Peter Lee Monochrome Photography

Classic black and white film photography with the occasional digital image



I am a medium and large format analogue photographer based in Orange NSW. I returned to photography in 2014 after a 30 year absence and after a brief period with digital cameras I reverted to film cameras. I believe that film images have those special qualities not easily produced digitally and this applies particularly to monochrome images as they reveal texture and shape not easily seen when masked by blocks of colour. I have a wide variety of photographic interests from old timber and iron buildings ,environmental portraiture to fine art nudes. I have a number of images on this website for sale as Fine Art prints - contact me for further information -

Scanning films with a DSLR for superior results.Part 1 -35mm negatives

I have been asked regularly to show my setup for DSLR scanning of negatives. The first thing I must emphasize is that the “devil is in the detail” and if one doesn’t get the detail right, the results will be poor. My present setup , with a full frame Nikon D610 (24MP) and Nikon 60mm Macro lens gives me 1:1 magnification for 35mm raw files 20 by 13 inches ( which I reduce to 18 by 12 inches to print on A3 plus paper).These prints are very sharp but one needs to get all the steps right along the way.

I was given an old 35mm Meopta enlarger base and column which a mate made up a  bracket for with a very strong mounting screw for – note the clamps which hold the base securely to the table removing any chance of vibration

This  is very important as you will be working with 1:1 magnification ratio.

The next step was to build a box for the lighting source and white perspex on which the negative would lay ( although not directly)-  pay attention to getting the  box as level as possible  .The reason the box was deep was to avoid too much heat transfer from the LED light to the negative – if anyone has seen a negative “pop” in the enlarger they will know  exactly what I mean-

The light source I eventually settled on was a 240volt Yongnuo YN300  95 CRI video light – you can adjust the colour temperature from 3200 to 5500K although for B&W this is not important. What is important is NOT have the light at full power  as it will burn the highlights and reduce tonal range- somewhere between 20 to 30% power is fine. I then had a piece of white perspex  cut to fit the box , rebating it around ¾ inch from the top of the box. Again you may ask why?   I did not want the negatives resting on the Perspex as they could show up any dust or imperfections on the perspex.

The next step was to cut a piece of smooth metal ( purchased from Bunnings) the size of the top of the box and in the middle a  gap for 35mm ( or 120).I found the metal sagged a little so screwed it onto some MDF ½ inch MDF which improved its rigidity. So why did I use metal for the scanning process ?  

Officeworks has A4 sheets of “fridge magnets” which I cut into two and these are used to keep the negatives perfectly  flat ( as flat as an Imacon scanner).This completes the work on the box.

The next step is the camera – at first I used a 36MP Sony A7r  , bellows and enlarging lens but the trouble with mirrorless cameras is they are not through the lens  focusing and what occurs in low light is one sees plenty of digital noise on the screen so its near impossible  to focus on the grain. I ended up buying a good near new Nikon D610 and a excellent second hand Nikon 60mm macro lens – with through the lens focusing I can actually watch the grain “snap” into focus exactly the way it used to in the old darkroom. To complete the  setup I bought a remote shutter release although when I am tethering the camera to Lightroom, this cannot be used.

Now comes the part to refine the whole process- the trouble with a normal spirit level is the floor eg may not  be level and you need to level up the top of the box with the negative in place to the camera and that’s very hard to judge with a conventional spirit level .My mate made me up this adjustable spirit level- first you put it near the negative and adjust it until it is level, lock it  in place then put it ACROSS the camera –

and adjust the camera so it is level. That got everything level one way but its highly unlikely the camera is level to the box with the negative vertically as the enlarger column may be slightly out so put the adjustable level in a vertical position on the  camera and level the bubble-

the reason for doing the camera first is you can’t move  it so if anything moves it has to be the box below.With the negative in place on the lightbox, put the spirit level vertically on the  box and check.

In my case it did  not line up exactly so I had to glue some shims  in place on one side of the box until  it did .You now have the negative perfectly aligned with your camera.

I would have liked a permanent setup but that was not possible so I  have to do the  levelling  steps everytime I  scan negatives – only takes a couple of minutes.

Its important to do this levelling procedure with the negative in place  roughly focused as the box can move on the base board.I haven’t locked it in place as I  also scan 120 negatives .

I shoot in RAW aperture preferred F11 as every negative  will have a different density.I don’t like using manual exposure as I have to touch the camera slightly to do this and this could alter the focus slightly .Just to be  on the safe side I check focus ( use a big magnification ) every negative  I copy just in case something has  moved slightly. Even doing this , I can scan a 36 roll of 35 mm film in under 20 minutes.Naturally I would like a 36MP camera so I can do 20 by 16 prints but  for now the 18 by 12 prints are perfectly fine and besides the equivalent PPI of 35 mm film is 5300 PPI or close to 18 inches on its long side

This is the little leveller that plays such an important part of perfectly aligning the negatives to the camera and without something like this it will not be as efficient.You could make these up yourself if you are handy or have one made up for you
It is able to be adjusted in infinite positions, something that a normal spirit level cannot do

It took me around 6 months to perfect this setup and until I had the above level, the results were only average.Like I said, the devil is in the detail.

Next blog will cover DSLR scanning on medium format negatives.

Using vintage lens on modern digital cameras

Film camera fanatics often extol the virtues of film over those using digital cameras, claiming that film is more “realistic and organic” and the only true type of photography. They berate digital camera users for producing clinical pin-sharp “plastic” images that have no “soul”  and are only obtained by shooting 100 shots to get one decent one. I take a more pragmatic approach to photography, seeing the camera (film or digital) to only be a tool to achieve one’s vision -if it looks good, it looks good, regardless of how it was taken.

This week I took delivery of a used 36 MP Sony A7r body which I intended to use to “scan” negatives rather than use a traditional scanner, but prior to that needed to test the camera to ensure it worked. I borrowed an old 50mm Minolta Rokkor lens from the 1970s and ,with a suitable adapter took the Sony out to a much loved location,  Cashens Hut near Orange. To be honest I didn’t expect much as I read these old lenses were not very sharp, produced a lot of flare and lacked contrast. I got to Cashens around 730 am and made 8 exposures on the Sony, taking time to compose, carefully measure the light and of course focus manually, as these old lenses don’t have autofocus . Returning to Orange I processed the images in Photoshop, spending no more than a few minutes on each image. I have to say I was totally blown away by the subtle colours and beauty from this old lens -it produced images very close to what my eye saw that morning.



CashensHut_20190309__DSC5891 webCashensHut_20190309__DSC5882 webCashensHut_DSC5900_webHad I shot the same scenes with modern digital lenses, the results would have been clinically sharp but totally lacking the character and natural appearance from this old Minolta lens.

This begs the question –  is it film that makes the difference or the actual lenses ? .I personally think it’s a bit of both .If modern film shooters could put modern lenses on their 1970s and 1980s film cameras, the results would be more clinical. Reasonably modern film cameras like the Mamiya 7 produce images/prints that are pin sharp but have a digital quality. Some modern films, notably Fuji Acros100 ,to me has a digital look , whereas old traditional films such as as Ilford FP4 and Kodak Tri X clearly identify as film images.Even converted to Black and White, these images have a timeless quality to them that do not identify as being either digital or film.


I will still be using the Sony to “scan” film images but will also use it as a camera- this week I bought my own 50mm Minolta lens ( cost $85) and am looking forward to shooting with it more.

Cashen’s Hut is a special place both to myself and others that know and love it. It was the subject of an earlier blog – I have a number of 20 by 16  inch prints of it on my walls, shot with my large format camera and am in the process of making a 33 by 16 inch print this taken with my Sony earlier this week to mount above my fireplace .It’s not the usual documentary image  I take with everything in focus but for me it has a sense of mystery and emotions that depict my personal feelings about the hut.







Agfa Super Isolette 6 by 6 review

A review of classic 6 by 6 folders would not be complete without including the Agfa Super Isolette , considered by many to be the finest 120 folding camera ever made including the much heavier Zeiss Super Ikonta IV. Having said that the Super Isolette is no lightweight either but that bares testimony to the excellent build quality from this german made camera.

I purchased mine around 12 months ago from the well-known folder specialist in the US , Certo6 ( Jurgen Kreckel).It is in immaculate condition , fully serviced and operating very smoothly with the rangefinder spot on.It came with a lens hood and 2 x 32 mm slip on filters ( red and K2 yellow).Unlike almost all Agfa folders, this camera has leather bellows which are in near perfect condition.

Ken Rockwell speaks very highly of this camera boldly claiming-

Unlike many of the cheaper and more popular Isolettes and Speedex cameras, the Super is made with the quiet precision of a fine wristwatch and has a 4 element Solinar (Tessar) lens which is super sharp from edge-to-edge, even wide open”


Much better than any Leica, it has an even quieter leaf shutter and shoots medium-format film with resolution that Leica people merely dream of. It is a jewel of silent precision, making a Leica feel lumpy and unrefined by comparison.

I would have to agree with him on the build quality and that superb images can be made with one.To date all my photos have been hand-held and whilst I have no doubt putting this camera on a tripod could improve things even more, the beauty in this camera is its portability. I carry mine around all the time in a small shoulder bag so its ready for use in a moment unlike eg TLRs and other “compact” 120 cameras without retractable lenses.


At present, I have only used 400 asa film (mainly T Max400 , occasionally Ilford Hp5) but I do want to try some medium speed film such as T Max100 Ilford FP4.The Agfa Super Isolette is easy to to focus quickly so it  good has potential as a street camera.

1930s girl web

When sourcing one , make sure you get a leather case with it as like many of the folders of this era , it has no strap lugs which increases the risk of dropping this beautiful camera.


Although hard to explain but easy to see, the images produced with this camera which incidentally was made between 1954 and 1957 have a unique look about them just as  Leica and some Rolleiflex cameras . As they were only made for a relatively short time they are pretty rare  and expect to pay between US$700 to $1000 for one.

Boars Head in fog copy

Echo Pint Stump

Gingerbread manNationalParkbranchwharf in Forestbarn013_webbarn014web

The saddle shed


This time last year I was invited to take photographs at a remote sheep grazing property on the Bell River some 30kms from StuartTown. Horses are indispensable in this rugged. drought affected country and the saddle shed is an integral part of the property’s overall operation. My intention was to document important buildings and landscapes on this property using a large format camera in order to keep a “closed loop” as I would have needed to outsource scanning if I had used a medium format camera.

The Exposure and Development

I set up my 4 by 5 Crown Graflex with 135 Schneider Symmar S lens inside the saddle shed- as I had anticipated some very long exposures in the shearing sheds the only film I had loaded was Fuji Acros100 .The bright sun was already high in the sky and was bleeding through gaps in the iron walls, lighting up the dim dusty interior of the shed. I did not anticipate that these narrow shafts of strong light had biased the incident light meter resulting in an incorrect exposure reading of 8 secs @ F32, at least one stop underexposure.Back home I developed the negative in Rodinal 1:50 with minimal agitation but, concerned about the excessive contrast in the scene, reduced the development time far too much, resulting in a partially underexposed/underdeveloped negative. Whilst it had low density and contrast, some shadow details were present.

To come up with an acceptable print even in a wet darkroom would be a challenge.


My Workflow

I used my usual workflow for large format work, scanning the negative with my Epson V700 scanner, editing in Photoshop then making the final print on my Epson 3880 scanner. Details of the structured workflow is as follows-


I scanned the negative at 1600 dpi as a linear positive, setting the black point at 0, white point at 255 and the gamma (midpoint) at 1, opening the 16 bit grayscale tiff in Photoshop. I then created a Levels layer, reset the black point and white point to align with the histogram then adjusted the midpoint until I was happy with the result. On a new layer I straightened the image, resized it to 14 by 11 inches, then used the spot healing brush to remove dust/ spots (for white spots the darken mode and for black spots, the lighten mode). I then flattened the image, renaming it as my stock file, and made a 10 by 8 print to use as a reference point for future edits.



From examination the stock print, I could see the tonal values in the mid tones and shadows particularly in the lower half of the image, were “muddy” and that a number of sections of the image had to be improved independently of others. To address this , I made a series of luminosity masks, eventually deciding on 3 masks to boost the tonal range of  key areas without influencing others  e.g. a Zone 3 luminosity masks would enable me darken specific areas of the saddle or anything around Zone 3

Zone 3 luminosity maskweb

I  then painted on the masks with a soft white brush or used a curves adjustment which would only impact on the white or partially  off white areas ( i.e. black conceals , white reveals).In other areas, I made a number of curves adjustments, inverted the masks (to black ) and selectively painted on those areas with a low opacity brush building up contrast with each stroke. I  saved this file as a PSD which would allow me to come back and make any adjustments if required

Saddle broad adjustment


Some fine tuning at this point was necessary so I flattened the image and created a new layer and applied the history brush using a number of blending modes, painting on selected areas with a soft brush around 6-10% opacity. The history brush blending modes most used are –

  • Multiply– darkens local areas.
  • Screen– lightens local areas
  • Colour Dodge-lightens light/white areas only
  • Colour Burn– darkens dark areas and shadows only
  • Difference – Darkens extreme highlights
  • Soft Light– increase contrast in local areas

In practice, some example of this are –

  • I painted on the light rope on the saddle and the light canvas under the saddle with the history brush in both the screen and colour dodge blending modes to lighten and highlight these areas.
  • I painted on the dark parts of the saddle with colour burn and multiply blending modes and the writing on the box and signpost to bring them out more.
  • I “outlined” some edges in the image, using a reasonably hard but very fine brush in multiply mode at 15% opacity to separate objects within the image.

Once I was happy with the result , I flattened it and sharpened it using a third party sharpening tool Focus Magic applied through a mid-tone luminosity mask to restrict sharpening to only those areas.


I decided to print this image on Museo Silver a 100% cotton heavyweight archival fine art paper with no optical brighteners and a high D Max to enhance the deep blacks in the image. I used a custom warm profile by Les Walkling – in this way the slightly warm toning is applied in the print driver rather than Photoshop meaning the print could still be made in Epson’s Advanced Black and White mode rather than the colour mode. I waited 24 hours for the print to dry and applied 3 coats of Hahnemuhle Protective Spray.

Saddle Hut001 Panatomic X FINAL by11

Affordable medium format film cameras- part 1.

These days our brains are being bombarded by millions of photographic images from digital /phone cameras posted online web each day. So much so that photography has to a certain extent lost its value as serious form of artistic expression with so many clinically perfect images being produced . Even notable images are only as good as their last “like’ on social media as many people no longer make prints. Over the past few years film photography has enjoyed a  revival as people are looking for a more “organic” experience that re- establishes the true value of a photograph.

This revival has resulted in prices of film cameras “going through the roof” – e.g. basic plastic 35 mm point and shoot cameras that were being sold for $30  three years ago are now selling for up to $600, making getting into film photography difficult for some people. However, if people are willing to forgo the convenience of fully automatic cameras, there are some good bargains to be had out there, with the added advantage of providing the user with a greater “organic” experience particularly if they develop and print their own negatives and not leave it to a professional lab to do it for them. The easiest way to do this is to work with black and white film which has a timeless pictorial look.

Medium format cameras by virtue of their much larger negative size, will produce prints with far more detail than even the most expensive 35mm cameras but some people new to photography are concerned about the perceived initial cost and the complexity of operating these cameras and shy away from them.

One of my favourite cameras is a 1938 Zeiss Ikon 521/2 medium format folder that produces large 6 by 9 negatives, yet is capable of being slipped into a large coat pocket and carried around. I estimate its value at around $130 making it affordable for anyone wishing to get into film photography .This particular camera has a sharp 4 element F3.5 105mm Carl Zeiss Jena Tessar lens and produces images that have a beautiful pictorial look.


Operating the camera is a truly “organic” experience as every part of the process has to be done by hand, from opening the camera, advancing the film (using the red window at the rear of the camera), cocking the shutter and focusing .The latter can be daunting at first as the camera uses zone focusing – the user needs to estimate the distance from the subject then set this distance on the lens. In practice one gets used to this quickly and it is possible to produce very clear images in a short time. Anyone who has zone focused their digital camera for street photography will have no trouble in adapting to a zone focus film cameras. There is a sense of satisfaction in using this camera that is only rivalled by operating a large format camera .It has the added advantage of slowing the user down, slowing their mind and allowing them to think more about the photograph itself rather than taking quick “snaps” with an automatic film camera. Underneath are a few images taken with this camera.

Milthorpe car webCADIA LOGS 8M FOCUS

Cashens skull Epson_web

Cashens windowweb

Cashens NO

Old House Woodward st110

When buying a folding camera like the above there are a few things to look out for. Make sure the bellows are light tight and that the camera opens and closes without any obstruction. Make sure the focusing mechanism is smooth and the slow shutter speeds sound plausible especially the 1 sec speed. Some shutters on these old cameras can be dry and run slowly at low speeds.

Of course, this is not the only medium format camera that can be purchased cheaply. There are many other types including twin lens reflex cameras- a much underrated one being the Flexaret 6 by 6 .Look for the well known and respected EBay seller Cupog who always have a few of these for sale at very reasonable prices.

The Cashen Photographic Project

Over the last few months I have been focusing on a photographic project, an old abandoned house in the forest near Orange NSW. Sylvia Cashen lived in this old house for 85 years, only leaving  in 1997 when she was 92 years old. Since her husband died in the 70’s she lived there by herself with two dogs and three cats. Life was very simple – Grandma Cashen as she was called, grew her own vegetables, trapped rabbits and had no modern cons inside aside from electricity connected in recent times. Water came from outside tanks and heating provided by a wood fire. Grandma Cashen was quite content with this lifestyle – when she was 80 years old she was given a television but hardly used it.preferring the simple life.


Chair on porch 20 by 16soft proof print

When she finally left, she walked out of the house without taking anything. I saw the house for the first time a year ago and it was as she had left it, suitcases covered in dust in the bedroom, pots still on the stove and bathrobe still hanging on the wall above the tin bath.

Cashen Bed FINAL

To me, it was a moment frozen in time, a time dating back to the 40’s .Sadly, the old house is falling into disrepair with floorboards starting to rot, water coming through the roof and the forest rapidly closing in. For me it’s a race against time to finish the project which has been difficult due to low light levels and the unstable structure especially as I was using a 4 by 5 film camera.

Cashen Hut Series 3

New door and chair 20best final



outside cashen hut2028 FINAL

I had intended to use the old house just for some modelling shots.


However, I then thought I had a rare opportunity to document the history of both Grandma Cashen and this old house. By nature, the images are  clinical, rather than artistic/creative and I make no apologies for that.

Cashen Hut Series 6

Cashen Hut Series 5


Cashens Spider Fused FINAL22221

Cashen's Hut project fireplace

Cashen's Hut project loungeroom

Cashens Hutrbslide1




Producing digital contact prints from negatives

In the wet darkroom , it is important to identify the best negative to print.Once a true black has been established, everything else fell into place.It is much easier to print a correctly exposed negative than one either under or overexposed.

The same principle still applies in the digital darkroom when scanning and making Inkjet prints. Although its easier to adjust less than perfect negatives in Photoshop than the wet darkroom, if one starts with the best negative, its will produce a superior print.

This is how I do my contact prints – others might do it another way.Not much equipment is needed – a $20 lightbox , an older enlarger base and column and a digital camera.The results don’t have to be perfect , just good enough to give you a snapshot of the roll of film or sheet film.I have been testing Kodak TMax400 developed in Kodak D-23 1:1 and did some bracketing on 120 film, so it was the ideal opportunity to demonstrate the digital contact print method.

The negatives are left in the print file sleeves and placed them on top of the light box and the camera mounted and leveled. After positioning the camera, it is focused, exposed and  photos taken in JPEG monochrome mode.12314522_930480687028254_3373924348820213543_oFiles are then taken in Photoshop and as they will be in negative format, they will need to be inverted.

4 by 5 neg
Image in negative form

After the image is inverted , a curves adjustment layer is selected and the black point sampling tool placed on an area of clear film that should be pure black -this completes the editing of the contact print.

4 by 5pos1
image inverted and BP established- from this point it is easy to produce a workflow

The same process is used for both 120 and 4 by 5 film and gives an accurate snapshot of the contrast ,density and exposure of each negative which is exactly what contact prints are supposed to do in the wet darkroom.These negatives are a little flat which is common when developing in Kodak D-23.

4 b5 contact
Kodak D-23 produces a fairly flat negative 

The first 3 images on the 120 roll ( below) were bracketed using Kodak T Max 400 rated at 200 asa .The first image, exposed as per incident meter reading , looks the easiest to work with.Contact print test

A quick “contact” print was made of this particular image which provides a lot of information going forward with the edit.

car test

Although not essential, its also a good idea to actually make a actual print of the “contact print” as one does in the wet darkroom .I was given some paper unsuitable for my style of printing ( Sihl Masterclass Satin Baryta ) which I use for the prints . It is then filed with the appropriate negative sleeve.


The entire process can be done in minutes once an efficient workflow is established and for me is much better than an ad hoc approach of scanning every negative or trying to pick the correct one to print.






Kodak D-23 developer for large format negatives

This week I took advantage of Bruce Hogben’s new darkroom and did some tray processing of 4 by 5 negatives. This was the first time I have ever tray processed  – when I had a large format camera 40 years ago, I  used an UniColor drum and Cibachrome Uniroller for my large format negatives.

I have to say I enjoyed the experience of tray processing and will certainly do it again.However, I just need to fine tune developing times as in my ignorance, I deducted 15% off my times for very gentle constant rocking of the tray.

I only had two sheets of FP4 to develop and rather than use the Jobo 3006, tray processing seemed a sensible option.I made up some fresh D-23 developer earlier in the day and diluted it 1:1 just before use. The first sheet was developed for 6.30 minutes at 21 degrees and on inspection in the wash I could see it was underdeveloped. I extended development on the second sheet to 8 minutes  and this produced a more detailed negative -not perfect but with a smooth range of tones .

Kerrs Creek 2019
Graflex Crown Graphic with 135 mm Schneider Symmar S lens

Negatives are scanned in the 4 by 5 film holders at 1800 dpi on my Epson V700 which represents an 6 x enlargement factor, enough to produce a 20 by 16 print at 360 ppi. I prefer a flat detailed scan with no clipping rather than produce the final image out of the scan- scanning software is crude at best and doesn’t allow you to carefully massage the tonal range if printing.

As is my usual practice I made a positive linear raw scan in  16 bit grayscale mode using the Epson software.This produces a 16 bit tiff file that is almost identical to the original negative in terms of density and detail.My workflow is –

  • Under configuration – turn off auto exposure and set gamma to 2.2 ( Windows)
  • Turn off sharpening  and all other adustments
  • Set Output to  0 and 255, then set Input to 0 and 255 , moving gamma to 1.00
  • Scan to file

I prefer to scan as a positive and invert it in Photoshop or the Photoshop filter ColorPerfect / Virtual Grades.Clyde Butcher once stated that scanning as a positive and inverting in Photoshop produces images with smoother shadow detail and I agree completely.

In Photoshop the image is converted to Adobe RGB and checked to ensure there is no clipping around the edges as this can impact on the conversion.At this point I could have inverted the image in Photoshop and adjusted the black point, white point and gamma or, use the Photoshop filter ColorPerfect /Virtual Grades.Its important to understand the inversion algorithms in Photoshop are totally different to ColorPerfect so some experimentation is required to get the best option. – On this occasion, I processed it in ColorPerfect, settling on Virtual Grade 3 before bringing it back into Photoshop for further editing.

Kerrs Creek merge second
Stock image from ColorPerfect Virtual Grade 3

This stock image might appear to some to be flat but it contains a level of detail and tonal range that makes for a very smooth edit from this point .This comprised  some  spotting , selective curves and enhancing tones using luminosity masks.The history brush is then used on a flattened image,painting with a low opacity brush ( 3 -7%) with various blending modes.Finally the image is selectively sharpened.

Kerrs Creek web 2

The final image has been prepared for print so on a computer screen it will appear a little too high in contrast .However monitors have a contrast ratio up to 1000:1 whereas a fibre based matte paper has a contrast ratio of around 100:1.Good monitor calibration is essential to achieving a close monitor /screen match.

Earlier this week I had processed some sheets of Iford  FP4 again using D-23 , this time in my Jobo 3006 tank  with (slow) constant agitation .There are some small differences – I think the tonal graduation from tray development is marginally better .The following images are stock ones straight out of conversion with no editing and all display the same characteristics –  a little flat but with beautiful smooth tones so easy to work with

shed web

Stuart Town hut

I am liking this old developer more and more -it dates back to the 1940s but has not been commercially available for decades.However it is so easy to make up fresh from only two ingredients , Metol and Sodium Sulfite.

Flushed by the success of D- 23 , I am about to try divided D-23 as a two bath developer, the second bath being Borax.This should allow me even more control over negative development.


The large format photograph explained- abandoned farmhouse near Orange NSW


This image is part of a series of abandoned farmhouses I am working on. The diffused morning light coming through the doorway of this old farmhouse revealed all the texture of the timber and gave the scene great depth and presence. I previsualized the final image as a square format print with some areas being allowed to drift into Zone 0. Using my Pentax Spot meter, I metered several areas before deciding where to place the important shadow details- exposure differential was approx. 5 stops, which indicated normal development.


As is my usual practice, I scoped the scene with my Sigma DP2 Merrill digital camera to get a “feel” for the final result much the same way as large format photographers used to make a Polaroid

“Polaroid” taken with my Sigma DP2 Merrill digital camera

I then exposed a sheet of Fuji Acros 100 (rated at 80 asa) using my Toyo45a field camera and a 135 mm Schneider Symmar S lens – exposure was 30 secs at F22 with a little forward tilt to increase DOF. The negative was then processed in a Jobo 3006 tank (using manual rollers) in X-Tol 1:1 for 8 mins at 20%.


The negative was then scanned at 1800 dpi as a raw negative on my Epson V700 scanner and taken into Photoshop. In Photoshop, I opened Color Perfect Plug in Filter and applied a Normal Grade 2 in Color Perfect Virtual Grades. Returning to Photoshop. I then cropped the image into a square format, cleaned up dust spots etc. and selectively applied deconvolution sharpening to the mid tones.This is considered the “stock” image.

The stock image should be a little flat to give “wriggle room” to edits

To complete the edit, the image was darkened to increase the “mood” as I originally previsualized it, and the tonal range expanded by painting through a number of luminosity masks then finally making two curves adjustments. At this point I added a separate layer using the History Brush and a low opacity brush to make final adjustments to the image – e.g. the color dodge mode mimics how I used to use Potassium Ferricyanide in the wet darkroom by lightening light areas and increasing the presence of the final print. The file was flattened for printing. Even though my dedicated NEC PA series monitors are carefully calibrated to produce a very close screen to print result, I also made a step wedge (aka the wet darkroom) to fine tune the final print.


I only print on one paper – Museo Silver Rag as it is far superior to any other black and white inkjet paper on the market. If this paper wasn’t available, I would most likely return to the wet darkroom. This heavyweight Fine Art paper has a smooth lustre finish and produces deep blacks and a tonal range that both Les Walkling and I think make it indistinguishable from my much loved Agfa Portriga Rapid.

Using a Les Walkling custom warm ICC profile and my Epson 3880 in Advanced Black and White mode ,the final 16 by 16 inch print is produced .

Final print emerging from my Epson 3880 printer

The print was then left to dry for 24 hours – inkjet prints made on 100% cotton paper need this time to “cure” as minor changes will occur. I re- examined the print after 24 hours and was not entirely happy with the shadow detail – they appeared to have darkened fractionally. I returned to Photoshop and opened up the shadow detail a fraction and a new print with this adjustment.

The two prints compared – the one on the right will be framed

Later this week the print will be T- hinged onto archival heavyweight backing board, a 50 mm off white “Palm Beach White” matte cut and T hinged onto the backing board before placing the completed photograph behind True Vue glass in a 40 mm matte black frame.










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