Lee Friedlander's film/processing technique?

I've always noticed Lee Friedlander's photographs have a

distinctive

look to them, with fine grain and satiny greys of a particular, unique

quality. I don't remember reading anywhere what film or

developing process he uses with shots from the Leica. I know he's taken

to

Hasselblad more recently, perhaps with the same film/ processing

transferred to medium format. Does anyone know his film/developer

combination, especially regarding the 35mm work?

I may be mistaken, but many years ago I think I saw him give a lecture in Austin where he showed some images via a slide projector. They were dups of B&W prints. At that time, he used a Leica rangefinder camera, with Plus-x and Microdol-x. I don't recall what dilution (or straight).

There is no one magical combination of film, developer, and technique that will produce excellent, full toned negs. It begins and ends with meticulous metering, exposure, careful processing, and thoughtful printing. Any one of SCORES of ingredients and techniques can and are being used. To be sure there ARE differences, but a skilled technician and artist can use many and get the desired results. If you're looking for a magic bullet, get over it. I would often display a few of my personal images in my customer area, and some would ask "MY, what camera (or lens) did you use" or "What film or paper, or what chemicals, or "what f/stop?" etc. Generally, I used an old Nikon or Rollei TLR, Tri-X, and D-76 or Microdol full strength. The shots were "good," and lovingly printed, but no "masterpieces." Just the work of an old pro using standard methods and materials with a little insight, and that's ALL! Once you are tuned in to it all, there is a standard below which you simply do not go. It's THAT simple.

Mark, Plus-X and Microdol sounds logical. I suppose much has to do with the way things are printed also, don't know if he makes his own prints, although I have heard he's into detail issues such as window mats, etc., so maybe he has done the darkroom stuff himself, possibly.

Art, I wasn't asking this question so I could copy the technique, just out of curiousity. It's not a question I often ask, but I happen to be particularly interested in Friedlander. I'm pretty happy with my level of technical competence, by the way, it's been fine tuned over many years. Thanks for your input.

After doing some research on the net, it definitely was Freelander whose lecture I attended. I am fairly certain about the Plus-X and the Microdol-X (because most in the audience were a bit surprised at this combination), although Lee did not think that film and chemicals were a big deal to him. But he obviously liked the look it gave him. I remember that he did not like to crop his 35mm images in printing, so most of them have a 2x3 aspect ratio. I cannot remember whether he did his own printing. The lecture I attended was in the early or mid 1970's in Austin.

I built (in the late '50s) and operated a custom B&W pro lab for 30 years, and it was ALL hand work. There were 4 basic films then: Kodak's Verichrome, Panatomic-X, Plus-X and Tri-X with a smattering of other brands, mostly foreign. The same applied to B&W chemicals, but there were more of those from other makers, both foreign and domestic. Since I was often consulted, I tested most all brands of films, papers, and chemicals to better serve my clients, and to learn and satisfy my own curiousity. There were no "magical" types or brands, but I DID really like Acufine for pushing, and used a GREAT deal of it, along with their paper developer. Papers were another story, and there were several brands and types of then, including some REAL novelty surfaces. I LOVED Ansco's Ivora, Ilford's Plastica, and several of the Agfa types, but, alas, most are history. I processed everything from Minox to 8x10, and would use any soup requested if they furnished it.Most just left it up to me. I processed for some very finicky pros and serious amateurs, among others, and learned a great deal from many of them. There is a LOT of mythology connected with photography, and the "mysteries" of the lab are rife with it. Many "prestigious" prints I made for my clients ended up in shows and contests, and some even won prizes and ribbons!

Ansco, now that brings back memories! Still have a few sheets laying around. Just for old times sake.

 

I agree that there is no magic bullet. I've used the same film/dev combinations for years and I'm still learning new things.

 

However it is always fun to see what others are using, especially someone you admire.

 

Eric

Plus-X in Microdol-X full strength is an excellent combination. I used it many years ago & am preparing to try this film developer combination with the new Plus-X> As far as enlarging paper is concerned, I still miss Dupont Velour Black BT & Kodak Medalist J.

'New' Plus-X? I use Plus-X all the time but didn't know there was a new Plus X. Is it different than the old?

Check the Kodak web site (try the D-76 tech data sheet) for revised development times. I believe the new recommended development times are about 20% more than the old version.

I got some Plus X recently and noticed the packaging was different, but thought it was just the packaging. The photo shop guy didn't tell me any different. I think I've shot one roll out of that batch... Now I'll have to check and see if that was the roll that had negatives a little thin! I guess I need to check also the 15 rolls I just ordered of 'import' Plus X, and see if that's the old or new. Sheesh! Thanks for the info Mark.

I saw a short interview with Lee about 5 years ago. He said after decades of using plus-x, he had switched to fp4 about the same time he switched to a blad swc. I don't remember him mentioning the developer.

<p>Another important part of the Friedlander look comes from the photo paper he uses. I believe it was Agfa Classic Fine Grain Matt. That paper has gone out of production with all Agfa products. </p>

<p>I realise this is an old thread and I probably should start a new one (maybe I will, this is my first time commenting in a thread on here).<br>

You have been discussing Friedlander's process and finish with black & white film but I was curious how he achieved the beautiful warm colours seen in his 'American Musicians' collection. The shots he made of John Coltrane, Miles Davis, Charles Mingus, Ray Charles, Aretha Franklin and others.<br>

This might be a silly question- a well known fact about his colour work or else very easily diagnosable from the images, but I am not all that familiar with different film types and process but would love to be.</p>

<p>Some examples of his colour work of Atlantic label musicians can be seen here: <a href="http://www.afterimagegallery.com/friedlander.htm">http://www.afterimagegallery.com/friedlander.htm</a></p>

<p>Thanks for the help guys!</p>