The Zone system is great, but it’s overkill for most photographers. My general rule of thumb is “expose for the shadows, develop for the highlights” with black and white negative film.
I like a punchy neg, so I tend to overexpose a half stop or so. With a center-weighted metering manual camera, I’d either meter off some grass, the back of my hand (and adjust by opening up a stop), a graycard, etc. To be honest, I don’t really use any of these, from experience I can usually tell what to meter for in the scene, but in giving reference points, grass, hands and graycards are pretty standard.
A general rule: if you’re going to err, err on the side of exposure when using negatives. You can pull quite a bit of information out of overexposed areas of your film (up to 3 stops or so), but you can’t create information where there isn’t any.
However, your problem is most likely just the print itself. A rule of thumb for a good print is that it should have a pitch black point, a totally white point, and a good gradation of tones in between. Those dark grays in your photo CAN be made black in the printing process. But your local photolab probably isn’t going to invest the time into finding the right grade of contrast paper, correct printing time, dodging and burning, etc, to make the print you desire. B&Ws made by Wal-Mart-type printing places are terrible.
But if you are printing them yourself, then there can be any number of possibilities. The contrast grade of your paper might be too low. You might be using multigrade paper with incorrect filters, and thus getting the wrong contast. I generally find that 2 grade paper produces more than enough punch without being too constrasty. Also, glossy paper will produce much deeper blacks than pearl/lustre/matte finishes. Your developer might be too weak. You might not be leaving the prints in the developer long enough.
As for having everything in focus, that’s a function of aperture, as other posters have stated. Use the smallest aperture possible and the widest lens you have available to get as much as possible in focus. F22 with a 20mm lens should have pretty much damn near everything in focus. I would say that shallow depth of field is usually more desirable than the everything-in-focus effect, but for something like rock formations and landscapes, you definitely want as much in focus as possible.
However, if your foreground is less than a meter away and your background is at infinity, you might have to focus in between the two to get everything in focus. Look at your lens. Find where it indicates the focusing distance. Look here, for instance. Under that infinity symbol you have a white line indicating where you’re focused. On either side you have numbers indicating f-stops. This shows you what’s within your depth of field at that f-stop. At the outer edges, you have f22. All the distances between the two f22 markings will be in acceptable focus at f22. So…focus on the closest object. Check the distance. Set the focus so that both infinity and the distance of your object are within the boundaries of the f-stop marking that you’re using. Now everything you want should be in focus.
With longer lenses, you can’t make everything in focus if you need something relatively close to the lens in focus.
Hope this helps more than confuses.