Copse and Tree, Mita, Hokkaido, Japan 2007.and many cable releases, as I tend to lose
them in the dark.
These cameras have become old
friends, familiar and easy to be with.
Essentially, I measure the ambient
light, use an appropriate neutral-density
filter to make the exposure longer when
desired, calibrate the Reciprocity Failure
factor of the particular film I’m using,
and Bob’s your uncle [there you have it],
as they say in the U.K.
What's it about the analog
approach that keeps you load-
ing film into your camera rather
than digital cards?
I believe that every photographer, every
artist, should choose materials and
equipment based on their own vision.
I don’t believe that non-digital is bet-
ter than digital, or the reverse, for that
matter. I admire many photographers,
regardless of the process they use.
Having said that, I cannot say that I've
ever fallen in love with a digital print. A
silver print, on the other hand, is very
hard for me to resist.Are you making your own prints?
I continue to make all my own prints
on Ilford Multigrade papers in my
traditional wet darkroom from myoriginal negatives. I believe this to be
an important and enjoyable part of the
creative process.
One of the many things I love about
it is that each print ends up being
unique. I find it’s impossible to make
two prints exactly alike, due to burn-
ing, dodging, chemical variations,
toning and so on. Perhaps the pro-
cess will eventually go the way of the
dinosaurs, but while it’s still available,
I’ll continue to enjoy every second of
this magical, alchemical process. DPPFor more on Michael Kenna’s work, go to
michaelkenna.com. digitalphotopro.com January/February 2020 | 25