Monday, 29 November 2010

Paris Photo 2010 Review

I was not able to make last years Paris Photo so was therefore eager to get there this time round. Over the last 5 years I have seen the attendance rise year after year, it took almost an hour to que up and purchase tickets.

The highlights for me were numerous. I found myself gravitating towards smaller exquisitely printed images this year and was actually surprised at how many there were on offer. These included a rare postcard sized silver gelatine print of 'Chez Mondrian' Paris, 1926'   by Andre Kertesz on the Howard Greenburg stand.

At the Gitterman gallery they had a small print of ’ Georgia O’Keeffe, A Portrait-After return from New  Mexico, 1929  by  Alfred Stieglitz . It was nice to see to read the history behind the print which I have also included below.

The Robert Koch gallery had a 'Self Portrait ' postcard sized print by Kertesz

An interesting gum over platinum print by Alvin Langdon Coburn entitled 'Wings' at the Hans P.Kraus stand caught me eye

On the subject of Coburn I had a chance to view his original print book on 'London'. This is a masterpiece, simply stunningly printed photogravures. One of the finest books i have had the chance to view. Those who follow my blog will know how passionate I am about books with original prints, I recently wrote an article on the subject which featured this book.

As a platinum printer who prints for other photographic artists I am naturally on the look out for prints made using this beautiful alternative printing process and again was not disappointed this year. Hamilton’s who had one of the best looking stands of the fair had a number of platinum prints for sale including those by Horst ' The Mainbocher corset,Paris 1939'

and Irving Penn with 'Woman in Moroccan Palace (Lisa Fonssagrives-Penn)', Marrakech, 1951

Two years ago a similar print sold at auction for nearly $400,000, the price of this one was quite a bit more than that. All in all a stunning print of Penn's wife in Morroco.

Robert Klien had one of my favourite still life Penn platinum print's for sale entitled ' New York Still Life' 1947. I had never seen this print in person, the tonal range Penn achieved with this print is exquisite.

It was interesting to note that the label for the print, shown below, stated 'twice coated platinum/palladium print on aluminum'. This is the first time i have seen one of his prints labelled in this way. Twice coated is a reference to Penn’s technique of creating multi-layered platinum prints whereby he used successive layers of platinum/palladium and a number of negatives of varying contrast to achieve a richer tonal range and greater dmax.( Not to be confused with double coating which some contemporary platinum printers use, this only  involves one exposure cycle, a single negative and the is not bonded to aluminum) Followers of the blog will know that I have been involved in detailed research into this technique and have achieved some excellent results.

I am always open to new types of photography whether it be colour or black and white, Any print that is labelled unique gets me attention. Two years ago on the blog I highlighted Paolo Roversi’s beautiful original Polaroid’s that were on show, this year I came across a collection of unique silver dye prints by Bernoit Vollmeck These contact prints  are somewhat of a visual revelation to view and have almost a daguerreotype quality to them. I had a chance to talk with the photographer who had just arrived at the stand and he said that they are created by ‘using a  sheet of ilfochrome paper that is directly inserted into a large format camera and exposed to light, without the prior use of film.’ A challenging technique to master but definitely worth it as the prints were stunning to view in person.

Another photographer that caught my attention was Naoya Hatakeyama at the Sage (Paris) stand, these were quite possibly the most luminous black and white prints I have ever seen. The series entitled ‘Maquettes/Light’  featured large tower block buildings and were labelled as being  silver gelatine prints with a B&W tranparacey and light box. The actual print/transparcy was being lit from behind. Sounds rather complicated but the effect was  really interesting.

These were just the highlights of the day, if you visit the show next year make sure you allow enough time to see everything.  Overall I really enjoyed the event and look forward to returning next year.

Tuesday, 16 November 2010

Paris Photo 2010

Off to Paris tommorow for Paris Photo 2010, could not make it last year so I am looking forward to going this time round, i will take some photos and write it all up on the blog when i return.

About Paris Photo :

Annual photography fair Paris Photo brings together, from November 18th to the 21st, one hundred international galleries and publishers presenting a panorama of the finest examples of photographic expression from the 19th century to the present day.

Paris Photo also turns the spotlight on the Central Europe scene, reveals new talents through awards and competitions and offers a rich programme of events and encounters.

The 14th Paris Photo edition coincides with the biennial “Mois de la Photo”, a month-long photographic event, turning the city into the photography capital of the world in November.

Wednesday, 10 November 2010

Multi-layer Platinum Print testing cont…

 Much of the last three weeks has been spent in the studio testing multi-layer printing in platinum. Being able to understand how each of the layers interact with each other  is key to the process, quite similar to that of tri-colour gum dichromate. It has been greatly productive and the prints that our coming out of the studio are the best to date which is the rewarding part. Below are a few recent images from the studio...more to follow

  Multi-layer platinum prints washing

 First layer drying down

Saturday, 30 October 2010

Latest Cyanotype Prints

 I was in London on Thursday having my latest cyanotypes reviewed by my London representation (Stephanie Hoppen) and am pleased to say the gallery owner really liked them. They should be framed up and ready to be exhibited in the next few months. They measure 34x27inches (90x70cm) Those who follow my blog will know its been quite a challenge to create prints this size using alternative processes however all the hard work and late nights is worth while when I look at the final prints. They will be printed in edition of 8, each print is unique in terms of tone and colour as with all hand made alt photo prints.

Thursday, 21 October 2010

Commission with Artist Richard Rigg

I have recently been working with contemporary artist Richard Rigg on a Cyanotype print commission. The project took a number of months to complete and pushed me into new areas of Cyanotype printing which was stimulating as well as interesting.

Richard wanted to create a print that was formed entirely from an objects shadow. Quite different to a photogram where the object is placed in direct contact with a sensitised piece of paper. Photographers known for creating photograms include Ann Atkins (shown below) and Man Ray.

We had to find a way of suspending the object and taking a recording of its shadow. As we found out UV creates shadows that are quite different from those created by normal light, so much experimentation was needed. The object was a knot made of coloured string, a diagram of it is shown below.

 In Richards own words 'The knot used was an amphichiral knot with 15 crossings, this type of knot has the interesting property of being able to be transformed into its own mirror image so they are essentially the same as there apparent opposites, I was also interested in using an early, formative photographic process in which to frame the work.'

 The final print is shown below and was exhibited  recently at Workplace gallery. We were both pleased with how it turned out. The colour was a really intense blue similar to Yves Klien blue (I have Mike Ware’s Cyanotype II formula to thank for that!.)

To see more of Richards work visit :

Monday, 18 October 2010

Further Research on Multi-layered Platinum Printing

 I was able to get  to the V&A museum last week, I was intending on taking some density readings from one particular platinum print by Irving Penn entitled 'Harlequin Dress.' Unfortunately the conservators would not let the meter touch the print. I thought this might happen so plan B was to visually compare the multilayer test print that I had created which I have dmax readings for, and the Penn print. The good thing about this particular Penn print is that it has absolute black values to compare against.

The four of us (the assistant curator of photography at the V&A, a conservator, my friend and me) visually compared the black values of the Penn print and the multilayer test print. To our eyes the dmax of the Penn print was at the lower left hand corner of the harlequin dress. We all agreed that the dmax of the Penn print corresponded well to the values that were achieved with the third layer of the multilayer test print, which dmax values are in excess of 1.7( see previous post regarding test results). The curator thought the Penn print might actually have a slightly higher dmax value. (The images below are really to illustrative how we were comparing, obviously the human eye is going to be significantly better at judging density than a photo can reproduce)

What can we conclude from this, well I believe what we have established based on visual evidence is that Penn was achieving a dmax for this particular print that no single hit could obtain, moreover it was likely to have been as a result of multi-layering of platinum/palladium salts. I would have liked to have taken actual readings as this would have been more conclusive however this was not possible. There next few tests I want to do are to establish exactly what is going on when you multilayer platinum/palladium salts, print a detailed step wedge with multi-layering and experiment with some of the Papers Penn used.

Sunday, 17 October 2010

Last Day @ Christies Contemporary Art Fair

I was in London yesturday and visited the 'Mulitpled' Contemporary Editions Fair held at Christies in South Kensington. You can just about see my framed prints inside the building from the street (Old Brompton Road).

  If you get the chance head down there today as its the last day. There are some great galleries there with some fine prints on show. Further details can be found at

Monday, 11 October 2010

Workshop results

I thought I would share this print that came out of a workshop I taught a week ago. It was taken by Henry Rogers and pictures his wife (original image shot on film with Lecia M3). This was the first platinum print he created on the day and what a great print it turned out to be. As a result of extensive testing and research over the last six months the studio has made numerous advances in the overall technique of platinum printing and these improvements are starting to show through in the prints that our workshop participants are creating.

Sunday, 3 October 2010

New Platinum Prints to be Exhibited

A selection of my new platinum prints will be exhibited by Edel Assanti at the Contemporary Editions Fair ‘Multiplied’. I have recently been taken on by Edel Assanti who are based in London’s Victoria and  will be represetning my platinum work, Stephanie Hoppen in South Kensington who i have been wiith for 4 years will continue to represent my Cyanotype prints. The work on show is a new series of prints exploring the theme of curiosity which I have been developing over the last five years. If you get a chance head down there and take a look, its held at Christie’s in South Kensington from Friday 15th October to 18th October, other galleries of note who are showing include the White Cube, Whitechapel Gallery and one of my favourite publishing houses the Paragon Press.

Images from Curiosity Series, this selection all taken in Paris.

Friday, 1 October 2010

Additional Muliti-layer Test Results

  I wanted to create a more visual as well as empirical test to show the difference in maximum density by adding additional layers of platinum/palladium sensitiser. Up to three development cycles were used. The results are shown below :

Saturday, 18 September 2010

Success for one of my students.

In the latest issue of Black and White photography magazine Mark Voce won the alternative photography print reader assignment competition. I taught Mark platinum printing a year ago how to print in platinum/palladium and it is good to see he has gone on to develop his skills, well done.

Multilayered Platinum Print Test results

Over the last month I have been researching and testing the platinum printing technique used by master platinum printer Irving Penn. The process initially involves bonding the printing paper to aluminium, this enables the paper to maintain its dimensional stability and allow for successive multilayering of platinum/palladium chemicals. The process uses twice to three times the amount of platinum/palladium chemicals and takes at least double the time to create compared to that of a single layered platinum print.

After numerous tests and late nights i can now report the results. The singled layered scanned image shown below has a maximum density of 1.41 and the multilayerd is 1.58 , mimicking the initial test results reported previously (Click image to enlarge). To my eye the overall richness and three dimensionality of the multilayered print is significant enough to warrant further research. I intend on printing using this method in the future as for me it adds another tool to the toolbox in achieving the type of platinum prints I have always wanted to create. I will be testing with multilayering gum and cyanotype over platinum in the coming months and will post the results

Thursday, 9 September 2010

Large Alternative Prints Continued.....

Continuing the theme of printing larger alternative prints, yesterday I printed one of my clients images ( Wendy Bevan ) in Vandyke brown and toned it with platinum/palladium. Final size 34x27 inches, see below, 10x8 inch print shown on the right. My thanks to Sandy King for not only recommending this process but also his guidance. It can produce wonderful prints when toned with platinum or palladium and I look forward to using it in future  as it should make the progression to large platinum/palladium prints less of an ordeal.

Friday, 27 August 2010

Learning from Master Platinum Printer Irving Penn

 Irving Penn was one the finest platinum printers of recent times and created some of the most exquisite, valuable and sort after platinum prints. He was self taught and obsessive about this particular alternative photographic printing process, trying all manner of papers, combinations and mixes of platinum/palladium and even Iridium metals. He is well respected within photographic community first and foremost for being a great photographer,  however he is also championed as leading the revival of the platinum printing  process in the late 1960’s/70’s since becoming dormant for over 50 years.

From reading around the subject, the reason for Penn taking up the platinum printing process was in part due to the fact after taking so much time, care and attention in creating images in the studio and darkroom, once printed in the pages of Vogue and other magazines they would lose a lot of the beauty and subtlety of the original negatives/prints. He wanted to somehow take back his images and ‘transform them from being a thing suitable for reproduction into something entirely different, something beautiful in itself’ (Conversation with Penn and Greenough, 14 January 2003).  Always testing and pushing his technique further and allowing chance and fortuitous discoveries to occur, in the late 1980’s he used a modified banquet camera (12x20 inch) to photographic his own drawings which he would  later paint over and sometimes mix in sand to add greater texture. The book ‘Platinum Prints’ published by Yale University Press in 2005 has an interesting and well written essay by Sarah Greenough that goes into great detail regarding Penn’s printing process. Although it is largely second hand information I can well believe it to be accurate. I came across text actually written by Penn for an exhibition catalogue in 1980 the other day, shown below, although it tells us nothing new it was interesting to read him describe his technique is his own words.

  I think there is probably a lot we still don’t know about his printing method, some printers I have come across refrain from divulging their techniques, which I am fine with as some advances are hard won, indeed Penn once stated that he was ‘jealous’ of sharing his pleasure with anyone.(quoted from ‘The stranger behind the camera: Photographs and Art work by Irving Penn,’Vogue November 2004) However there are other printers that I have come across that are very open with their advances, people that immediately spring to mind who have generously helped my development as a  printer include Mike Ware and Ian Leake.

Renowned platinum printer Stan Klimek, who has printed some of the finest contemporary platinum prints I have ever seen, states in Dick Arentz book on platinum printing that creating a perfect platinum print is like ‘aiming at a moving target’ which is definitely the case these days. With materials such as paper being discontinued all the time or modified to suit other printmaking techniques (buffering of paper with calcium carbonate comes to mind) new papers/transparency films have to be found and tested and new methods of paper/negative preparation and processing techniques have to be devised and adapted. This is why ultimately I believe as more  products people once relied on to create platinum prints are discontinued or changed hybrid techniques will continue to expand and why websites such as (part of APUG) are this are essential to any future development.

Anyway I digress! Coming back to Penn, If  one  looks at the existing information on Penn’s technique what can modern day platinum printers learn from it ?Well for a start we know he muliti layered platinum/palladium onto paper such as BFK Rives, Bienfang, Arches and Strathmore.  Penn obviously did this for a reason and could see significant benefits from this practice, further to this he sometimes made the first coating with platinum and the second with palladium or Iridium, the later I have never come across, has anyone else? What hands on experience have others had with muliti layering contemporary papers such as Platine, Lana Aquarelle, Bergger COT-320,BFK Rives and alternating with coats of platinum and palladium.

 Penn states that he used ‘2 or more negatives of varying contrast to make a single print.’ He was able to register them perfectly by mounting his printing paper onto aluminium using a bond called Surlyn created by Dupont. The reason being to endure the ‘repeating wettings and dryings with little change to the dimension’ of the paper which was required for printing and exposing multiple negatives (A modified version of this was devised by Richard Sullivan using a different bond made by Seal, the advantage being that at the final stage the bond can be heated and the print removed from the aluminium without damaging the print.)Using a digital negative system approach in theory we should be able to replicate this without the use of multiple negatives and successive exposures. As is well known for any given image, modern day photographers can take a series of two digital exposures and combine to create one image, one exposed for the shadows and one for the highlights, then combine them via Photoshop to create an image of ‘High Dynamic Range’ (HDR), this HDR image could then be output via inkjet printer/imagesetter. (A similar approach could be used when scanning film of either two negatives or even one). I am not a fan of HDR images per say, as I find them overly surreal, however if used in moderation it should work the same as using multiple negatives, shouldn’t it?. This is my theory, of course the very act of making successive exposures to multiple negatives of varying contrast could play a significant part, much like the layering of a pigment or gum print, has anyone researched this or established the difference ? I aim to test this theory over the next few weeks by using multiple negatives/exposures versus just a single HDR digital negative with a single exposure to see if there is much of a difference. At the moment for some images I initially create 4 separate negatives each with a slightly different correction curve that I have developed and modified over the years, which i then print all together on one sheet, I then examine the final dried down print and on occasion I combine certain image characteristics that I like of each of the 4 negatives to create one final negative. Probably overly elaborate but it’s the way I like to work.

Another issue is the exposure system used, Penn states that they ranged 'from 2 mins to 2 hours with a single strong Xenon light' I know Sandy King has done significant research into the area of uv exposure systems and it is one that I have overlooked but need to follow up (further information can be found here,  )

A final question….If Penn were alive today and creating platinum prints with the proficiency of his early youth, would he still be creating multiple negatives with successive exposures in the darkroom or would he embracing hybrid techniques such as digital negative creation to achieve the same results?
To conclude, this post has been rather longer than I intended it to be, however I hope others find it thought provoking.

Thursday, 26 August 2010

Platinum prints and Liquitex Acrylic Gel

Whilst researching for an upcoming article i am writing I stumbled upon an a pdf written by Richard Sullivan (of Bostick and Sullivan) on platinum printing. It all sounded very familiar until I read what is written below in bold :

'Speaking of personal choices, my printing procedure is as follows. I coat Arches Platine paper with a Pd/Pt sensitizer (3:2). I use more FeOx than metal: a 4x5 print, for example, is coated with 6 drops FeOx Sol.1, 3 drops of Pd, and 2 drops of Pt. I control contrast not with the sensitizer, but the developer, specifically Potassium Oxalate developer with Sodium Dichromate as the sole contrast agent. I use Kodak Hypo Clear for three clearing baths of 5 minutes apiece. Processing is done in a Jobo drum at 25rpm. After 25 minutes in an archival washer I dry the prints face up on fiberglass screens and then soak each for one minute in an 6% solution of Liquitex Acrylic Gel Medium which increases the Dmax and tonal separation, cools the print color slightly, and also gives the print a slight amount of glossiness.'

I have never heard of this being used in the platinum printing process let alone used to modify dmax, tonal separation, print color or the glossiness of the final print. I think the article was written some time ago. I should recieve some in the next day or so and will be testing it out.


Further info on Liquitex Acrylic Gel Medium

Liquitex Gel Mediums add body to thinner paint for impasto techniques as well as extending colour volume and adding transparency. Gels also add “open time” as they dry slower than thinner films. These mediums also modify acrylics in a variety of ways and tend to improve adhesion and durability.

Wednesday, 25 August 2010

The Challenge of Creating Large Alternative Prints

After many late and sleepless nights today I finally successfully printed a cyanotype measuring 34x27 inches (approx 90x70cm) that I am happy with (see final image, 10x8” print on the right to show scale). I suppose on refection it has taken some 8 years to get to this stage as I always wanted to print this large but early on I was limited by my resources. The jump from 10x8 inches to 20”x16” was a challenge in itself, it took almost three months to learn how to successfully coat the paper this size without any surface imperfections. The jump to 34”x27” was similarly challenging, again in terms of coating, this larger size is 9 times the surface area of a 10x8” print, other hurdles included finding a suitable paper that would take enough sensitiser without creating paper flaws, sourcing developing trays, printing negatives that size without loss of detail in the final print. I am now limited by the paper size which I print with as I can only obtain it in 39”x27” (100x70), although I really don’t intend on going that much larger.

The next process I intend to print this size is a kallitype toned with platinum and then finally a platinum/palladium print, I am sure there will be as many hurdles that will need to be overcome however I am looking forward to trying. Will post my progress on the blog.

After Coating

Before Exposure

During Exposure

Developing print in Water

Final Print (34x27 on left -10x8inch on right hand side)

Monday, 23 August 2010

A dialogue with Hewlett Packard Colour Scientist Angel Albarran

 Following the news that HP have brought out a module to help in the creation of digital negatives, I received an email out of the blue from Angel Albarran, the colour scientist at HP who devised the digital negative module for the HP Z3200, he wanted to know some further information about my own darkroom set up. I went onto to ask him if he would elaborate on how the Z3200 creates negatives and he replied by sending me links to the full documentation for the printer. I also asked him whether he would join in an open dialogue on the subject on the Hybrid photography forum and he has now done so. To follow the thread please visit :

The documentation for the Z3200 concerning digital negative creation can be found here :

One of the most interesting replies was from Ron Reeder who is an expert in digital negative creation, he stated on the thread :

‘I just read through Angel Albarran's PDF describing the new HP approach to digital negatives. Here is how I see it: In the HP method negative contrast is set by adding more or less black to a specific green color. This is a fine method, kind of a combination of choosing a specific color with the correct contrast (PDN and RNP array) or setting maximum ink limits (in either the Epson driver or QTR). The HP digital negative module alters the ink settings so that a gradient of ink tones, from 0 to 100% ink, will linearly transmit UV light over the entire gradient. This would appear to be a useful innovation. The claim in the PDF (which appears reasonable to me) is that linearizing UV transmission will reduce the severity of any subsequent correction that might be applied. HOWEVER, few photo emulsions I know of respond linearly to UV light. So, a correction curve will almost always be needed (as acknowledged in the PDF). The necessary correction curve is still applied to the image file. But, since it will hopefully be more mild it should also be less destructive.

One of the good parts is that the HP method takes advantage of the built-in spectrophotometer to measure a test print and construct the correction curve.

The really good news, to my mind, is at the end of the PDF. A method is detailed to use the built-in spectrophotometer to profile the entire tri-color gum printing process and make the needed ICC profiles. In principle you would then be able to color correct tri-color gum printing and get the exact color you originally aimed for. This could be a great boon for gum printers striving for predictable color output. BUT, as nice as the HP method seems to be, I will still stick to QTR.

HP has decided that green with some black is the best color for even smooth tonality. Maybe so, maybe no. It is not my choice and in the HP method you have no control over the color. And, I still prefer to put all the corrections on the ink settings and not on the image file.

Bottom line, it is really great that a big company like HP would pay attention to the needs of our rather niche market (unlike some big companies we could name). The the HP solution is really pretty good. Like they say, it is a contender.

Ron Reeder’
 Full credit to Angel for being able to convince a major printer manufacturer to develop a printer workflow for digital negative creation. I will be posting more information about this new printer when it becomes available it.

Thursday, 19 August 2010

Video regarding HP Design-jet & Digital Negatives

HP recently released a video regarding their latest ink jet printer that has driver setting specifically designed for digital negatives. They are printing 24inch negatives for Elliott Erwitt using green and black inks. I have been using digital negatives for almost 7 years now, however it is an interesting collaboration and shows at least one manufacturer is taking digital negatives quite seriously. I would like to see the actual print before passing judgement however Erwitt seemed happy!

Video link -

Thursday, 29 July 2010

Day at the V&A Print room

 If one wants to print to the same level as the master printers that have come before it is important to view and have access to original prints of the particular process you are trying to perfect. As part of my postgraduate course in printmaking 4 years ago I made regular visits to the print room at the V&A museum primarily to view photogravures, as this was my area of study at the time. They house some exceptional prints that one can view for as long as you like, the staff are very helpful and the room is usually not that busy. I spent another day there yesterday and it distilled how important it is to view original prints vs. reproductions in books etc.. preferably not behind glass. I try to stress this point to all the people that I teach on workshops, as the difference in most cases is significant.

The V&A have around 20 of Irving Penn’s platinum prints in their vaults and I had the pleasure of viewing a good number of them. I took the book Irving Penn ‘Platinum Prints’ book along as reference, this is a must have book for anyone interested in platinum printing. I always thought the reproductions in the book were rather warm and having viewed  a good number of the Penn original prints I would say that this is case, see image below, 

Two other stand out prints for me were ‘Camel Pack’, the detail of the original print is quite extraordinary and has a great sense of depth and three dimensionality to it that the reproduction understandably does not portray.

 ‘Nubile Beauty of Diamare Cameroon’, again was a stunning print, the way the  texture of the skin is reproduced in the portrait is the best I have seen of any platinum print.

 Later on in the day I had the chance to view the Edward Steichen: Early Years Portfolio, (1900-1927) which contains 12 photogravures of Stiechen’s most iconic images. Printed in 1981 by Jon Goodman for Aperture, these are some of the finest photogravures I have ever seen. They are quite magical when viewed and have an almost metallic sheen to them which was quite unexpected. I recommend viewing this portfolio for anyone interested in his work or indeed printmaking in general. My favourite had to be a portrait of Edward Steichen and Clara at Lake George which is beautiful print and has great depth and texture to it and also 'Torso, Paris,1902'

All in all a productive day and I went home really inspired.

Monday, 12 July 2010

Alternative Photographic Printing Open Days

  As part of Cambridge open studios I will be opening my house/gallery and studio on the weekends of the 17th-18th & 24-25th July. I have done this for the last 4 years and have enjoyed meeting people interested in alternative processes. Demonstrations of Cyanotype, Kallitype & Platinum printing will happen during the day. The address is 33 Brenda Gautrey Way, Cottenham, Cambridge CB24 8XW, opening times to visit are 11-6pm.

For further details about Cambridge Open Studios visit:

Wednesday, 23 June 2010

New Studio up and running.

So finally I have got the new studio up and running. Its completely dedicated to alternative processes and has taken some time to complete but has been definitely worth it. I collected the 24 inch print washer from oxford last week which will fit in the far left hand corner. The company now tells me that they can make one as large as I wanted, which had I known before I would have gone for a 40x30”, however its good to know that they can do it for the future. Having worked in it all last week I am very pleased with the overall design ,everything seems so much more efficient than my last darkroom and I can be much more productive.