Bob Carnie’s portfolio “Consumption Series”received special recognition in the 2024 Denis Roussel Awards.

Would you please tell us about yourself?

I live and work in Toronto Canada with my wife Laura and our dog Milly. We have a custom printing facility, framing, and small gallery. I am a photographic printmaker who uses the camera to create inventory for me to work within various printing forms.

I specialize in a hybrid approach to my work using very old photographic methods from the past and a current digital workflow.

Please tell us about the portfolio you submitted to the Denis Roussel Award.

The images I submitted to the Denis Roussel Award are from my “Consumption Series”. I photograph very simple items that we as North Americans consume or use on a daily basis, but also items like hats and dresses that seem to be used very rarely and then put in some kind of storage.

I photograph with 4 x 5 and 8 x 10 cameras using colour film or black and white film which I solarize to give the look. Then we print using the multiple gum bichromate over palladium process.

Please tell us about your process. 

So the process is unique and has many steps from image capture, film solarization, scanning , PS manipulation, PS film separation into 4 separate films, then hand stripping and registering the film via punch systems with Hahnemuhle Paper , then we pre-shrink the paper and keep it in constant humidity for the 4 day printing process which includes a Palladium (noble metal) then three consecutive layers of pigmented gum on paper, which are exposed through three different separation films. We start with yellow and follow through the process, then next day magenta , then the next day cyan.

This process was used by Edward Steichen in “The Pond – Moonlight  1904”. The work that I admire is the 1875 era Japanese salt prints that were hand coloured, as well as, hand coloured work from all regions of the world before colour film became the norm.

What is the most frustrating part of the process?

Well, if you asked me this question 8 years ago I would say everything, but frankly after doing thousands of prints we have developed a very consistent workflow that we can predictably produce the types of prints we want. At this point I wish I was 20 years younger with the knowledge I have now so I can keep on pushing the envelope.

Do you enjoy the process itself or is it just a means to an end?

I enjoy the darkroom/dimroom , we live and work in the same building and I have built what I think is a killer space for producing work.  Actually the hardest part was acquiring all the equipment , climate controlled and in great working equipment.  Everything is in its’ place and I can walk into any aspect of the job at any time and work. I taught this to my apprentice, Anam, so we can work together on multiple projects seamlessly. Each day I start early but end at around 3:30 PM to sit and have a beer and relax with other workers in the area.

How long have you been practicing this process?

I could honestly say that I have been practicing or gaining skills since 1974 when I first started at a college level photography program. I have gleaned many skills including: colour  correction, graphic arts , chemistry , photo composition, and many print processes.

I really started on this road in my mind in 1980 where I saw a Stephen Livik gum bichromate show. I knew then that someday I would make this a permanent process. Fast forward to the mid 90’s  when I went to take a course at Maine Summer Camp with a group trying to learn tri colour carbon course sponsored by Charles Berger. It was a disaster and it actually turned me off to the process.

Later, I saw an image by Christina Anderson, it’s the book cover image of a woman doing a handstand and was completely compelled to follow her direction since seeing this image. I actually went to Project Basho and took a course with her years back.

Do you have a mentor or a teacher that has helped your journey? 

The list is too long to mention, but I will say that with something like this you get a start with people like Christina Anderson. Also Kerik Kouklis helped me on my way and of course Ron Reeder who visited my shop a few times and made our first master curve which we used for 8 years and currently I bounce ideas off Greg Brophy about all aspects of the work as well as, clients of mine like Christine Fitzgerald and Michelle Huisman with whom I have great discussions about this unique process.

How do you work through times when nothing seems to work?

Well, I never seem to have those moments now, but I will say I take every print to completion and then reflect on any issues I am having. Most times the answer comes at 4: 30 in the morning and the problem is solved.

What part of image-making do you find the most rewarding?

Absolutely the printing! I feel the camera only has one use for me and that is to capture raw inventory which I then work on to create the images I present on paper.

What tools have you found essential in the making of your work?

Photoshop, an Epson Printer, a Stoesser Punch and light box. A uv exposing unit with vacuum by Jon Cone. Very large trays, excellent climate control and a mat cutter.

Is there something in photography that you would like to try in the future?

I am thinking of exposing film on large format and making beautiful silver prints 30 x 40 inch as well as maybe a few unique street scenes of my home town and make huge 30 x 40 tri colour gum bichromate over palladium.

What’s on the horizon?

I need no equipment or space so the next venture is to take my gallery to the international art fairs and represent myself and choice clients who work in the processes I like.

Thank you Bob.

To learn more about the work of Bob Carnie please click on his name to visit his site.