Rangefinder Magazine
April 2002

Black-and-White Masking by Lynn Radeka
Pursuing the Ultimate Print

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Discriminating photographers have long been plagued by the constraints of standard darkroom printing procedures. More often than not, that elusive “ideal” print can become nearly impossible to achieve in the darkroom.

Contrast masking and the use of various other special darkroom procedures can become tremendous assets to the fine-art black- and-white photographer seeking the highest possible print quality. By utilizing one form of masking or another, the photographer can have far greater control (from subtle to extreme) on his prints than paper grade or developer changes can allow. In most cases the results from masking cannot be duplicated (or even approached!) by standard photographic techniques. Masking adds the further benefit of local control (contrast control within specific areas of the image). All of this can be accomplished in the traditional darkroom without resorting to digital means.

I began using various forms of contrast masking for my black- and-white 4x5 negatives in 1976. Those masks were designed to increase local contrast in specific areas of the image, such as shadows or mid-tones. The procedures I used worked well, but registering some of the masks by eye proved difficult at best. After reading some articles on contrast masking in 1989, I built a pin-registration carrier and began delving more seriously into masking as a form of contrast and sharpness control. The pin-registration system helped me realize almost limitless possibilities with masking. Not only were some of my earlier basic masks much easier to make and register with my negatives, but additional masking opportunities opened up for me.

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It seems the “buzz word” in masking today is the unsharp mask. This mask is essentially a fuzzy (out of focus) positive image on a sheet of film, made by contact printing the original negative on a sheet of unexposed film using some degree of diffusion to soften the image. When developed and dried, the unsharp mask is placed on top of and in register with the original negative when printed.

This mask actually causes an apparent increase in the sharpness of the image because of edge effects created by the slightly fuzzy mask in register with the original negative. Since the resulting image will be much lower in contrast due to the flattening effect of the mask, a higher paper grade is often desirable to achieve the right overall contrast. This higher paper grade results in a further increase in the apparent sharpness of the image. Shadows will typically appear lighter or more “open,” allowing more detail to show through.

Although the unsharp mask has its benefits, I use various other masks more frequently in my own work. The Shadow Contrast Increase Mask (SCIM) and Fog Mask are among the most useful procedures for obtaining the kind of values I strive to achieve in my prints. I also use Highlight Masks and Dodge Masks depending on my post-visualization.

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The SCIM mask is an effective tool for increasing shadow contrast. It does so by darkening the deepest black values, or accents, in the shadows of the print, without affecting any lighter values. If properly made, it allows broad shadow values to remain “open” yet full of life. The use of too low of a paper grade (which may be necessary to control highlight or mid-tone contrast) or using an unsharp mask can result in flat, muddy shadows. The SCIM can bring life back into these shadows.

Making a SCIM is normally a two-step process. The original negative is contact printed on a sheet of litho film, which is then processed and dried. This is the “interpositive,” which is then contact printed onto another sheet of litho film to make the final SCIM.

The Fog Mask is another tool that I use often in my work. I use it to burn or “fog” various areas in the print, such as distracting highlights or additional edge burning, while leaving adjacent darker values essentially unaffected. It can also be used to darken and soften skies without greatly affecting the horizon and to reduce any objectionable grain in large open sky areas.

Recognizing the value of masking and other special procedures, I produced the Darkroom Masking Kit, which is available to photographers off of my websites. Since a pin-registration system is essential to make and use the SCIM, Fog Mask, and other special masks, the kit includes registration pins and instructions (written by Dennis McNutt and Mark Jilg) for making such a system quickly and inexpensively.

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The kit contains detailed descriptions and procedures for making and using several types of masks. Included are articles on the SCIM (Shadow Contrast Increase Mask), Highlight Masks and Contrast Reduction Masks by photographers Dennis McNutt and Mark Jilg. I have also included instructions for making and using Fog Masks, Unsharp Masks, Dodge Masks and other special masks and variations, some of which have not been previously published.

I also explain in detail my “Highlight Brightener” bleach formula as well as SLIMT development (for high quality negatives shot under high contrast situations). A formula page contains the formulas that I use most frequently.

In addition to the above, the kit includes two sheets of special 8.5x11-inch translucent textureless diffusion material (not Kodak diffusion sheeting, which is not recommended for these procedures), a darkroom printing logsheet (which may be copied for use) and an inkjet page showing sample images and comparisons of some procedures. I also include a CD (PC and Mac format) with example images and over 50 of my black-and-white and color images for use as screensavers, desktops or slideshows.

By using the procedures described in the kit, the original negative is never subjected to any potentially damaging situations such as chemical reduction or intensification. Since only a scrap “leader” strip is punched to obtain registration, the original negative is not damaged in any way.

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The Darkroom Masking Kit is currently available on my two websites, www.RadekaPhotography.com and www.maskingkits.com. Those websites contain more information on masking as well as ordering details. Pin-registration holders and carriers are also available there. You can also e-mail me at lynn@radekaphotography.com for more information or comments.

Masking can become an important aid to the photographer expressing his vision in his prints while at the same time renewing the excitement of black-and-white printing. With these “tools” at the photographer’s disposal, he can coax amazing values in his prints, which previously would have seemed impossible. The ultimate fine print can finally become an exciting reality.

Captions:

1. Stream Through Forest, 1982. North Cascades National Park, Washington.
This “conceptual” image was visualized in my mind’s eye prior to actually finding the subject. My intent was a relatively high key, dreamlike quality. The reality of the subject, however, provided a true challenge, and early prints of this negative were disastrous. The actual contrast is relatively high due to the deep forest shadows and the bright light showing through the tree branches. I gave the 4x5 Tri-x negative “Normal minus” development to reduce the overall contrast, but the values appeared drab and muddy in printing. I now print this image using a Contrast Reduction Mask (similar to an Unsharp Mask) followed by a SCIM mask to enhance the fine black accents throughout the image. I give extra emphasis and contrast to the foreground boulders in the flowing water by giving them an additional burn with the SCIM mask. A Fog Mask is used on the top area of the image to soften the harsh light in the background trees.

2. Storm Over Chesler Park, 1977. Canyonlands National Park, Utah.
I saw this subject while hiking in the back country of the remote Needles District of Canyonlands. It was an exciting day of changing weather, so I waited a few hours until the dark sky in the background gave the brooding quality I wanted. Earlier attempts at this print were failures as I was not able to achieve the values necessary to give this image a brooding, delicate feel. Burning the sky to the appropriate value looked contrived and unnatural. The foreground shadows were drab and empty, and the bushes lacked subtle detail.

3. This print was made with the use of three different masks. The initial exposure was made with an Unsharp Mask
sandwiched with the original negative. This was followed by an exposure with a SCIM mask. Finally, I used a Fog Mask designed primarily to affect the sky. The print has a far more tactile feel than my earlier prints made without masks. The shadows are opened up, yet have a lively quality. The bushes have a very tactile feel, showing sharp, subtle detail. The Fog Mask allowed me to darken and soften the sky to the degree I originally hoped for, without adversely affecting the standing rocks directly below the sky. Some additional edge burning was done with the Fog Mask, and a little highlight brightening was done using my bleach formula.

4. Land Of Standing Rocks, 1988. Canyonlands National Park, Utah.
This image was shot in the remote Maze District of Canyonlands National Park. Along a grueling four-wheel drive road I noticed an exciting formation of clouds swiftly moving across the sky. I quickly set up my 4x5 camera and made this exposure just in time before the curved cloud moved too far to the right. The print has been a challenge for years. Now I am able to make a successful print utilizing an Unsharp Mask followed by a SCIM and finally a special Fog Mask designed to darken and soften the clear sky areas, without affecting the clouds. The effect of the unsharp mask followed by the SCIM is most pronounced in the foreground area of the image. The masks brighten the terrain substantially, allowing for crisp luminous values.

5. Marble Canyon Petroglyphs, 1989. Death Valley National Park, California.
My assistant and I photographed this image high on a ledge along Marble Canyon. I used an orange filter in an effort to better separate the rust-colored stripes above the petroglyphs. The film was 4x5 Tri-X. When printing this image, I use a Highlight Mask sandwiched with the original negative. This procedure allows me to easily brighten and enhance the delicate contrast in the looming, curtain-like wall above the petroglyphs. It also helped me brighten the petroglyphs as well, without affecting any darker rock values. I follow this exposure with a Fog Mask which allows me to darken some distracting bright rock values so they don’t conflict with the essential elements of the image. Merely resorting to a higher paper grade would not have the same effect as this technique. Doing so would affect the overall contrast, making the dark rock values too contrasty for my preference.

Lynn Radeka has been photographing the American West since 1969. He has photographed five full color books, including Ghost Towns of the Old West and has had his black-and-white images featured in the Radeka-American West calendar. He also supervised the printing of the photographs for the book Master Of Light: Ansel Adams and His Influences. Posters of his work can be found in several National Parks throughout the American West. He is a contributing author/photographer for the upcoming Fountain Press Book Way Beyond Monochrome. Lynn Radeka can be reached at lynn@radekaphotography.com.