well.

 

[Bob Carnie]

Well after a 3 1/2 year absence the Lambda is now back producing film... I cannot express how much of a game changer this is for me, I really like the real silver film for its weight, blocking power , manageability and archival aspects.

What you see here are enlarged silver film from digital capture that I am going to make silver gelatin lith contact prints for a show I am producing called Pallas which covers all our well known musicians from the 50's to Prince three years ago.

I think my lab is the only place that you can get this type of film, This will be a perfect output for those with access to a public darkroom or their own darkroom to do contact print.

I feel that within two years I can build a big room where photographers can rent the room, It will have lockers, UV light systems for exposing , stripping tables
and all the wet sink and drying areas for alt printing.
I tried this with enlarging darkrooms years ago and it really did not work.. . But over the last two years I have had over 40 people take mini workshops with me
to learn CONTACT processes and the complexity of working is within most photographers abilities.