I come from a family of writers and one of the many things that I learnt from them is: don't just tell your readers things, let them discover things for themselves. It makes it more personal and so more meaningful to them.
I have always wanted to carry that into my photography - and I do it in a number of ways.
One of the most common questions I am asked is about 'my darkroom'. I always reply that I don't have one because I don't need one. This often comes as a surprise. I then explain that the most important processes that were used by the Pictorialists used the direct sun to expose their images. As long as I avoid direct sunlight I can do my printing in my ‘dim room’.
On occasions I find that some of my gum prints are stained yellow, which does not come out with washing. This is due to the dichromate being trapped in the paper or somehow attached to the surface of the paper. This is a well recognised phenomenon and the recommended treatment is to clear it with sodium metabisulphite.
These notes were taken while I tried this clearing technique - see how well it worked.
I have been exploring the freedom that I get from a photographic printing that uses pigments, because I can use white pigment and start with a paper that is mid-toned. However, I'm finding that using the gum bichromate does not carry as much pigment as I would like.
Here I explore whether this could be achieved with white in the "carbon transfer process'.
I've been playing with edges within photographs for many years - here I'm playing with masking fluid to create a sharp edge on a face in profile.
I'm using the image I call The Knowing Smile, which you can see in the Gum Gallery. I want to bring out the face more by only preparing part of the paper where the subject is - with a loose edge except around the face.