Exposure Technique

The Zone System pioneered by Edward Weston, Ansel Adams, Fred Archer, Minor White and other iconic photographers is employed for exposing B&W negatives. A hand-held, spot light meter enables accurate quantification of reflected light in the scene from the deepest shadows to the brightest highlights. The Zone System essentially entails exposing for the shadows and developing for light areas such that details are revealed in both as desired. For example, an exposure is chosen that permits adequate light to render details of significance in the shadows—typically Zone(s) II/III. Then, the negative is subsequently developed for a predetermined amount of time to render the light regions typically in Zone(s) VII/VIII, in which details of significance are visible. (Zones I and IX represent pure black and white, respectively.) Accordingly, each type of film is initially calibrated in the darkroom laboratory to determine the optimal film speed, normal development time, as well as the contracted and expanded development time(s), the latter necessary to generate the desired image contrast and to render details of significance in the light areas. To achieve sharp focus throughout the scene as desired, large depth of field is achieved using lenses of short focal length, narrow apertures, as well as camera movements like tilt and swing. Lens filters of various colors are applied as needed to boost contrast, for example between blue sky and clouds.

Film Processing

4 X 5 and 2-1/4 X 3-1/4-inch negatives are processed in tanks. Following negative development with Ilford Perceptol, Ilford Ilfotec DD-X, Kodak XTOL, or Adox Adotech for the specified time (vide supra), the developing process is halted with Stop Bath. The negatives are then treated with Fixer Solution followed by a short water rinse. Residual Fixer is subsequently removed with Hypo Clearing Agent and the film is then extensively washed in water, immersed in wetting agent, and air dried.

Archival Printing

B&W negatives are printed using a Beseler 45MXII enlarger with Aristo D2 Cold Light Head and V54 Lamp or with a Beseler Dichro 45 Computerized Colorhead calibrated to both Zone II and Zone VIII pivot points. Schneider lenses of appropriate focal length for the negative size are employed. Ilford Multigrade Fiber Based Glossy Classic paper is typically used, and developed with Ilford Multigrade developer. After print development, the developing process is halted with Stop Bath. The print is then treated with Fixer Solution followed by a short water rinse and Kodak Hypo Clearing agent. Next, the print is Selenium toned, and following another brief water rinse, treated with Ilford Washaid, and finally extensively washed in water before being air dried. Finished prints are cropped, and spotted with archival photographic retouching dye of appropriate shade to eliminate dust spots.

For some images, B&W negatives are digitized, and the RAW image files imported into Lightroom Classic for processing. Archival Pigment Ink prints are made from TIFF image files on Fine Art Papers such as Canson Infinity Platine Fibre Rag or Breathing Color Vibrance Baryta Satin.