The Wild Basin in the Colorado Rocky Mountains is a wonderful location for day hikes. The abundance of photographic opportunities will stimulate the creative juices in anyone. After spending 3 or 4 days in the northern section of the RMNP, my good friend Tom Franks and I elected to travel south to check out the Wild Basin area. What a pleasant surprise when we came upon waterfalls, beautiful trees, abstract shapes and much more.
Always on the lookout for geometric shapes, I found this stand of aspens. Selecting the composition was easy but, I was presented with a couple of challenges. First, I wanted to keep the green pine trees in the background. I also wanted to eliminate any sky in the top of the frame because a dark sky would compete with the green pine trees and a lighter sky would compete with the aspens. Second, I wanted the aspens to extend across the horizontal frame. I started the composition from where the aspens began on the left, which anchored the left side and the top of the frame. Then I needed to select the correct lens. With my viewing card I estimated my 250mm lens would give me enough image area to the right. However, after installing the lens and viewing the scene, I found that I was a bit too close. Moving back 20 feet was enough to let me complete the composition.
I metered the pine trees and placed them on Zone III. The lighting was soft and the aspens metered only 3 stops brighter.
The 5 x 7 Tri-X negative was developed plus 2, giving the aspens sufficient brightness.
About the Print of the Month
The Print of the Month is a new print offered at an early-edition discount. Normal pricing must apply once the print is offered by a gallery.
The Print of the Month is a silver gelatin print, each one created by hand using traditional darkroom methods.
Prints are limited to 50 per edition.
Typically the Print of the Month is made from a T-Max 100 negative, which is processed in D-76 mixed 1:1.
Each fine art print is made by hand using Ilford-based double weight paper.
The prints are double fixed and selenium toned for longevity. They are then washed in a vertical print washer to completely eliminate any residue. Prints are carefully allowed to dry for two days. Next, each print is mounted on museum quality archival mat boards with acid-free mounting tissue. Although each print takes a considerable amount of time and meticulous effort, this archival printing and mounting process is the only way to ensure print permanence and collectability. Give it proper care and your print will last hundreds of years without fading.
My signature and the print number are visible on the mat, below the print.
The Print of the Month offers a 50% savings off the normal investment.