Peering into the Shadow Details

The past two posted images were very early examples of the development regimen I learned, based upon standard practice, as per pre-mixed developer instructions, as well as common wisdom on ISO setting and reciprocal development, the common terms for placing your tonal zones where desired then developing according to the placement of the highlights; Zone 7 (white with texture). Zone 8 can't help be be blank white.

The overall tonal range of those two prints, "Skinner's Cabin" and "Bottle in the Window" were both shot at the proscribed ISO as rated on the film, then developed in a standard M/Q developer. Yes, D-76, then likely printed using Dektol. Most of us begin there. I have brought up W. Eugene Smith for his rich blacks within his shadowed images, as demonstration of shooting at the toe. What I was seeking was to see into those shadows,  open them up and add detail, even texture. Eventually I figured it out.

I made two alterations to my shooting/developing routine, which in a sense would come under the general description of a compaction. Yeah, I know, weird. What it comes down to is simply increasing exposure, which of course 'peers' into the shadows, increasing detail. To compensate for the highlights which would be blown out with normal development, I altered another variable; the developer. I ceased using M/Q developers due to the superadditivity function, and began mixing my own developers using only Metol, semi-compensating high resolution developers. That shift in chemistry negated my needing to reduce development time to compensate for the increased exposure, as I found out about Beutler 105 early on, and with it's semi-compensating ability the highlights didn't get blown out.

The reason I know this first hand is because I did a number of texture tests using the developing formulas mentioned. The first time I saw the outcome of a texture test using Beutler, there was no turning back. After you drive a Ferrari, a Jetta just doesn't get it anymore. I was shooting roll film, both 35mm & 2 1/4", which was a major expense for me at the time so getting it right was important. One of the better decisions I made back then was to invest in a bulk film loader for the 35mm film. The 2 1/4" film came 12 shots to a roll so worked out well for a texture test run. Probably a good idea to add a Texture Test Procedure to the Procedures Pages of the blog for easy referral.

This is the image I used for the cover of my book on black and white film and photo chemistry, as it demonstrates this very shift in moving the contrast index (CI) towards the shoulder of the curve, thereby reducing shadow area. Two important aspects of this shift, obviously, is keeping a respectable Zone 1 dMax black, perhaps even a bit of Zone 2 in places, like covered areas. This image demonstrates that well. I have yet to be able to print this image in palladium as I plan on doing. I have been doing test prints in silver for best density range of the digital negative. With the current facilities not easily reached this process is lengthy and tedious. Once my printing room is finished such efforts will be straight forward, and rather delicious.

I am posting the image more enlarged for better view of the lack of shadows in the image. What remains of the lower tonal zones is Zone 1 mostly, with mostly middle tones, and Zone 6-7 predominant. For my tastes at the time those two zones represented the 'poured silver' look, which is what I as after.  The developer would have been pyro/hydroxide.

Silver Gelatin Print ~ "Footbridge in the Forest"
1984 ~ 8"x10" ~ Private Collection
Willamette Forest, Oregon