Triangle Black and White Group Member Page

John Lapp

Initially, I wanted to make photographs of vast landscapes in the Ansel Adams and John Sexton tradition. However, my attempts were pale, disappointing imitations. My successful photographs were of small things: a tree leaf, a set of steps, a close-up of dew on a spider web, a doorway - details of the mundane things we see everyday. Gradually, I came to embrace and develop this vision. My photographs point to the forms and patterns we usually overlook and say to the viewer "Hey, look at this!"

My photographs are taken on Kodak T-Max 100 4 × 5 sheet film, with a Zone VI view camera and Schneider lenses and developed in Kodak Xtol 1:1. I print on Zone VI Brilliant VC III and Kodak PolyMax Fine-Art fiber-based papers and develop in Zone VI developer. Prints are processed for longevity, toned in Kodak selenium toner and dry mounted on acid-free mat board. I have begun to print using unsharp masks which improve local contrast and apparent sharpness in my prints.


John Lapp





Initially, I wanted to make photographs of vast landscapes in the Ansel Adams and John Sexton tradition. However, my attempts were pale, disappointing imitations. My successful photographs were of small things: a tree leaf, a set of steps, a close-up of dew on a spider web, a doorway - details of the mundane things we see everyday. Gradually, I came to embrace and develop this vision. My photographs point to the forms and patterns we usually overlook and say to the viewer "Hey, look at this!" My photographs are taken on Kodak T-Max 100 4 × 5 sheet film, with a Zone VI view camera and Schneider lenses and developed in Kodak Xtol 1:1. I print on Zone VI Brilliant VC III and Kodak PolyMax Fine-Art fiber-based papers and develop in Zone VI developer. Prints are processed for longevity, toned in Kodak selenium toner and dry mounted on acid-free mat board. I have begun to print using unsharp masks which improve local contrast and apparent sharpness in my prints.