April 4, Botanical Lumen Prints from the Series, Lost Connections by J.M. Golding

I’ve been inspired to make lumen prints by Diane Kaye, Eleni Barrette, and a semi-anonymous online contact, and although I’d tried this technique before, I began to use it more frequently during the coronavirus pandemic. Diane died in 2020 and bequeathed me a treasure trove of photographic papers. Because we have very limited gardening skills at our house, we began buying bouquets every few weeks, so that I could use them to make lumen prints on this paper. We discovered that having the flowers on our kitchen table lifted our spirits a little during this time. 

My series, Lost Connections, is a tribute to Diane. I feel her presence as I make this work, and our shared an experience of photographic image-making as an intuitive, alchemical process. The lumen prints in this series also directly relate to my experience of the pandemic through imaging the flowers on our kitchen table (as well as some from our yard).

I used Forte Polywarmtone Plus Salon RC glossy paper to make the fortnight lily image, exposed for about four hours, and the first image of Queen Anne’s lace, exposed for about an hour and a quarter. I was adventurous in making the latter image, and added some kosher salt, just to see what would happen. The second image of Queen Anne’s lace was a nine-and-a-half-hour exposure on Agfa-Gevaert Brovira special extra white glossy double-weight BS111. The images of mixed flowers and of wisteria leaves were made on Adox MCC 110 glossy paper, each an approximately five-hour exposure. Although lumen prints can be fixed – and will fade if they aren’t – I’ve simply scanned these immediately after exposure. After experimenting with fixing, I’ve found that I usually prefer the un-fixed color palette.

J.M. Golding


Queen Anne’s lace

Queen Anne’s lace
Mixed flowers
Fortnight lily
Wisteria leaves

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