ANALOG FILM & PROCESSING BLACK AND WHITE PROCESS

ANALOG FILM & PROCESSING BLACK AND WHITE PROCESS

I started at University processing my own black and white film and prints; this included later on colour prints C-types and Cibachrome prints from slides. I became very good in the darkroom and specialised in the black and white side of things with my special formula for printing great prints using AGFA papers, which was fibre-based. I then processed this in Agfa Chemicals and finally warm toning in selenium toners to get a beautiful, subtle, warm black. Films shot would be all sorts, including Ilford HP5, FP4, Kodak Tmax 100, 200, 400 and 3200 asa, and also using Agfa and a range of other creative types of film, including Polachrome.

Do I still shoot this?

I have recently dabbled in the analogue processes again but they are a little more time-consuming and space-consuming, etc. I gently purchased a Kiev 35mm film camera, plus i already own a full Bronica ETRS kit, which was always my shooting preference due to the format of the back. I currently use DSLRS and have a Hasselblad camera; however, i am looking at purchasing a Mamiya RZ pro 11 6×7 camera and lenses to use for film and artwork, which is a new section growing on the site this year. What is the benefit you might expect of this camera purchase? Well it take the Creo backs and will give you clarity , sharpness and digital imagery. The downside is that the back costs an arm and a leg but, mark my words, the analogue revolution is on its way and you must be able to shoot. It takes so much more skill to use this medium.

Where I got my Grounding.

Whilst at University or Polytechnic in those days, i managed to run through a range of film and photography attributes. I even managed to get to New York, where i went to RIT in Kodak City and learned the old-fashioned techniques of Cyanotypes and Gum Bichromates. There is a revival of this type of work as it lends itself to the more creative side of photography now and can even be looked at more of an art form, unlike digital so much. I studied for 4 years, one of which was a foundation course at Wolverhampton Poly and then 3 years in Photography with graphics option, where i got my BA Honours (bugger all) It was highly competitive in those days to be creative and realise projects effectively and it seems the more radically fine art you were as a photographer, the more you got on?

The analogue process is a great way of experimenting and trying out the processes and they are more readily available these days so give it a go; I know I will! we plan to shoot some SX70 Polaroids and would love a 10×8″ camera to shoot 10×8″ Polaroids, but these are a little out of budget right now.

Living and Working in  Athens.

When I was shooting analogue, i vanished over to Athens to find the more creative magazines and managed to live there for 2 years shooting, processing and also assisting. Whilst there, I managed to assist Uli Webber and Jonathan Glynn Smith, which was enlightening, especially with Uli, as he was great at lighting in the Tyen way and he worked for Vogue. I will later be creating the shots and lighting of the likes of Uli and Lindbergh for our book later in the year.

Athens was a tough city to work in, but the images seemed to have an edge in those days and I really want to get the look and feel back into my work Is it what floats my boat. Check out Peter Lindbergh; he was and is one of my favourite photographers, especially for his editorial black and whites.

Shot below taken on location in Athens for editorial feature in Max magazine

Certainly. Here’s the text rewritten in the first person, as if you (James Nader) had written it:

My journey in black and white photography is deeply rooted in traditional techniques, blending my early foundations with modern digital approaches. My expertise in creating warm, subtle black tones in prints stems from a combination of carefully selected materials and refined darkroom processes I’ve developed over the years.

My process begins with film selection. I use a variety of black and white films such as Ilford HP5, FP4, and Kodak Tmax in various speeds. This selection provides the foundation for the tonal range I seek. For printing, I specifically choose AGFA fibre-based papers, known for their ability to produce rich blacks and subtle gradations.

The chemical processing is crucial to my technique. I use AGFA chemicals, which complement the AGFA papers and contribute to the overall tonal quality. After processing, I apply a warm toning technique using selenium toners, a critical step in achieving my signature subtle, warm black tone.

I’ve developed a “special formula” for printing over years of experimentation, involving specific dilutions, timing, and techniques. My mastery of darkroom processes, honed through years of practice, allows me to consistently achieve the desired warm, subtle black tone.

In the digital age, I’ve translated my expertise into Lightroom presets that emulate the look of classic film stocks, including the warm tones I achieved in the darkroom. These presets allow me to apply similar effects to digital images, bridging the gap between traditional and modern techniques.

My educational background, including my studies at Wolverhampton Polytechnic and the Rochester Institute of Technology, provided me with a strong foundation in both traditional and innovative photographic techniques. My experience with cyanotypes and gum bichromates at RIT expanded my creative toolkit.

While I’ve transitioned primarily to digital tools like DSLRs and a Hasselblad camera, I continue to experiment with analog processes. I’m considering purchasing a Mamiya RZ Pro II 6×7 camera for film and artwork projects, recognizing the potential revival of analog photography.

My expertise in black and white photography has led me to offer courses and workshops focused on creating gallery-worthy monochrome images. I emphasize the importance of visualizing and conceiving images in black and white, teaching photographers to see in monochrome before taking the shot.

Throughout my career, I’ve worked with a wide range of black and white films and developed a strong reputation for my monochrome work. While I don’t often discuss specific brand campaigns, my expertise in black and white photography and background in fashion and fine art photography have allowed me to create striking monochrome campaigns for various clients.

By combining traditional darkroom techniques with digital tools, I’ve developed a unique approach to monochrome imagery that I apply to my brand campaigns and commercial work. My ability to achieve consistent results across different mediums demonstrates my deep understanding of both analog and digital photographic processes.

 Analaogue contact sheet for location shoot Portugal on TMAX 100 ASA

TECH SPEC for this shoot

• • Shot on Canon T90
    
  • Model: Cecelia
  • Canon 50mm
  • Shutter: 1/125
    
  • Aperture: F3.5