Glenn Paulley

I enjoy landscape photography and portraiture, primarily using black-and-white film and analog tools. My cameras include Canon EOS for 35mm film and digital work, Mamiya C330S and C330F TLRs as general-purpose cameras, and a Gibellini TCN 45V2 with Fuji and Schneider lenses for landscape work.

Finding the right development times

Darkroom technique / By

I ran out of Ilford ID-11 this week. I have lots of Perceptol, but looking both on the box and on the Ilford website, Perceptol isn’t rated for developing Kodak 320TXP. I knew that ID-11 was Ilford’s formulation of Kodak D-76 so I ran to my local Henry’s store to see if I could find either – and found two 1-litre envelopes of D-76. Cheap. Now the question was: what developer times to use? While Ilford makes some attempt to document how their chemistry works with films from other manufacturers, […]

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Cenotaph photographs published in the Waterloo Region Record

Projects / By

Rod Frkeitch, the photo editor of the Waterloo Region Record newspaper, called two weeks ago to express interest in publishing some of my photographs of cenotaphs in the paper on Remembrance Day. I couldn’t have asked for better exposure of my work and I was really pleased with the result, a brief summary of an interview I had with reporter Brent Davis and a two-page spread of images in the front section. PDFs of the front page and the two-page spread are here, here, and here.

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Using the RH Designs PaperFlasher II

Darkroom technique / By

Working in the darkroom yesterday made me again appreciate how useful the PaperFlasher II is when trying to print scenes with excessive contrast. The PaperFlasher II is made by RH Designs in the UK.  The PaperFlasher II is powered by a nine-volt battery and offers precise control over the duration of the flash. I attached the bulb housing to the mount of the lens on my DeVere 504 enlarger with silicone – more temporary methods such as duct tape eventually failed. I calibrated the flash unit for each height/paper combination assuming a full-frame print

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New dodging and burning technique

Darkroom technique / By

At our Burlington Photographic Arts Group meeting last night, John Price gave a 15-minute presentation on the technique he uses for dodging and burning large-format negatives that I’ve not seen before. John cuts a 4×5 piece of mylar – the translucent material that draftsmen use to trace drawings – and places it on top of the negative when he places the carrier in the enlarger head. The mylar acts as a diffuser, so exposure times can be slightly longer, though the diffusion helps to avoid dust marks on the print.

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Manufactured landscapes

Books, Photographers I Know / By

Last week I picked up a copy of Manufactured Landscapes [1] from Wordsworth Books in Waterloo. I’ve long been an admirer of Edward Burtynsky’s work, and was fortunate to hear him interviewed by Robert Enright at Waterloo’s Perimeter Institute a few years ago, and view some of his prints on exhibition there. As I expected, the book is marvelous. Burtynsky’s images are about mankind’s affect on the landscape, on a massive scale. The reproductions of the prints in the book are excellent but what I found interesting is – having

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