MINIMUM EXPOSURE FOR MAXIMUM BLACK The following is a procedure I use for determining the exposure required, both for the film and the paper, to achieve the maximum potential possible for black and white photography. It will give you the greatest tonal range possible in your final prints. I wish I could take credit for inventing this procedure, but the original idea I read in one of the photography publications many years ago. However, since then, I have expanded upon the original and I believe I can get the most out of any film/film developer + paper/paper developer combination possible. It helps if you bulk load your own film, however, if you don't you can still follow the procedure, you will just waste a little film. First, load fourteen film cassettes with approximately 15 frames worth of film. Then, find a fresh grey card, preferably 8 X 10 or 11 X 14, and a good grey scale. Also, bring along your favorite subject. Lastly, gather up fourteen pieces of cardboard, a marker, some tape you can write on, and a pen. Next, set up in your favorite location with the lighting you most often use. If most of your photography is in the studio, go there and set up your favorite lighting configuration. If you shoot mostly in bright sunlight, go there. Whatever your preference! Now starts the fun. Shoot the first seven rolls of film of the grey card and the grey scale. Meter the grey card very carefully using the method you normally use. I personally prefer to manually set the exposure using the match needle procedure. However, if you normally use auto-exposure go ahead and do it that way. Start by writing "-15%" on one of the cards with the marker and taking a photograph of it. Then start photographing the grey cards and grey scale by underexposing the first frame by 2 stops. Increase each successive exposure by 1/3 stop until you have exposed a total of 13 frames ending up with a 2 stop overexposure. After removing the film cassette from the camera, mark it with the tape "-15%". Shoot the next six rolls in an identical manner only changing the number you write on the card, and place on the tape to each of the following; "-10%", "-5%", "NORMAL", "+5%", "+10%", & "+15%". These numbers, by the way, relate to the film developing times you will be using. Shoot the last seven rolls of film in the same manner only this time shoot them of your favorite subject. You should now have seven identically exposed rolls of film of the grey card and grey scale, and seven identically exposed rolls of film of your favorite subject. Each of the rolls should also now be marked with a piece of tape indicating one of the exposure times listed in the last paragraph. Now, go straight to the dark room, do not pass GO, do not collect $200. Once in the darkroom, develop the film according to the manufac- turer's printed instructions only changing the recommended developing times by the amount written on the tape on the cassette. For example, if the recommended developing time is eight minutes at 68 degrees F, develop the roll marked "-15%" for 6 mins. and 32 secs., the roll marked "NORMAL" for 8 mins., and develop the roll marked "+10%" for 8 mins. and 40 secs (get the idea). By the way, temperature control is critical. An error of only a degree or two can radically alter the accuracy of the entire procedure. DO NOT CUT THE FILM INTO SMALLER STRIPS. When the film has dried (maybe on another night), find the frames near the end of each roll that were never exposed (remember we loaded 15 frames into each cassette and only exposed fourteen!), and place it in the enlarger. Focus as you would normally, and, using your regular procedures, expose a test strip and find the MINIMUM EXPOSURE WHICH PRODUCED MAXIMUM BLACK. Do this by finding that spot on the test strip where additional exposure produced no darker tones. This exposure is the key. By exposing through only the density of the film base, we determine the optimum exposure for the film/paper/paper developer combination. Any more exposure will not make the deepest shadows any darker, it will only succeed in muddying up the print. Conversely, any less exposure will not allow the "black" to be recorded in the print and the the highlight areas will lack detail. The print will be washed out. In both cases the tonal range will be compressed well below that long, sensuous, tonal range we all seek to achieve. Finally, using this minimum exposure which achieved the maximum black, expose all frames of all rolls. Yes, I mean all 182 frames! Make sure you code each print with a grease pencil on the back, with the roll and frame number. You don't have to expose the frames containing the development times, but save it for future reference. Dry all prints as you would normally. Now for the hard part. Gather all the prints together in the light you normally use to view prints. Get the grey card and the grey scale and start making comparisons. First see which prints most closely resemble the real thing. Then start looking at the prints of your favorite subject. Again, which exhibit the greatest tonal range, the most detail in the shadows and highlights, have the most snap. Chances are, one particular combination of film exposure/developing time, will consistently give the best results. The process described above can be very tedious, but it is well worth the effort. Your prints will never have looked better. It is fairly obvious that you can perform the procedure whenever changing film or developer. As an aside, during the summer months, it is almost impossible for me to maintain a 68 degree F water bath for my chemicals. I ran a modified series of tests to find the best combination for a higher temperature. Not always perfect but verrrry close. Any questions or problems, please don't hesitate to contact me, either in the Forum message area or by E-Mail.