I’ve been stumbling through my archives as I prepare these posts and begin to put together the fine art pages for my website. Some of the images create an effect I like to call involuntary time travel; the pictures really take me back. I was surprised when I saw this image in my files. I though the original transparency was encapsulated in my portfolio. I used to get presentation pages made from my best shots that permanently held the transparencies. I thought the original was in one of these pages. The things looked great, if you happened to have a light box. It was a very effective way to present my portfolio, at the time anyway. For more information about portfolios you might want to check out my Portfolio Workshop. Anyway I found the original in my files, so this is a new scan. I really should consider more creative titles.
I remember taking this image. I think I was with Richard Risemberg, in fact I think he pointed out this composition. I learned a lot from Richard: he helped develop my fascination with lenses. The shot was taken on my Omega View Camera, really a cheap Toyo. I know that because the image is cut off on the top because of the considerable camera movement used to keep the subject straight. I guess this image was made with my Fujinon 210, f5.6 lens. This was one of the first really modern view camera lenses I had. It’s also possible I shot it with a 210 Komura, f6.3 I got from Bernie Sayers. This was a four element lens and really the first good view camera lens I had. I think I gave that lens to Jeri Grover when I got the Fujinon. I told you this shot triggered a trip down memory lane. I guess the shot was made in the mid-eighties. I can’t tell you much about the technical details, but I do know it was made on Fuji Film.
On one level this shot is sort of a basic straight view of a building detail, but what makes it special is the play of light and reflection in the buildings. Sometimes you get to make a special image just because you’re present and awake to the moment. Richard helped me learn that lesson here. I often talk about making images rather than just taking them, but sometimes you have the tools and subject at the same time, that’s good. In this case the camera was a 4X5 Toyo monorail camera, really a big camera. I haven’t used this camera for field work in many years; it was just too bulky. I’m glad I had it on this day because I couldn’t have made the same image with a Speed Graphic, they don’t have enough camera movements.
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