TRADITIONAL PHOTOGRAPHY AND

AFFERMATION OF ARCHIVAL PERMANCE

The prints I offer are in no way, at any step of the process treated with digital manipulations. They are
printed on high quality silver gelatin fiber papers and not ink jet prints.

From the image capture, proven and time honored practices are used to develop the film. The films I use are
modern, some using recently developed T-grain emulsions while others use traditional emulsions.

The chemistries used in negative development and print making are usually made from ingredients I have
chosen to produce the negatives and prints I want. Some formulas are current and just recently refined;
others are formulas that have been in use for a hundred years or more. Either way, seldom do I use 'over the
counter' developers. Some of the chemistries I use have never been sold at the retail level. By brewing my
own I am assured of freshness, control and availability.

The print making stage is laborious and time consuming. Prints are made by projection from either of two
enlargers, a Super Chromega D5 with Dichroic II lamp house or Besseler 23 CII Dichro. Both are color
enlargers utilizing Kodak CC filtering systems that I use for Black and White print making.

Either of two printing styles is used. One is printing for the mid tones using a single filter and sublimating
with burning and dodging to achieve the desired print values, and the other is a split filter process where an
exposure is made with a flat filter for highlights followed by an exposure of the greatest filtration to produce
contrast and shadows.

Print paper is of the finest fiber based silver gelatin papers available much of which are imported from
Europe. They are double weight museum grade. Print development is either a split development using a hard
developer and a soft developer or a straight developer. In either case the chemistries are home made. The
paper manufacturer's recommendation for development times are thrown away. Fiber paper has a lot of
latitude in the time it takes to bring out the latent image. The necessary fixing stage of the printing process
develops byproducts of silver as a waste and will oxidize in time. I use a double fix process with hose rinse
that assures the second fix is fresher than the first and will completely fix the images' silver content.

Prints are then washed for one half hour or more. They are given a Selenium bath to prevent future fading or
discoloring for 100 years. Re-washed and once dry they are mounted to acid free board with acid free linen
tape or by dry mounting, then window mounted to keep the print from touching the glass with acid free mat.

ALL PRINTS ARE GUARANTEED AGAINST FADING OR DISCOLORING FOR 100 YEARS FROM
DATE OF PURCHASE, OR I WILL PRINT YOU A NEW ONE.

Bruce Osgood