Ive attached a file of a photograph I made for last weekends Semi-Stand Film Developing workshop at the Rockville Arts Center outside of Washington DC, graciously put together by Jim Shanesy and attended by 7 other photographers. Rather than discussing the difference between developers and their respective chemical make up I would encourage those interested in the process to go make some negatives which have rich texture exposed in low contrast light and look for the obvious adjancecy effects but also subtle details which I will discuss below. The file which I have attached is a completely raw scan of an unmanipulated proof print of the scene. The negative was made about 1/2 hour before it started to snow to give you an idea of how flat the light was at the time of exposure. The text below is reprinted from a handout I gave to the students at last weekends workshop describing how Semi-Stand and Extreme Minimal Agitation film development impacts the negative. Dark Values Controlled almost solely by exposure, in the case of S-S or EMA development the dark values will realize maximum density as allowed by initial exposure. Mid Values Perception of mid tones is a product of micro contrast, micro contrast is the single greatest control is dependent on several conditions, scene contrast, film reciprocity, dilution and agitation frequency, stronger dilution, less agitation can be countered by weaker dilution and more frequent agitation, probably with slightly different results. High Values The densest part of the negative is controlled by all three, initial exposure, dilution and agitation frequency. Highlights appropriate density is dictated by the perception of tonality just below paper white with the product we choose to print with. Looking at the photo of the Manhattan Bridge we can conclude that the dark values are controlled by exposure, the sky being the brightest area of the negative is dictated by the density necessary to render slight tonality, in this case on Azo. I was most impressed with the micro contrast which resulted in the far off buildings in the right hand side of the photograph. I pointed this out to the class, Jim Shanesy can attest to the fact that the clarity and perception of detail is startling. I would concede that the micro contrast which is present in the weathered planks in the foreground is possible with conventional development even under these lighting conditions but the micro contrast which is present in all areas of the negative would not be possible without this technique. My point in all this, I truly believe that the S-S or EMA technique works equally well with a number of different developers and to a large part negates the uniqueness of many popular films. It is truly the best of both worlds, maximum film speed and shadow contrast and by nature has a compensating effect on the high values all the while with experimentation you can derive any micro contrast in the mid tones you desire. Go make some negatives! For those interested in the image itself. I will be releasing a Limited Edition of this Minimal Agitation negative printed on Azo and mounted on archival board, complete with descriptive and technical notes. The edition will be limited to 100, is priced at $100.00 and will close after 100 days. Proceeds will go towards the construction of my new darkroom and classroom facility which is presently underway. The edition is scheduled to be released at the beginning of June 2006. Watch for more details on my web site.