I made this photograph on boxing day, seven years ago. I was taken by the mist, blown in off the sea, and the play of light as the waves broke in the foreground and the sun faded away. The paper this is printed on was made by Forte, a leading manufacturer of darkroom materials who have long since closed down. Although I was never overly enamoured with the sheen of the paper base of Forte Fortezo, it toned superbly and and as a result, sits amongst my favourite darkroom papers. There is an interesting project underway to resurrect its multi-contrast brother, Polywarmtone. This print was made with Ilford Warmtone developer and given a quick Sepia and then Selenium toning cycle.
I’ve been so engrossed in making platinum/palladium prints for the last two years, that I completely neglected my work in silver. As I revisit my archive of these prints, more of which I will post soon, I am reminded of the special qualities of a silver print. Certainly platinum is very beautiful, but there is less room for experimentation and differing looks; with fewer usable papers, choices of developer, toner etc. I have begun to miss this diversity over a particularly busy period of platinum printing, and although I love and am committed to the process, want to reintroduce some alternative methods in the new year. Not to mention making posts in this journal more often.