Here we are
we can see they are all trees now. Click for larger view.
If the OP is interested in learning more about the creation of dramatic B&W images like that presented, he might want to check out John Sexton's Listen to the Trees. I believe that is the book with the useful technical information on John's technique. Oh, yes, look at the pictures in the book also!
Practice helps. You need to be able to read the light to tell when such a shot is possible. Notice that the example is pretty much back lit, which is common for such dramatic contrast. If you have important foreground detail, you will usually need carefully controlled fill light. Learning to use your light meter in back lit conditions is also essential. Learning the Zone system, how to previsualize the print, how to assign exposure zones to the subject, and how to develop for a usable result (adjusting for the exposure) are also handy. Since such exposures often require development adjustment away from what is the average on a roll, sheet film can be handy. It all comes in time, and with more than a little luck. Your luck is more or less proportional to the number of days you get out and do some serious shooting.
Thanks for your advice, everyone. I realize it is something that will take years of careful attention and patience, and while my post came off a bit eager, I was simply trying to figure out the right direction to go in order to some day arrive there. The lack of shortcuts is one thing I love about film so much.
My understanding up until this point was to underexpose the negative to get dramatic contrast, then print without altering it. It seems my concept of the photographic process was wrong. So the negative is for capturing the most tonal information, with adjustments to be made in the darkroom, correct? Rather than doing everything "in camera," so to speak...
anything made by a hassleblad looks like this