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Some of the rare sights I see in the lab at sandyprints - colour/black and white/transparency 5x4 negatives of the lab by Simryn Gill lined up on the lightbox, a scroll of colour proofs from a sailing trip long ago, large mural size colour handprints with Bronwyn Kidd @bronwynkidd original colour negatives alongside contact proofs for Derek Henderson @derekhendersonphoto then enlarged colour proofs alongside a final handprint for Sherry Zheng @dontcallmeshellyeither and of course the darkroom guard dogs B&G.

In about 2 weeks time, @photoaccess_inc will be running a special workshop ‘Introduction to RA Colour Printing’ in which I will open up the lab to half a dozen people who, guided by myself, can come and try to make some of these things. It will be a rare occasion to see and learn about some of the things I print, my RA processors, and also print some of your own colour negatives while learning the colour printing process yourself. Running one of the last photographic colour/black and white printing labs in the country, if you have an interest in any of this - this is probably for you. Find more details about this Photo Access exclusive workshop and sign up here: https://photoaccess.org.au/calendar/workshops/introduction-to-ra-colour-printing/

Some of the rare sights I see in the lab at sandyprints - colour/black and white/transparency 5x4 negatives of the lab by Simryn Gill lined up on the lightbox, a scroll of colour proofs from a sailing trip long ago, large mural size colour handprints with Bronwyn Kidd @bronwynkidd original colour negatives alongside contact proofs for Derek Henderson @derekhendersonphoto then enlarged colour proofs alongside a final handprint for Sherry Zheng @dontcallmeshellyeither and of course the darkroom guard dogs B&G.

In about 2 weeks time, @photoaccess_inc will be running a special workshop ‘Introduction to RA Colour Printing’ in which I will open up the lab to half a dozen people who, guided by myself, can come and try to make some of these things. It will be a rare occasion to see and learn about some of the things I print, my RA processors, and also print some of your own colour negatives while learning the colour printing process yourself. Running one of the last photographic colour/black and white printing labs in the country, if you have an interest in any of this - this is probably for you. Find more details about this Photo Access exclusive workshop and sign up here: https://photoaccess.org.au/calendar/workshops/introduction-to-ra-colour-printing/

Some of the rare sights I see in the lab at sandyprints - colour/black and white/transparency 5x4 negatives of the lab by Simryn Gill lined up on the lightbox, a scroll of colour proofs from a sailing trip long ago, large mural size colour handprints with Bronwyn Kidd @bronwynkidd original colour negatives alongside contact proofs for Derek Henderson @derekhendersonphoto then enlarged colour proofs alongside a final handprint for Sherry Zheng @dontcallmeshellyeither and of course the darkroom guard dogs B&G.

In about 2 weeks time, @photoaccess_inc will be running a special workshop ‘Introduction to RA Colour Printing’ in which I will open up the lab to half a dozen people who, guided by myself, can come and try to make some of these things. It will be a rare occasion to see and learn about some of the things I print, my RA processors, and also print some of your own colour negatives while learning the colour printing process yourself. Running one of the last photographic colour/black and white printing labs in the country, if you have an interest in any of this - this is probably for you. Find more details about this Photo Access exclusive workshop and sign up here: https://photoaccess.org.au/calendar/workshops/introduction-to-ra-colour-printing/

Some of the rare sights I see in the lab at sandyprints - colour/black and white/transparency 5x4 negatives of the lab by Simryn Gill lined up on the lightbox, a scroll of colour proofs from a sailing trip long ago, large mural size colour handprints with Bronwyn Kidd @bronwynkidd original colour negatives alongside contact proofs for Derek Henderson @derekhendersonphoto then enlarged colour proofs alongside a final handprint for Sherry Zheng @dontcallmeshellyeither and of course the darkroom guard dogs B&G.

In about 2 weeks time, @photoaccess_inc will be running a special workshop ‘Introduction to RA Colour Printing’ in which I will open up the lab to half a dozen people who, guided by myself, can come and try to make some of these things. It will be a rare occasion to see and learn about some of the things I print, my RA processors, and also print some of your own colour negatives while learning the colour printing process yourself. Running one of the last photographic colour/black and white printing labs in the country, if you have an interest in any of this - this is probably for you. Find more details about this Photo Access exclusive workshop and sign up here: https://photoaccess.org.au/calendar/workshops/introduction-to-ra-colour-printing/

Some of the rare sights I see in the lab at sandyprints - colour/black and white/transparency 5x4 negatives of the lab by Simryn Gill lined up on the lightbox, a scroll of colour proofs from a sailing trip long ago, large mural size colour handprints with Bronwyn Kidd @bronwynkidd original colour negatives alongside contact proofs for Derek Henderson @derekhendersonphoto then enlarged colour proofs alongside a final handprint for Sherry Zheng @dontcallmeshellyeither and of course the darkroom guard dogs B&G.

In about 2 weeks time, @photoaccess_inc will be running a special workshop ‘Introduction to RA Colour Printing’ in which I will open up the lab to half a dozen people who, guided by myself, can come and try to make some of these things. It will be a rare occasion to see and learn about some of the things I print, my RA processors, and also print some of your own colour negatives while learning the colour printing process yourself. Running one of the last photographic colour/black and white printing labs in the country, if you have an interest in any of this - this is probably for you. Find more details about this Photo Access exclusive workshop and sign up here: https://photoaccess.org.au/calendar/workshops/introduction-to-ra-colour-printing/

Some of the rare sights I see in the lab at sandyprints - colour/black and white/transparency 5x4 negatives of the lab by Simryn Gill lined up on the lightbox, a scroll of colour proofs from a sailing trip long ago, large mural size colour handprints with Bronwyn Kidd @bronwynkidd original colour negatives alongside contact proofs for Derek Henderson @derekhendersonphoto then enlarged colour proofs alongside a final handprint for Sherry Zheng @dontcallmeshellyeither and of course the darkroom guard dogs B&G.

In about 2 weeks time, @photoaccess_inc will be running a special workshop ‘Introduction to RA Colour Printing’ in which I will open up the lab to half a dozen people who, guided by myself, can come and try to make some of these things. It will be a rare occasion to see and learn about some of the things I print, my RA processors, and also print some of your own colour negatives while learning the colour printing process yourself. Running one of the last photographic colour/black and white printing labs in the country, if you have an interest in any of this - this is probably for you. Find more details about this Photo Access exclusive workshop and sign up here: https://photoaccess.org.au/calendar/workshops/introduction-to-ra-colour-printing/

Some of the rare sights I see in the lab at sandyprints - colour/black and white/transparency 5x4 negatives of the lab by Simryn Gill lined up on the lightbox, a scroll of colour proofs from a sailing trip long ago, large mural size colour handprints with Bronwyn Kidd @bronwynkidd original colour negatives alongside contact proofs for Derek Henderson @derekhendersonphoto then enlarged colour proofs alongside a final handprint for Sherry Zheng @dontcallmeshellyeither and of course the darkroom guard dogs B&G.

In about 2 weeks time, @photoaccess_inc will be running a special workshop ‘Introduction to RA Colour Printing’ in which I will open up the lab to half a dozen people who, guided by myself, can come and try to make some of these things. It will be a rare occasion to see and learn about some of the things I print, my RA processors, and also print some of your own colour negatives while learning the colour printing process yourself. Running one of the last photographic colour/black and white printing labs in the country, if you have an interest in any of this - this is probably for you. Find more details about this Photo Access exclusive workshop and sign up here: https://photoaccess.org.au/calendar/workshops/introduction-to-ra-colour-printing/

My Friday box of veges from Connie and Lynn @gong_organicsis a corker.All grown by Connie , no pesticides,picked yesterday and delivered to my door today….so fresh…thankyou.
There is no better time than to support local.

In Comparable Process,
Final prints of ‘While Not Present’ with @sandyprints1 for the Hill End Analogue Festival (14-16 November 2025) @hill_end_analogue_ Visit the festival to see more photos from me and many others.
🙏📷 @sandyprints1
#hillendanalogue #analoguephotography #contemporaryphotography
#analogised

In Comparable Process,
Final prints of ‘While Not Present’ with @sandyprints1 for the Hill End Analogue Festival (14-16 November 2025) @hill_end_analogue_ Visit the festival to see more photos from me and many others.
🙏📷 @sandyprints1
#hillendanalogue #analoguephotography #contemporaryphotography
#analogised

Beagle Work Out

Beagle Work Out

Sydney Contemporary photo Sydney 2025
Sandyprints booth A14
Today showing David Moore photographs..Come take a look through the folio.Lisa Moore will be visiting around 2pm..
We will also be showing for the first time a never printed before William st 1966 colour photograph #davidmoorephotography

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

I look forward to revealing some of my latest bellowgrams at Photo Sydney 2025, part of Sydney Contemporary - along with darkroom works by Ioulia Panoutsopoulos, Samantha Jade, and Kurt Sorrenson.

@sydneycontemporary
Sandyprints Booth A14

ACS 2000 car #8. It was shot around the time of the Olympics in Sydney. We were living in Maroubra at the time, in a small flat. Ella was just over one and Max was a few months old. Leaving my job at the Australian Centre for Photography, where I met Max Doyle the photographer: he used to hire the studio for fashion shoots and also exhibited at the centre: to ‘The Lab’ in waterloo. He used to process film etc at The Lab at the time. He knew I had been shooting the series for a while and mentioned there was an abandoned car in Bronte I might like. The car checked out. The following weekend I took my Mamiya, some F100 polaroid and a roll of NPS 160. I set up across the road. The light was flat and illuminated the composition well. The red of the letters matched the blooming native, the yellow of the car the sandstone of the architecture. I shot some polaroid the car looked good. I loaded the camera with the NPS. Eye on the viewfinder, focusing, ready to press the release button, I hear a voice. “What are you going to do about that car?” I turned to see a mum with a toddler in hand, looking impatient. I said “ ahh nothing?” She turned and left.
I shot a few frames when an older gentleman with a craggy suntanned face, that had seen many summers, pulled his long grey hair from his face and said “do you want to know the story? The young bloke who lives in the flats behind the car got done for drink driving. He was upset and wanted to leave a message for the cyclists in the Olympic road race that went past here in Bronte. There were two large colour photos of the car printed by Sandy. One is in the lounge room, Elton John has the other.

ACS 2000 Car #4 This car was shot in the early 2000s. Franklin st Matraville. It was one of 6 cars in ‘Big Magazine’. Only 2 were printed at 80cm x 120cm, C-Type prints by @sandyprints1. I have one, the other is owned by @eltonjohn. We were living in Matraville at the time, above the in-laws, Ella and Max were little. It paid for a new washing machine and other bills. Forever grateful. You cannot underestimate the power of writing when it comes to the visual arts and an artist’s practice. If it was not for @palmer_daniel, this would not have happened. Thank you. This image was in @vogueliving. An article on Virginia Wilson and her art consulting business showed a portrait of her with the car in the background. Virginia went on to sell smaller, framed images from the series. @edwinamccann wrote a short blurb about it when she was a journo at the Australian. Car #4 is a favourite.

ACS 2000 Car #1 This was the first car in the series. We were living in Maroubra, near the beach at the time. We were behind the Seals club, the car was at the end of our street. I never really paid attention to them, abandoned cars, before. I had just bought a second hand Mamiya 645 kit. I wanted to try out the 110mm lense and the Fuji NPS 160, 120 medium format colour film. Keith at ‘The Lab’ processed the film, pushed it half a stop and then proofed the roll of 12 exposures.This image had the best colour saturation and detail in the high lights and the shadows.There where many different test prints done. Using his Devereenlarger, Keith printed 10x8 C-Type prints. Natalie scanned the colour negs on a Japanese flatbed scanner and then proof printed Pegasus colour prints( led light and information, hitting photosensitive colour paper in a drum.This then goes through a chemical process).The first large hand print, from an enlarger, which I still have at home, was printed by Sandy from @sandyprints1 when she worked at a Photo lab in North Sydney (Colour Master?)It was exhibited @firstdraft_ , then at the Ivan Dougherty gallery when Nick Waterlow was the director.At the Australia council, when it was in Surry Hills.This car began the series that was investigating suburban space, marginalised spaces and a reflection of Buddhist beliefs in the impermanence of life. Suburban sublime. To be continued………..

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.

I was fortunate enough to spend a day printing in the darkroom with @sandyprints1 for Midday Galaxies. The quality of detail transferred into a large scale print from a tiny 35mm negative never ceases to amaze me.

The C-Type prints on the wall of my exhibtion were hand printed from the original negative using traditional darkroom exposure methods by Sandy who is based in Lane Cove, Sydney. Sandy uses a Durst 2501 enlarger, circa 1980, named Miss CC, and Kodak Matte, Silver Halide Chromagenic Paper - a stock that is now obselete as Kodak no longer focuses on producing traditional darkroom materials.
Several tests strips are carried out; testing the exposure and colour temperature and once within ballpark, the final print is prepared.
Each negative is dusted thoroughly before being placed into a thick rectangular cartridge that slides into the Durst. The image is projected onto the wall and focussed. The colours are dialed in and the paper size is then mapped out. At this point all lights are switched off - as this photographic paper is extremely sensitive to any light. Even the light of the Durst keyboard is covered with a black plastic whilst the image is exposed.
After the exposure is made, Sandy works by feel, navigating the darkness whilst transferring the paper to be developed. The paper is washed, dust marks are hand painted and then the prints are trimmed to size. She also keeps a hand written record of the “recipe” used to make the correct exposure for future reference.

It is the first time I’ve seen prints created at this scale in the darkroom. It took a couple of days for Sandy to make seven large images and multiple 8x12” prints for the exhibition (thank you Sandy!) and they’re truly beautiful. I hope you can make it into the @atmosea_ store before the 19th of September to appreciate them IRL.