Jay Dusard, who introduced me to potassium ferricyanide bleaching of prints, and who has been a great friend, a fabulous workshop collaborator, and my best honest critic;

Ray McSavaney, who helped me start my first private workshop program and gave me the idea of extremely dilute negative developer solutions (the “compensating” development technique) to greatly control negative contrast;

Don Kirby, who has not only taught numerous workshops with me, hiked and photographed with me, rappelled into Lower Antelope Canyon with me long before it became grossly commercialized, and camped with me throughout much of the unsurpassed Utah Canyon Country, but who has also given me great insight into the value of negative masking and helped me expand my creative and instructional abilities;

Heike Maskos, a workshop student who has worked closely with me on previous editions of this book, making it read better and look better, and who has been of greater help than she will ever recognize or admit;

Keith Logan, who gave me information about Ilfochrome printing techniques, including several he developed himself;

Reed Thomas, a wonderful friend and sometimes workshop co-instructor, who has opened up my eyes and thoughts to alternative ways of seeing any scene;

Morten Krogvold, who has inspired me with his powerful imagery and his ability to motivate photographers to higher achievements, and to touch them to the core of their souls;

Photo Techniques magazine, which published the eight articles that became Chapter 13 as part of my “Master Printing Class” column that had appeared in the magazine for almost 20 years;

And, above all others, my wife, Sonia Karen, who has made the good things throughout my photographic career possible by thoroughly supporting me and helping me in all phases of my endeavors. She is the quiet, lovely gem of my life!