A refreshing return to the formalism of your earlier work. Except that it really calls for a 'serious' format, e.g. Stephen Shore's 8x10 work of the seventies.
Cheers!
PS: The grass is about ready to mow out here on the Left Coast.
Markus, I'll *almost* miss the end of the winter light because of the occasional delicate, subtle touch it can give to urban color schemes.
Profligate, the "Building Portrait" series over at WPII is more in this style, but this shot has a little too much else going on to fit in with that series. Format choice is a rapidly moving target. I've tested some of these at about 11x14 and been pleased enough to think they'll hold well at 16x20. Unless even larger prints are needed, the main reason to go to large format film would be more for the versatility of the view camera rather than the film size itself. But as the capture files improve, so does their ability to withstand convergence corrections in software. Interesting times.
3 comments:
Fine shadows of white and grey here, Carl. Definitely a showcase for the subtlety of colors.
A refreshing return to the formalism of your earlier work. Except that it really calls for a 'serious' format, e.g. Stephen Shore's 8x10 work of the seventies.
Cheers!
PS: The grass is about ready to mow out here on the Left Coast.
Markus, I'll *almost* miss the end of the winter light because of the occasional delicate, subtle touch it can give to urban color schemes.
Profligate, the "Building Portrait" series over at WPII is more in this style, but this shot has a little too much else going on to fit in with that series. Format choice is a rapidly moving target. I've tested some of these at about 11x14 and been pleased enough to think they'll hold well at 16x20. Unless even larger prints are needed, the main reason to go to large format film would be more for the versatility of the view camera rather than the film size itself. But as the capture files improve, so does their ability to withstand convergence corrections in software. Interesting times.
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