Brett Weston and filte(s)

[ando]

Hello to all. This is my first post and not really sure if this is the right category or not (my apologies in advance if so). I have just begun large format(8x10 and photography for that matter) and hope this not a silly question. I was looking at the images on www.brettwestonarchive.com specifically: Mendenhall Glacier, Clouds '68, Dunes, Bamboo and Beech forests and other similar examples.

How did Brett get those images? Was he using filters during exposure or printing, both or neither. Or was this just how he exposed for the image or some special printing technique. I also noticed images from Randy Efros' website (www.randyefros.com) and are quite similar, the cactus image from his special edition prints is beautiful as are all other. Both of these photographers have amazing blacks! This is what I would like to try or achieve.

Any advice or answer would be appreciated

thanks in advance
Antonio

[Merg Ross]

Antonio, the major ingredient to a Brett Weston print is his vision. He pretty much knew in the field how he wanted the final print to look.

His early work was primarily done with 8x10 and 11x14 cameras .The negatives were developed by inspection in Pyro and contact printed on a number of different papers, always developed in his Amidol formula. As to filters, I never recall him using anything stronger than a K2 (dark yellow) which he used to add a little drama to the sky and clouds.

He started using the Rollei 66 System in the early 1970's and printed with a point source light. His work became more abstract, with an even greater emphasis on strong blacks. He used a very slow film (ASA 25) developed in Rodinal. The Mendenhall Glacier photograph that you mention was done with the Rollei 66.

As Randy worked and traveled with Brett, it is not surprising to see a similarity in their work. He teaches a large format workshop with Brett's nephew Kim, in Carmel.

[Jerry Flynn]

I happen to own an original print of the bamboo forest. The effect is partly that bamboo is green when growing and yellow later. This is what gives the image the positive/negative look. On some images, I think including this one, he printed to a higher degree of contrast than "norma" which heightens the effect.

[ando]

Thank you very much Merg and Jerry.
Antonio

[Brian Ellis]

If by "how did Brett get those images" you're asking how he achieved the dramatic high contrast effects of black shadows and bright highlights that's characteristic of many of these photographs, I don't know his specific working methods. However, one common way of achieving that effect is to underexpose and overdevelop. Underexposure produces thin negatives in the darker areas, hence the black shadows, overdevelopment increases the density of the brighter areas while having little effect on the dark areas (because these areas are fully developed roughly half way through the development process), hence the brighter highlights. Other things enter into it of course. I do know, as I think someone else mentioned, that he used a point light source in his enlarger. That type of light source tends to produce higher contrast prints than other types, plus he probably did some dodging and burning or other kinds of print manipulation. And the lighting in the scene has to lend itself to this effect, it's difficult to make a high contrast print from a negative that was exposed under very flat lighting. I'd guess that many of these photographs were made early in the morning when shadow areas are dark but there is some light in the brighter areas.

While things like point light sources, print manipultion, etc. no doubt came into play, it starts with the negative. If you're trying to emulate this effect, get out early in the morning, after you've decided on the composition pick an area in the scene that you want to appear black in the print, e.g. the shadows in some of Brett Weston's dune photographs. Then reduce your exposure by two or three stops from the exposure that the meter reading says is the "correct" exposure for those areas. Then when you process the film develop it for twice your normal development time. That's just a rough guide for the general technique, it takes a lot of experience not to mention talent to do what Brett Weston did, but it might give you a place to start. If you do some zone system type testing you'll have a better idea of the exposure and development time needed for the type of photograph you want to make.

[ando]

Hello Brian, thank you for your input and explanation on how to get that type of image, especially for someone who is just starting off.
Antonio

[Aaron van de Sande]

point source enlarging also increases contrast by a grade over a condenser enlarger. i have had a heckuva time trying to find information or equipment for this technique.