A latent image on photographic film is an invisible image produced by the exposure of the film to light. When the film is developed, the area that was exposed darkens and forms a visible image. In the early days of photography, the nature of the invisible change in the silver halide crystals of the film’s emulsion coating was unknown, so the image was said to be “latent” until the film was treated with photographic developer.

Having taken a photograph using film, the latent image that exists before development is truly a mystical entity. Everyone has a photograph that has taken them completely by surprise once developed. This experience, having witness some of the results you never realised came out so well, are the ‘Treasure Trove’ of a few gems. The ones that have taken the breath away.

The Shock of Latent Imagery Non-Imagined.

I remember starting a group on the photography site called Flickr. The group was named after that very concept of experiencing ‘The Shock’. Photographers joined in their dozens and eventually I had to put limits on the numbers individual photographers put onto the group site. I have maybe a dozen photographs out of hundreds I have taken that have made me say to myself ‘WOW! Did all right there Summers!’ The ones that made you believe that you could capture that certain one that you didn’t know you had in you. But others would put dozens upon dozens of their photographs on the site within days of each other. I suppose they were proud of their work in totality. Nothing wrong with that. But the romantic notion I had in mind was for those photographs that simply stood apart. Like iconic photographs from the past well known photographers who captured those few images that everyone knows them for taking.

And so, with trepidation, I really am keen to go on that excursion again. Trying to capture ‘The Shock’ images that can be included to fit alongside the Frail Autumn music project. A theme of taking a dozen photographs that can be linked to each song title theme.

When a darkroom existed out at the back of my house, I had a little workshop converted into a darkroom. The workshop was four sides of really thick stone/slate built walls. Two held the garden back. One separated the workshop next door to its left. The fourth had an entrance in it from the back room below.

In the workshop was a sink with a single cold water supply. It was ideal. What my eco minded ethos was challenged with was using chemicals for developing the film and subsequent photograph prints. To be honest, we had a darkroom in the social services centre where I worked at the time. I could also access the Art Centre darkroom too. So most of my printed results were produced in those two places. But I did develop my film negatives in my workshop. And printed my favourite photographs on a really old 1930s Wetzler enlarger with an Ernst Leitz lens. The marriage of the vintage enlarger ambience alongside vintage single grade papers I found in a reclamation centre, produced beautiful prints. Ethereal somehow. I took many photographs of people with learning difficulties and they stay under the umbrella of confidentiality. So will never print them again. But they were printed in the social services darkroom for the people themselves and their families. They also got involved in the production of taking and creating finished results of their own photographs too.

I have read about certain photographers also seeking eco friendly choices from the major producers of developer, stop, fix products too. Interestingly, I would try them after some research. But if natural alternatives produced quirky and ethereal results, that would be far more interesting for myself to add some ‘artistry’ to the project. As yet, no idea exists as to what aesthetics, themes, achievements, etc. I am looking for. All is in its infancy.

But the germ of an idea ‘developing’ is that, by using plant/herb based developers alongside seawater as a negative fixing agent, a philosophical link to ‘Frail Autumn’ as a nature theme could all marry very well. Photographs of an artistic visual result that could sit well in a CD booklet of song lyrics with photograph images alongside.

And so. As no darkroom exists in the workshop anymore, I can now focus upon a more realistic plan of developing the film negatives only. No further need to have a darkroom need. There are now intentions to scan the negatives into a laptop by use of a negative scanner. This will allow images to be easily transferred to the places they can be relevant to. Video, printer, WordPress blogs, the covers of my music on CD and other, as yet unknown, places.

Developing negatives can be achieved with products like coffee, washing soda, vitamin C powder, and other sources that nature provides. I saw a programme once of a female photographer using seaweed. I should imagine use of certain sourced natural products will produce extremely strange results. Ambience that could be strangely beautiful, but currently hiding behind my lack of knowledge. You could say The Shock of Latency Imagery Non-Imagined awaiting in the unknown mystical world again!

OF COURSE, IT WILL BE ONGOING WITH CATCH UPS AND HOW THE JOURNEY WILL CONTINUE ON THIS BLOG THEME. IT WILL BE INTERESTING TO START LOOKING FOR CLUES OF HOW TO PROGRESS.

Some links to interesting sites regarding film negatives developing with natural products.

https://www.instructables.com/Develop-Film-and-Photopaper-With-Household-Chemica/

https://analoguewonderland.co.uk/blogs/film-photography-blog/eco-friendly-black-and-white-film-development

https://www.futurematerialsbank.com/material/salt-fixer/

https://sustainabledarkroom.com/