For years, I resisted digital photography in my personal fine art work. My passion has always been deeply rooted in analog processes, from ultra-large format (ULF) cameras to handmade silver gelatin and platinum prints. The tactile nature of working with film, the deliberate pace, and the craftsmanship involved in every step of the process have always been integral to my artistic journey. However, as time passes, I’ve found myself re-evaluating some of my long-standing beliefs and making adjustments that ultimately bring me more joy and freedom in my photography.
Returning to My Medium Format Film Roots
Lugging around ultra-large format cameras is not getting any easier as I grow older. While I still love working with large format cameras, I’ve been rediscovering my Pentax 67II and Pentax 645NII more often. Their portability and flexibility allow me to maintain my film-based workflow while reducing some of the physical strain that ULF demands. At the same time, I have shifted my approach to printmaking, opting to create smaller 8×10 enlargements for handmade books rather than focusing solely on big enlargements or ultra-large format contact prints. This shift has reignited my passion for bookmaking and has allowed me to engage with my work in a new and fulfilling way.
The Wild Horses Project and My Reluctance Toward Digital
For my ongoing wild horses project, Pictorial Whispers, I have been using a digital camera for years—but only for documentation and video. I never actually photographed the wild horses with a digital camera because, quite frankly, I never even considered it. I was so used to shooting film that digital never seemed like an option for my personal work.
Recently, however, I helped a friend transition from 8×10 large format contact printing to a digital workflow, assisting them in making 8×10 digital negatives for silver gelatin printing. During the testing process, I used some of my own digital wild horse images to ensure the workflow was dialed in properly. After making a few silver gelatin contact prints from these digital negatives, I was surprised by the results.
Rethinking My Approach
A few weeks after completing that project, I questioned my previous resistance to digital. Why had I never considered using my digital camera to create fine art images of the wild horses? The answer, I realized, was simply habit. Film had always been my go-to medium, and I never gave much thought to alternatives. But after seeing the quality of my silver gelatin prints from digital negatives, I had to admit there was no real reason not to try at least using my digital camera for this work.
Over the next month, I began taking digital photos alongside my film images, experimenting with digital negatives and silver gelatin prints. To my surprise, I discovered some unexpected benefits.
So far, the digital images I have taken look different from my film images. My medium format film images have a distinct look that digital cannot replicate. I don’t think it needs to be a winner-take-all mentality. I can see the benefits and reasons for continuing to use my film and digital cameras for specific use cases. The funny thing is that I always have my film and digital cameras in the field because I photograph the horses with film and use digital to document the horses with video and select identification photos. It will be interesting to see if and how my mindset shifts over time as I use the digital camera more creatively.
Working with silver gelatin paper negatives, I’ve found a way to honor the spirit of early photography without being bound by its constraints. I can scan the negatives and create archival inkjet prints. They won’t look the same as my analog contact prints, but I am not sure anyone cares anymore. My only measure of success is what I like or don’t like. I create for myself and my enjoyment.
The large format analog paper negative and digital scanning process allow me to create expressive, emotional images that feel more like hand-crafted works of art than photographs. It’s not about precision but about evoking emotion, atmosphere, and a sense of timelessness.
I don’t know where this will go, but I remain open to exploring anything that brings me joy and happiness.
A Shift in Perspective
By incorporating digital into my workflow, I suddenly had more time to do what I wanted and needed. Instead of dedicating separate days for shooting, developing, and making contact sheets before printing, I spent more time in the field simply enjoying the wild horses. I hiked longer, lingered more, and found myself more present in the moment rather than feeling the pull to return to the darkroom immediately. I think the same would apply to my ethereal landscapes, too.
There is no right or wrong approach to photography—only what brings personal fulfillment. Photography is a journey meant to be shaped by our individual experiences. The definition of what is “right” for each of us is fluid and ever-changing.
I will always use analog negative mediums and make prints in the darkroom until I either can’t do it anymore or I am dead. Those are the only two reasons why I wouldn’t continue. It has been a 50-year love affair that started as a preteen, and analog photography will continue to bring me a lot of personal joy and satisfaction.
Encouraging Exploration
I share this story to encourage you to explore something new. Maybe you’ve been considering a different format, experimenting with alternative print sizes, or even embracing a hybrid or digital workflow. Whatever it may be, I’ve learned that the most important thing is to enjoy the process, regardless of what others think.
Photography is about creating, experiencing, and evolving. Whether through film, digital, or a combination of both, what matters most is that it continues to bring you joy.
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