Jorden Senior

Mastering the variables that control lith printing—exposure, the snatch point, temperature, and the distinctive effects that define the medium

Understanding infectious development—the autocatalytic chemistry that makes lith printing unlike anything else in the darkroom

Before you throw it away, consider: old film, fogged paper, and failed prints often have creative second lives. And when disposal is necessary, here's how to do it responsibly.

The environmental impact of darkroom photography begins before you open the box. What do we know about film manufacturing, and does where you buy matter?

A brief survey of non-silver processes and their environmental profiles—from genuinely sustainable to surprisingly problematic

Consolidating nine posts of research into a practical decision framework for darkroom sustainability

A process that produces stunning metallic colours—and some of the nastiest waste I've seen in a darkroom

Film washing is solved. Print washing is where the water goes—and where the biggest sustainability gains remain

Copper chloride, hydrogen peroxide, and the reality that some processes can't be made green—only less bad

Moving beyond standard processing to examine lith printing—where extreme dilution creates an unexpectedly favourable environmental story

Comparing RA-4 colour printing with scanning and digital output—which is actually more sustainable?

Colour negative processing adds real environmental concerns beyond black-and-white—but silver remains the dominant issue

Practical interventions ranked by actual environmental impact—silver recovery, water efficiency, and the hierarchy of what actually matters

Why the developer-versus-developer debate misses the point entirely—fixer contains silver at concentrations a million times higher than lethal thresholds for aquatic life

Examining the environmental claims around coffee, wine, and plant-based film developers—what the chemistry says, what the toxicology shows, and why the conversation might be missing the point

Applying chromoskedasic Sabattier printing to photographs of Washington DC's Metro system and monuments—workflow, results, and lessons learned

The physics and chemistry behind chromoskedasic Sabattier printing—why silver nanoparticles produce colour through light scattering

An introduction to chromoskedasic Sabattier printing—creating colour from black and white materials through physics alone

What RA4 mordançage reveals about the hidden architecture of colour photography—and why impermanence might be the medium's most honest expression

Pushing mordançage chemistry into forbidden territory—lifting colour emulsion layers from fully processed RA4 prints

Exploring intentional enlarger movement as a darkroom alternative to ICM

Exploring Paris through the Sabattier effect

Reflections on Tim Carpenters 'To Photograph is to Learn How to Die'

Reflections on re-exhibiting Beneath the Surface

Reflections on the accelerated making and improvisational approach in the Art for All exhibition