I do too I liked those days, I'll never forget one of the best people
who ever welcomed and encouraged me to participate on these forums and
the internet. There used to be lots of good people contributing here.

A gentleman by the name of John Rudiak.

Here's a little about him ----R.I.P John-. "A very good guy IMOP".

He died in Taos the very year I went there for the first time,...I never
realized that until just now.

John Rudiak received a BS in Chemistry in 1973 and an MFA in Photography
from the Rhode Island School of Design in 1977, studying with Harry
Callahan and Aaron Siskind.

He then became a faculty member in the Photo Department at RISD where he
taught all levels of photography until moving to Taos, NM in 1990. While
in Rhode Island he worked as a photochemist for Sprint Systems of
Photography developing original formulas and procedures for contemporary
and antique photo processes, as well as writing technical literature. He
formed Alchemy Printmaking in 1988, producing portfolios for other
photographic artists in alternative printmaking media such as platinum
and albumen.

In 1993 he was named contributing technical editor and writer for View
Camera Magazine, which published two of his articles on platinum
printing in 1994. Recent projects produced by Alchemy include the Jazz
Portfolio, ten photographs of jazz musicians taken in the 60's and 70's
by San Francisco photographer Jim Marshall, and a Landscape Portfolio by
photographer Douglas Busch. John worked on two major platinum portfolios
for Baron Wolman and Terry Heffernan, and taught antique processes at
the University of New Mexico. John also wrote a chapter (Enlarged
Negatives) for the textbook "Coming Into Focus".
John died in a motorcycle accident in Taos, New Mexico in 2000

Speaking of photography in workplaces we were NOT permitted cameras in
the mines. This photo (this is not LF - I do apologise) was taken by an
"exchange" mining engineer from the UK who was at our site during 1979
and 1980

April 1980  -  3750' - 2506 stope - Dome mines

http://www3.sympatico.ca/oldrad/Photo/Digital/2506StopeCrew.jpg

If you weren't management (I wasn't) or didn't have written permission,
bringing a camera underground was cause for termination of employment. I
would love to be able to take my 4x5 underground and get photos with
real detail of the places that I worked. It would be a lot of work. The
lighting would ALL be artificial. There is NO natural light at -3750'.

Photos of workplaces are something I'm always interested in. This is an
email notice that I rec'd yesterday :

I've sent a message asking if Icould print these before they get sold.
I'm assuming that they're glass plates.

cheers

David,

Was that in Flint?  That's where I hail from.  I worked for awhile at AC
including the Industrial Avenue plant before they shut it down. Only 3
of us on the night shift in the entire plant.  You could see where
forktrucks had fallen through the floors, etc.

I was thinking about the factory the other day.  I'm going to start
doing LF wetplate collodion (to get back on topic) and am wondering how
one might acquire potassium cyanide for the process in this day?
(Probably need some sort of permit that will get you on a
well-scrutinized list somewhere.)  Back at AC I used to sweep up
50-pound bags of the stuff on the plating department floor that the
forktrucks had either dropped or ran over.

Personally, I think I'd fit photographically in 1907.  My favorite
photos are in Camera Work that year and a lot was changing in the art
scene.  Imagine what it would be like to be on the scene with the likes
of Steichen, Seeley, Steiglitz, White, Picasso, Mattisse, etc.

Joe