Photography: Gate, Old Street Station, London 2013

                                      copyright Emiliano Santoro

Photography: Passage, London, 2013

Everything flows with[the] horrible mysteries of ancient landscapes;

of strongholds visited, of large estates:

it is along these banks that you can hear

the dead passions of errant knights:

but how the wind is wholesome!
Blackcurrant river (A.Rimbaud)

    Copyright Emiliano Santoro. London 2013

You are not alone tonight

you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - 

                                                 pencils on paper

you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight - you are not alone tonight

Photography: Strasbourg, France

copyright Emiliano Santoro. all rights reserved. Strasbourg 2013

How can you be sure you are looking at the photo....and not the other way round?

Love yourself

                                                Love Yourself - Colored pencil and ink on paper - 2013

The days of film photography pt.3 - Printing - by Glenn Pierce

In printmaking, photography at last yields its prize. For me it was the most pleasurable part of the whole imaging process. To see an image appearing on photo paper in the developer tray was a grand and fun experience.

The Print -- Part 1

Photo paper came in literally hundreds of various options of texture, finish, tint and image tone. In addition,each kind of paper came in several grades, which determined the contrast between the tones of gray. You found the ones that suited your style of photography & printmaking.

                                          Docking Pier-Glenn Pierce

The days of film photography pt.2 - Printing - by Glenn Pierce

Well folks we have developed our film and are ready to make B&W prints 1-3 days later after shooting our images --- No! We now have to make contact sheets of the negatives to see the actual images. These contact sheets are much like a grid view of your images in Lightroom.

1. In the darkroom under a safe light, low wattage yellow light, you take a sheet of photo paper and placed it on the base of the enlarger with your film strips on top under a piece of glass.

2. Adjusted the enlarger for wide open F-stop (yes enlargers had F-stop adjustments same has cameras).

3. Turn on enlarger light for approx. 5 seconds.