Photo and salt print from glass negative by Quinn Jacobson

About John

With an interest in more than mere duplication of a scene, I primarily use an 8x10 camera, and occasionally a medium format Hasselblad, to reinterpret according to my vision.

I especially enjoy photographing with long exposures. Allowing low light to transform a scene over multiple hours allows for images that are an extension of time and space that we don't experience.

In recent years, I have developed an affinity for lith printing. This printing process involves greatly overexposing silver gelatin paper and developing the print in a dilute lith developer. The prints have an appearance noticeably different from a traditional silver print. In general, the mid to light tones can be very soft and warm while the dark tones are colder and gritty.

As stated by Tim Rudman (Photographer/Printer and authority on all things lith), the process follows two basic rules:

First, highlights are controlled by exposure, shadows are controlled by development.

Second, color, texture and contrast are related to grain size in the emulsion - which is related to development.

The process is extremely versatile and allows for unlimited creative expression.

Unfortunately, many of the great lith papers are no longer made. In my experience, Kodak's Ektalure produces the finest lith prints and I have diligently acquired as much as I can get my hands on. The look and surface of this paper are unmatched. I have also found well expired papers work extremely well. I have printed on paper that expired in the early 1950’s with great results.

For archival and aesthetic purposes, I tone all of my prints in selenium, selenium and sepia, or gold toner.