For the past few years I've been using the Richeson 'wash' brush (aka 'magic brush') for coating my platinum-palladium prints. Overall it's a lovely brush. The only downside is the metal ferrule used to bind the bristles together reacts with the platinum-palladium metal salts. I suppose it can be argued wither that's a bad thing or not but it sure does make it look grungy.
Recently there was a posting on one of the group forums for someone importing a Japanese hand-made 'magic brush' which didn't use a metal ferrule. How could I resist? I immediately put in an order for one. Besides, you can't have too much 'magic', right? As soon as I had it in my grubby hands I coated a couple of sheets of BFK. What a brush! It coats beautifully and feels great in the hand.
We've been blessed by a wonderful stretch of unseasonably warm weather. Last week I was driving on one of the major highways cruising at 120 km/hr. Considering what the limit is (100 km/hr) I thought it was a reasonable speed. Obviously not judging by the numerous vehicles passing by me 'like I was standing still'. I had no interest in playing cat-and-mouse with them and waste such a precious day.
I backed off on the accelerator and spent my time watching the light play on the shadows of the distant landscape. It was wonderful show, dynamic and alive. I wondered how many of those speeding by me took notice of the performance surrounding them or were they all consumed with only reaching their destinations?
All this got me thinking. I've spent the past few years working exclusively with digital. While it's gotten me quickly (efficiently?) to the desired destination I've lately become disenchanted with the journey.
So, with little fanfare, I've decided a return to using film. Despite my competent skill level there is still an uncertainty when shooting with film. You can never know for sure if you 'got it' until you pull it from the final wash and inspect each negative. For many analogue shooters that's part of the 'magic'.
Working in digital has many benefits, especially for those working commercially. However from an art photographers viewpoint the advantages may not be as clear cut. Personally I find little satisfaction in 'chimping' an lcd monitor immediately after each and every shot. I admit the digital workflow will still play a part in my work, just not as big a part as it has in the past.
I welcome my return to the journey.
Original 'analogue capture' on TX400 120 film rated at EI 200, developed in HC-110H
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