Grain a la Kenna

I am fascinated by the grain Michael Kenna achieves in his prints. Many of them appear to be pretty much grain free through the majority of the tonal range until he hits the darkest tones the transitional areas of which have grain that almost looks like it's been stippled using a paint brush. It is quite remarkable especially given that the prints are all about 8 x 8 from 120 negs.

I was wondering if anyone had any insight into this regarding film types/ developers/ printing etc. Multi grade/ split grade printing could explain why some areas have more prominent grain than others (eg grade 5 burns to the sky areas etc) But the grain is so tight, yet clear for 120 negs and such small prints ....? One of my usual Sunday topics of thought

from previous thread

(there was a url link here which no longer exists)

In this interview he talks about film and developers.

http://www.michaelkenna.net/html/iviews/ivwork.html

M. Kenna is still alive, you should ask . He is the one who knows.
http://www.michaelkenna.net/

thanks for posting that interview. I was the OP of the referenced previous Michael Kenna thread. In re reading it I just saw my typo about his print size, saying 10x10 instead of 8x8. Actually 10x10 is my size so I guess I was trying to be MK.

I was impressed with his split tone and this interview explains it though I did actually contact him in person and that is what he told me as well. I have seen some technical info on his prints collected in a museum that state split selenium/sepia toned in his early prints.

I was also noticing his very evident grain in the prints and wondered if he was doing tri-x in Rodinal which he apparently does sometimes though usually d76.
Dennis

Gainer gave the best advice I have seen for getting that grainy look - stand back when you shoot and then enlarge a lot. Notice that Kenna uses D-76 (presumably at 1+1 dilution), a fine grain developer, with standard developing times.