© 2002 by Ralph W. Lambrecht, all rights reserved

Foreword to the Second Edition

When the first edition of this book was published in 2003, digital methods were already making inroads into many areas of photography. Since then, the revolution has been more or less complete for casual and commercial photography. In his foreword to the first edition, Ilford’s Mike Gristwood predicted that traditional black and white photography would not be eclipsed by digital and would survive as the medium of choice for the more discerning and artistically minded practitioner. Not only is silver-based monochrome photography still very much with us, it is positively flourishing, and while some famous and long-established manufacturers have fallen by the wayside, there are smaller, leaner businesses stepping into the breach to ensure that traditional materials remain available.

In an encouraging move, many young photographers brought up with digital have started to explore the world of film-based photography and are enjoying the craft aspects of the process, which are largely absent whenever computers are involved. At the time of this writing, film cameras, accessories and darkroom equipment of the highest quality can be picked up secondhand for a fraction of their original value. Most will last a lifetime if properly cared for — unlike digital equipment and software, which demands continual upgrades more or less every six months or so, killing at a stroke the notion that digital is ‘cheaper’ simply because there are no film and processing costs.

The secret to successful film photography lies in a full understanding of the processes involved for the creation of the negative and subsequent print, as well as an ability to create pleasing images. This combination of art, craft and science is perhaps unique to traditional photography, and is certainly a major reason for my continuing interest in its pursuit. This book is a rigorous and thorough approach to all aspects of monochrome photography but never loses sight of the fact that the final print is as much a work of art as of science. Many photographers enjoy the craft and science of photography, and they will find here as much reference information as they could ever need. Yet, photographers who have a definite idea of the desired outcome can select as much or as little as required to produce the fine print they visualized at the time of exposing the film.

While some of the science may appear daunting at first glance, especially to a reader new to the subject, it is presented in such a way that the reader can decide in how much depth he or she wishes to cover each subject. The first edition has been described as a ‘technical tour de force’, and with copies changing hands for many times the original cover price, it is evident that the basic premise of the authors was fundamentally sound. This greatly expanded second edition includes many more in-depth chapters, based on original research and exploding a few myths along the way. In addition, there are new chapters covering the more aesthetic aspects of photography, including visualization, print presentation and more, which should ensure that it remains the standard work on traditional monochrome photography for many years to come.

Dr. Richard Ross

RH Designs
September 2009