Don’t Be Too Rigid!

I had so much fun at Asbury Park’s annual Zombie Walk last year that I had to return to its boardwalk again this weekend. Last time out I had met some fairly bizarre and fun people while managing to make some real keepers. It was truly a great day and when I got home I put it on my calendar for this year.

This time I brought my Leica M2 and M3 coupled with 35mm and 50mm lenses just like I did last year. I have used a 50mm, or near 50mm (e.g., an 80mm lens for 6X7) format equivalent for the vast majority of photographs I have made over the years. But last year I surprised myself when I made an equal number of photographs with the 35mm lens. So what happened this time out? Operating in very close quarters with a fast moving crowd I ended up using only my M2 and 35mm lens. That’s right … the M3 and its 50mm Summicron never left the camera bag!  A new first for me, and two days later I still don’t feel guilty at all!  The tiny 35mm Summaron mounted on my M2 was exactly the right tool for the job.  Why try to put a round peg into a square hole if you don’t need to?  I didn’t because I had the 35mm lens with me!

The 50mm will always be my primary lens, but if there isn’t enough room to step back a few feet, why be a bozo and miss a great picture?  Be prepared. It may be a long time before I use the 35mm again, but I will have it with me … just in case.

Wasted Opportunity Or A Chance For Reflection?

On Saturday I drove downtown to Center City Philadelphia to participate in a walking tour conducted by Hidden City Philadelphia. The walk focused on Philadelphia’s Lost Jewish Quarter. The tour was wonderful and our guide Jerry Silverman was fantastic!

Before I left home I restocked my camera bag with film, put it in the car with an extra bottle of water and off I went. Walking to the meeting location I realized I hadn’t loaded my camera so I sat down on a stoop in front of an old row house and grabbed a roll of Tri-X. Now all ready to go!  Everyone introduced themselves and we started our walk. As usual, I had a small spiral notebook with me, whose written pages could be torn out and transferred to my main notebook. I always carry some kind of notebook or pad with me so I can jot down whatever I think is important and not forget it. You should too!

I brought my camera with me, because I bring my camera with me. I thought there would be ample opportunities to make photographs while also taking good notes in support of a project idea I have.  But something curious happened … I never took my camera out of the bag! I kept taking notes as we walked from one interesting location to the next, passing many photographic opportunities. I just never had the desire to make a photograph. Even after the tour was over and I decided to do some further exploration … nothing. Strange … perhaps. Bad idea … upon reflection, I don’t think so. Instead of worrying about getting a good picture while trying to learn something that I could apply to something larger, I decided to just relax, enjoy myself and take it all in. I could, and most definitely will be back when my full concentration will be on making photographs. In fact I know that the part of Philadelphia I saw, while geographically compact, will take multiple visits to properly explore.

I don’t want you to think that I would have passed up an opportunity to make a picture of something earthshattering or not capture a moment of time that would never repeat itself. I would not!

Knowing I would be back, just listening and taking in what I was seeing without any pressure to produce was extremely liberating … and relaxing too. I had a great time!  But I must come back, and soon, or this was just a pleasant day trip.

So perhaps it’s a good idea sometimes to conduct “photo recon” as the objective and enjoy the experience for what it is. No pressure. If you want, you can bring your camera with you just in case. But don’t feel guilty if it never leaves its bag.  I didn’t feel that way at all and have pages of notes and ideas to work on in support what I think will be many wonderful outings. All in all, a nice way to spend a beautiful fall day. Not to do all the time … just every once in a while.

My Photographic Process – Step 3 – Making a Proper Proof Sheet

Awhile back I wrote an entry entitled “Don’t Be a Bozo — Make Proof Sheets!”.  I pretty much said what I wanted to say about why I do this and liked what I said. Well how’s that for a news flash! So I think I will quote the key points I made rather than try to think of something new and pithy to say:

“Now I hope most of you make proof sheets, but for those that don’t, it’s time to hop on the bandwagon! First of all, the most important reason to make proof sheets is to catalog your negatives and know what you actually have. Duh!  If you don’t have proof sheets you are setting yourself up for a lot of wasted time. Forget about making printing decisions based on viewing your negatives on a light table, or worse by holding them up to the light.  Of course that is if you can find what you’re looking for! And if your negatives are properly developed they’re all going to look good.  So what you need is more information!

I have a simple filing system that works for me, and you might find it works for you. I have all my negatives contained in clear archival Print File Negative Preserver Pages that are stored in three ring archival closed box binders to keep any dust out.  Separate binders for each film size.  Each page is numbered and has the same numeral as its matching proof sheet contained in a separate but corresponding loose-leaf binder. With each proof sheet are print recipes and other notes for each image printed from the particular roll of film or set of large format negatives. Now that is simple and sure makes things easer to find!  Note: In a future installment of this series I will discuss making a searchable Microsoft Word table to assist in easy of location and retrieval of proof sheets.

What else is the proof sheet good for? Well several things. After knowing what you have, the next important thing to determine is what you actually want to print!  By carefully studying my proof sheet, I first decide if it contains anything worth printing.  If I think it does I take my marking pen and draw a rectangle around the image(s). That’s a time saver to because I usually print images sometime after the proof sheets have been made. Why have to go back and do the same thing all over again?  Another thing the proof sheet tells you is whether your negative exposure/development was good or not. Depending on how bad things look, you may not want to try to print that negative (truth be told … I have made many successful prints where the proof indicted exposure issues).

Finally, there is the matter of cropping and image size consideration.  Looking at the proof sheet really helps me here and saves me a lot of time later when I’m in the darkroom.  I think the worse thing you can do is try to make cropping decisions based on what you see projected onto your easel. Less so with image size decisions, but the proof sheet does help me to get a good idea of what I want to do here.  So in addition drawing a rectangle around any pictures I want to print, I mark any cropping to be done.  Now when it is time to print I know exactly what I am going to do and get right down to the task of making a successful image!

So there you have it. Some very good reasons to make … and use proof sheets!  If your not making them, start doing so!  Trust me on this!”

I hope you got something out of that reprise. But you’re probably wondering about the title of this entry. It contains the words “proper proof”.  This is a concept developed by Fred Picker and I think it makes great sense. I allude to it above regarding how a proof sheet can tell you whether your exposure and/or development are on target. Fred formalized the proper proof concept and described it in an easily understood and useable manner. He states the rationale for making a proper proof and how to do it so well that I would be foolish not to quote him verbatim.  The following can be found in the Zone VI Workshopon pages 38-39:

“A properly made proof sheet is an invaluable printing aid as it contains all the information about the negative with respect to exposure, contrast, and composition. I never attempt to print a negative until I have made a proper proof. In addition to filing and selection information, a rigid proofing procedure can be a constant check on meters and camera shutters and any manufacturing changes affecting film speed or contrast characteristics.

Test for Proper Proof Exposure

Put any negative in the enlarger, set up for about an 11×14 print and focus. Mark the enlarger column with tape or magic marker and a corresponding spot on the movable head so that you can find this exact elevation in the future. Remove the negative and replace the empty negative carrier. Position the proofer (contact printing frame) in the center of the light cast on the countertop or easel.  Stop down the lens to f/8. Turn the enlarger off and set the timer for three seconds. Lights out except safe lights. Place a sheet of your normal enlarging (not contact) paper face (shiny) side up on the open proofer. Use your regular enlarging paper #2 grade or if variable contrast paper – not filter. Now lay the strip of (but developed and fixed) film dull side (emulsion side) down on the paper. Use the blank film from the development time test. Note: This is from the development time test Picker discusses elsewhere in his book and I address in my Step 1.

Close the glass over all and give a 3 second exposure.  Cover the right hand end of the film (about an inch) by laying a cardboard on the glass and give another 3 second exposure. Continue moving the card one inch to the left between exposures until you reach the end of the film.

Remove the paper and agitate it constantly for 2 minutes in your print developer (I like Dektol diluted 1:2 as directed). Agitate in stop bath (1-1/2 oz. of 28% acetic acid per quart – a 50% stronger solution than for film) for 20 or 30 seconds and turn on the room lights. You will see gradations from light gray to jet black in one inch stripes across the film. Locate the stripe that is the first one to match the next one in blackness. As in the film development test, we want the minimum exposure that will produce the maximum black through the clear film. Identify the first completely black stripe – not the very dark gray one next to it. This will vary with the brand of paper, enlarger, illumination, lens opening, etc.  If the time is under 9 seconds, retest, closing one stop to refine the result. If over 24 seconds, open one stop and retest. Fix, wash, and dry and then located the first maximum black stripe.

Write down all the information on the chart in this book. In my case I have a notebook of information that this is contained in.

Other films or other sizes of the same film will require different proofing times due to varying base densities. Test them all. Write them down on separate charts.

This is now a standard for this film and all future proofs are made exactly the same.

To make an actual proof, substitute negatives for the clear film used for the test and give the negatives the exposure you have written on the chart.

The proper proof will tell you all about your negatives. I know a professional whose proof all show the film edge as gray. He has been underexposing his negatives – for years.”

So there you have it. You now know all the reasons why and how to easily make a proper proof.  The more you standardize and simplify the better off you are. Save the creative juices for what counts!

Robert Frank, 1924-2019

This past week the great documentary photographer Robert Frank passed away. You will find a number of tributes to him on the Internet.

I have written about Frank several times on this site, and for me his book The Americans is one of the most cherished in my photographic library. Here is what I wrote:

Robert Frank, The Americans 

Like Helen of Troy, the “face that launched a thousand ships”, Robert Frank, through his seminal work, The Americans, influenced countless street and documentary photographers and the trajectory of photography itself!

There have been at least four editions this incredible book that have been published since 1958.  Each one is slightly different.  My copy is published by Scalo and leaves the captions that go with each photograph to the very end of the book.

What matters is that Frank may have taken the ultimate photographic road trip across America just before everything changed forever with the Sixties. And perhaps Frank’s unvarnished view of America and American life may have been as significant as rock and roll, the counter culture and the rest of the fall out from the Viet Nam War in changing the way we looked at ourselves.

During his year and half year project Frank exposed 767 rolls of film, making 27,000 pictures. Ultimately he edited them down to 83 images. And what images they are!

83 perfectly sequenced black and white photographs tell the story, and an incredible and shocking story it must have been for a society used to seeing nothing but a sugar coated view of reality. It certainly was not welcomed by the mainstream photography and art world.  Nothing would be the same again, but we are surely better off for his brilliant vision.

I have been lucky enough to see several Frank exhibits including one showing all 83 photographs, along with his proof sheets! I was also fortunate to be able to attend a lecture he gave in support of one of the exhibits.

In short, your photographic library must include a copy of this book.  Buy any one the editions, new or used; it doesn’t matter. Just get one!

As mentioned in my short review above I was able to see the 2009 landmark exhibit of his monumental workentitled Looking In: Robert Frank’sThe Americansat the National Gallery of Art in Washington DC. I was also lucky to attend a terrific lecture he gave in Washington. While both of these events are and will remain fond memories for me, I will always have Frank’s wonderful book to study and ponder whenever the need for inspiration occurs.

My Photographic Process – Step 1 and 2 – Film Speed and Development Time Testing

This is the first of a set of periodic and more detailed discussions concerning what I do as part of my photographic process which I outlined here a couple of weeks ago.  Remember this is what I do. Your mileage might vary. In any case you should do what works best for you. The key is to have a consistent and repeatable work process that supports your creativity.  Note for all the Zone System photographers: I only use Normal development times; I do not use Minus and Plus development times. I also use a variant of the Zone System called Maximum Printable Density (MPD) that Fred Picker developed.

I have grouped these steps together because they form the foundation for producing a good negative that will enable you to make a decent print without having to resort to heroic measures … assuming your exposure is close to the mark.

Much has been written about these two steps, especially by Zone System practitioners. And they’re right in doing so, because establishing the proper film speed for your film of choice and the correct development time for with your developer of choice is essential. The key however, is not to go crazy over this.

As mentioned in my summary piece, there are a number of ways to get the results you need. For example, many film speed tests incorporate the use of a densitometer to locate the negative that produces a minimum printable density of a Zone I exposure, which is equal to a density of .08 – .10 above “film base and fog”. That negative is the one having the proper film speed; using that film speed will ensure that your shadows are nice and luminous. Once you have established you personal film speed you can then determine what development time will enable a Zone VIII metered placement you make in the field to produce a Zone VIII print value in the darkroom. Too much development time will blow out your highlights, not enough and they will be too dark. These are the methods I used to establish my film speed and development times years ago and I still use their results. But testing needn’t be intimidating and can be as simple as cutting your film speed in half of the manufacturer’s stated box speed and cutting the manufacturer’s development time by 20%; then making adjustments as you go along.

Of the two steps, film speed testing has historically been given the greatest amount of ink.  And both often get discussed in the context of the Zone System.  I think this is where the confusion and over-complexity comes in to play. It turns off a lot of people, leading them to cave in and do whatever Kodak or Ilford tells says. But it doesn’t have to be that way. The Zone System is merely a method that takes into account the basic principles of sensitometry and allows you to incorporate them into your photography.

The standard text for all of this is of course Ansel Adams’s The Negative, but after multiple readings I just couldn’t get it. Then I stumbled onto Fred Picker’s little book called The Zone VI Workshop.  All of a sudden everything became clear!  Film speed and development time testing now made sense, not to mention the Zone System itself! You can buy this monumental yet tiny book for a song and read the whole thing in less than an hour. I highly recommend it!  J.B. Harlan has written wonderful set of work books focusing on the art and craft of large format black and white film photography, with one in particular called The Film Exposure Work Book. It contains a number of chapters that tell you how to conduct film speed and development time tests, building on Picker’s original work and the Maximum Printable Density (MPD) concept he developed to completely simplify and demystify the Zone System (more on this to come!). I own J.B.’s entire series and have had the pleasure to meet him and his wife Susan. They are both outstanding photographers and wonderfully helpful people! Picker’s explanation of MPD and related matters can be found in his Newsletters #46, #47 and #48.  Note: Complete sets Fred Picker’s newsletters come up from time to time on eBay and are worth getting!!! I have read all 82 newsletters many times and always seem to learn something or gain some new insight with each reading.

I am not going to go over the details on how to conduct theses tests beyond what I have said above. My recommendation is to get both the Picker and Harlan books and be done with it (there are also countless discussions about how to do this on the Internet that you can find). Otherwise just start by cutting your film speed in half of the manufacturer’s stated box speed and cutting the manufacturer’s development time by 20% and make adjustments as you go along. Even the great photographer and printer Bruce Barnbaum discusses this approach in his book The Art of Photography.

This year I’ve made a lot of medium format Tri-X negatives developed in Kodak HC-110 (more on this development at another time) and my personal film speed and development times haven’t changed since I conducted my first tests for this sacred combination over thirty years ago (there was a slight change in development time when I began using a Jobo processer over twenty years ago). My film speed is 250 ASA and my development time is 6 minutes using HC-110 dilution B.  Yes I know Tri-X had a revision during this time and some users reported that the look of HC-110 changed slightly, but you know what, I have still gotten the same consistent results so why mess with what works!  If I detected a problem it would have been easy to make some subtle changes in film speed and/or development time.

There is one developer I am familiar with that enables me to get close to box speed or use the stated box speed, depending on the film. Kodak Xtol allows me to use 35mm Ilford Delta 100 at 80 ASA and Tri-X at full box speed!

All of this having been said, a great many photographers, especially those that are street shooters use box speeds or higher and manufacturer’s stated development times for a grittier and/or more contrasty look and feel. Think Ralph Gibson for example. It really is all about what you want.

Bottom line – establish your foundation and don’t look back!

Henri Cartier – Bresson, Tête à Tête

What more can be said about the great Henri Cartier – Bresson that has not been said before. Known for “the decisive moment” with his incredible candid photography on the street and elsewhere, it turns out he was a pretty damn good maker of portraits. Unlike others of his generation, such as Arnold Newman, that specialized in the genre and used larger format cameras, HCB made his portraits of the famous and not so famous using a Leica, so the pictures have a different feel to them. Perhaps more fluid even though they were made in the subject’s environment as Newman and others did.

Tête à Tête is simply a wonderful book, containing almost 150 terrific black and white images (Have you ever seen an HCB picture that wasn’t stellar? Answer: No!).  The book is made all the more interesting because he sequenced the photographs himself rather than leaving that all important task to the editor, so we get further insight into the thinking of this very private photographer. Also of interest is the wonderful introduction by the great art historian E.H. Gombrich, accompanied by eight of HCB’s portrait sketches. Many younger readers may not be familiar with a number of the subjects captured in this tremendous book, but no matter, it is the pictures that count and the portraits are timeless!

I am lucky to own several of HCB’s books, including the recent incredible re-issue of the Decisive Moment.  While most would probably think the photographs contained in that landmark book and others such as Henri Cartier-Bresson: Photographer as his go to body of work, it would be a terribly remiss not to be aware of these important images.

It appears that Tête à Têteis still available new in hard cover, although it may be a different printing then my Bullfinch edition. What I can tell you is that the Bullfinch publication is beautifully printed. In any case, this is a book that belongs on every photographer’s bookshelf! Get it and enjoy!

My Photographic Production Process

There is much more to getting a great final result than merely loading film into the camera, capturing a potentially compelling image and printing the negative.  Truth be told, I don’t enjoy testing at all and I’m not a prolific tester.  But it’s essential to establish the proper film speed for each of the films you use and the correct development times for those films with your developer(s) of choice.  Thankfully, there are a number of ways to get the results you need. Testing doesn’t need to be intimidating and can be as simple as cutting your film speed in half of the manufacturer’s stated box speed and cutting the manufacturer’s development time by 20%; then making adjustments as you go along. But make no mistake; these tests form the basis of a solid black and white analog photographic process.  Without conducting them you stand little chance of making what John Sexton calls an “expressive print”.

Once the foundation is established I believe the most important thing is consistency in your process.  Get the technical issues worked out and make the mechanical steps as easy and predictable as possible. This way you can save your energy for the most important part of photography – the creative process! Here’s what I do:

  1. Establish the proper film speed for the films I use with my developers of choice
  2. Establish the proper development time for the films I use with my developers of choice
  3. Determine the correct enlarger height, enlarging lens aperture and exposure time necessary to make a properly exposed proof sheet (what Fred Picker called the Proper Proof)

  4. Go out in the world and make photographs
  5. Develop film and file in numbered archival sleeve pages, stored in archival ring binder containers
  6. Make proof sheets and file into notebooks with the same numbers and added description of the what is contained on each roll of film and when it was taken
  7. Add roll numbers and descriptive information into a searchable Microsoft Word table to assist in easy of location and retrieval
  8. Examine a proof sheet and select negative(s) to print
  9. Make test strips (I use a full sheet of paper for each one) for several contrasts
  10. Determine your starting print exposure and contrast grade of paper
  11. Make my best print, writing down all the steps taken onto a print “recipe” form I’ve made
  12. Wash and dry on print drying screens
  13. Selenium tone the print (some do this as part of step 11 and cut out step 12; I wait until I have a number of prints and do this as a separate step)
  1. Wash and dry on print drying screens
  2. Dry mount the print using archival mounting tissue and archival mat board
  3. Evaluate the print
  4. Redo the print if necessary or just trash it if it is hopeless
  5. Spot the print if necessary
  6. Frame the print as appropriate using black Nielson frames
  7. Store mounted prints, toned unmounted prints and untoned prints in archival boxes

I hope this is helpful. In the future I intend to discuss each one of these process steps in some detail but this is a good start. Note that the process I have outlined above is what works for me.  You might choose a different approach. The key is to establish the foundation that gives you the results you desire and then maintain a consistent and repeatable process. Once established you will see how much more enjoyable your photographic life becomes!

You Can’t Ever Go Back … Or Can You? Don’t Give Up!

Sometimes things don’t work out as planned the first time around. Sometimes they don’t work out the second time you try. But sometimes the third time’s a charm. That was the way it turned out for me recently.

In landscape photography the masters have often revisited a location numerous times waiting for the right light or a beautiful cloud formation to arrange itself overhead. Then think of how may times Edward Weston photographed his pepper to get exactly what he was looking for. In the case of street or documentary photography you often only get one chance, as the picture is there for a fleeting moment and then it’s gone forever.  But not always, especially if you are persistent and not willing to give up!

Such was the case when I went to the large open air Italian Market in South Philly last summer. First things first; as soon as I arrived I grabbed some quick chow. Then off to make some photographs. After walking around the central area I decided to keep going … I always find it the most interesting when I have no clue where I am headed. I quickly came upon Capitolo Park and the semi annual Capitolo Park Flea Market.

The exterior of the Park along the sidewalks was packed with vendors selling their wares on top, on the sides and beneath tables, which they sat or stood behind. In some cases they had things hanging from or leaning against the metal chain link fence behind them that bordered the playground and basketball court. I walked around, mostly in the street because there were cars parked in front of the tables and the sidewalks were jammed. This of course made for some challenges when trying to make some of the pictures I was interested in.

I finally stumbled upon a gentleman selling the usual stuff, but behind him leaning against chain link fence were stuffed animal heads mounted on some kind of wooden board. A little bizarre, so naturally I got excited and made a few pictures. Unfortunately I couldn’t get what I really wanted due to the parked cars and the mass of people I wasn’t able to control. But you do the best you can or walk away empty.

I eventually got around to developing the film but the proof sheet turned out the way I thought it might; the pictures were not worth printing. Nevertheless, I stored what I saw in my memory for future keeping. On a Saturday morning this June I drove back to the same location hoping the flea market and the guy with the animal heads would be there. Of course I hadn’t done any checking beforehand and so no flea market and no guy with his animal heads. I walked around and made a few pictures but felt a little dejected until I spoke to a nice woman who I guessed live lived in the neighborhood and asked if she knew about the flea market. Yes she did; it takes place twice a year and the upcoming one would be next Saturday!

With great anticipation I drove back to South Philly the following Saturday.  It took forever to find a parking space within walking distance, but I finally found one and started hiking towards the park.  It was packed with people, tables and of course the damned cars parked in front of the tables. I walked around the park and playground and then I saw him with his animal heads against on the fence, in the exact same location as last before!  And yes there was a car parked in front of his area, but with enough of a space to hopefully get a decent shooting angle.

I had a nice chat with him about what he was selling, especially since he had a couple of boxes vinyl LPs and I only own several thousand myself. A few more couldn’t do any harm. Good ice breaker. In a short while he was happy to move into position so I could make some photographs and I was able to get the passing onlookers to stop while I made them. All very enjoyable!  I finished what I set out to do and went to find my car.

A few days later I developed my film and made my proof sheet with a certain amount of anticipation. And yes, third time was a charm!

I really wanted this picture and wasn’t willing to give up on it even if the probability of success was pretty slim. There are a number of pictures I have missed either because I didn’t have my camera with me or I couldn’t quite get it right or I just screwed up completely. I wanted to keep trying to see if I might capture this one. I thought somehow that if I kept trying the photography gods might look kindly upon me and magically it would happen.

I did, and it did.

If your picture really matters to you, don’t give up!