Print size: 11.5” x 17”
Camera: Canonet QL 17
Film: Tri-X @ISO 200
Develop: HC110, 1:49 ,
7min @68F
Scan: Epson V500
Print: Epson 3880/ Piezographic K7 Warm-Neutral Inks/ Moab
Lasal
I believe that longevity is a big component of creative
success. Too many projects get abandoned without ever being pushed to the edge
IMHO. The Concrete Muse is six months old this week and it feels like it’s jut
beginning. Going back to film and working largely with 35mm in a hybrid
film/digital printing set up is an education in the best sense of the phrase.
My overall methodology is continually changing and refining, but more
importantly, new things keep on entering my field of vision. This seriously appeals
to the part of me that’s a real learning junkie and loves to tinker.
This shot was taken last summer somewhere in my
immediate neighborhood. My guess is I grabbed it quickly. The Canonet QL17,
often described as “the poor man’s Leica” (I paid $40 in 1994) is very good for
shooting on-the-fly. It wasn’t until I got into the printmaking that I realized
there was a person looking out as well as the canine. It required three
separate negative scans that were then put together in Photoshop. The combination of the white dog and the very
dark background, printed on the lower-contrast paper I use for working proofs
(Moab Lasal), made this a particularly thorny printing problem.
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