I realised looking at the MOMA Lee Friedlander book how much you are made in the tradition of Irving Penn, even down to the backgrounds and lighting. Its interesting to see how influence spills from generation to generation. Interestingly Frank does a fair bit of Penn referencing too.
There were a great many photographers who started towards the end of the sixties, owing a big debt to Penn (and Alexey Brodovitch) for having put the whole system back on track where it belongs:-
One natural source of light, chiaroscuro for separation - and a grey background, half-way between the chairo and the scuro of the subject. I just tagged along because there was nothing simpler.
Rhododendron, taken in my campground in Oregon this past May. 14" Darlot f 5.6-8 Efke 25, Carbon Transfer print. The flowers were a translucent pink and I think the Darlot brought out their best.
Thats very pretty and I know it was all skill, the lens might be worth more in others hands now.
Tri, it is nice to keep learning with every image and print that I make. The Darlot was a great match for this subject. BTW 6grm. tissue.
Betty's Flowers on our lunch table.
Camera - Super Graflex 4x5 with Petzval No Name Lens from Richard
Film - Kodak Ektar 100 in Roll Film Back