Block Island Shadows and Stones was made in 1985, barely 4 years after I first learned to develop B&W film. I had no where near the knowledge I do today about negative design, Pyro and different agitation schemes to affect Mid Tone contrast. Nevertheless, the image has stayed with me for 30+ years as an example of dramatic lighting, great composition, and the quality of light and its impact on the final photograph.

   I was interning for Stelcar Studios, a portrait studio where I learned lighting and Large Format photography in the hopes of becoming their commercial and illustration photographer. The whole focus of my training in lighting was how subtle yet directional the light should be to create a sense of dimension and roundness the “film needs to see”, a quote I heard often from one of my instructors. The amount of contrast or the buzz phrase of the 21st century, the dynamic range of film is far less than what the human eye can process. It takes training and repetition to see the subtle differences in the light which the film magnifies and becomes easily seen in the final photograph.

   The lighting in Block Island Shadows and Stones is more dramatic and easily seen. Correct negative design is a product of the age-old axiom “expose for the shadows and develop for the highlights”.  The shape of the shadows and exaggerated texture seen in the sand is a result of strong cross lighting.  The triangles fascinated me and I chose to keep the shadows very low. In the original print, there is detail in the dark shadows which was a clear indication that I was beginning to understand the technique of exposing film accurately. The texture in the sand is further exaggerated by darkroom adjustments in the final printing stage with multi-contrast enlarging papers.

   My favorite quote and one I continue to think of every time I take the camera from the backpack is “we photographers are charged with capturing a 3-dimensional world and presenting it in a 2-dimensional medium”. Dean Collins   Light and shadow can certainly give the impression of shadows receding and highlights projecting. That concept is further enhanced in the manner in which I finish the print.  I use a Split Toning process where the highlights are carefully bleached and then redeveloped in a toner that adds warmth to the areas that were bleached. Contrasting the now warm highlights against the cooler mid-tones and shadows leaves an impression of the cooler shadows receding and the warmer highlights projecting. This creates a subtle impression of the 3rd dimension on a 2-dimensional piece of flat art.  See this short video click about this featured image here:

   This image does bear out my belief that the quality of light is an important component to the success of all meaningful photographs. I have always loved the shape of triangles in my work and that is evident throughout this image. Looking closely at the image one can see the obvious triangles the patterns of shadows create but there is also a reverse triangle coming from the sunlit side of the rock itself. There are even triangles in the sand which is in sunlight. The added mystery created by some of the stones being cut off at the borders of the image is a trait I have grown to appreciate now years later not only with this image but the images I produce today. I’ve made numerous photographs on Southeast Beach, I’m a bit surprised that so early in my career I could separate this small vignette from the vast surrounding ocean side beach on Block Island.

   The camera I used belonged to Stelcar Studios who were generous to allow me to use the camera whenever I wanted. The camera was great for its intended use in a studio setting, outside in the environment it was far more cumbersome than the folding field cameras I use today.  Nevertheless, a rewarding image in spite of very little visual training at the point when the negative was made.

  4×5 Calumet monorail camera 210mm Symar S lens as seen in the below photo.   Tri-X film processed in HC 110.