Die Churfirsten im Nebel
Appenzeller Alpen, Schweiz
Hasselblad 503 CW, Sonnar 5,6/250 mm, Kodak TMY 400
Lithprint auf Forte Fortezo Museum
Lith G und Selentonung
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Steiermark 1998
Canon EOS 1, Kodak HIE Infrared
Print onto Fomabrome Variant 111 with Moersch SE6 blue
slightly Sulphur toning MT4
crop to square
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Hasselblad 503 CW
An unlabeled print, presumably on Adox MC Lith paper.
Otherwise, I don't know much – in 2013, there was an extraordinary amount of snow in Bregenz, more than ever before since records began. This photo must have been taken at that time.
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Salzburg 1998
Canon EOS 1, Kodak HIE Infrared
Print onto Ilford MG Cooltone with Moersch SE6 blue
slightly Sulphur toning MT4
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(Best viewed on a calibrated monitor under subdued/darkened room light. For me, that means "at night." To look good under brighter room light in the daytime, I'd have to make this lighter and more contrasty. Maybe I should prepare a version like that.)
The so-called "super moon" (when the moon is closest to the Earth) rising above the hills outside of Penn Yan. I got lucky on this shot; I scouted locations the day before and got there at 6:22 when the moon, a ghostly pink, broke the horizon. But I misjudged the direction of the moonrise, so I had to extemporize, gunning the car around on the empty roads like a madman to find a good viewpoint in time. If they were watching, I wonder what the good folks in the Mennonite farmhouse near this spot thought I was doing! Of course they recognize cameras just fine, so bringing the tripod and camera out would have solved the mystery. I have a lighter version with the moon closer to the horizon and I was going to post both, but as I mentioned I have a thing for dark pictures at the moment and I ended up liking this shot the best.
This would have made a lovely color picture as well; the moon was a pale, pure orange and there was still a fair amount of blue left in the sky. It was the end of an absolutely clear-sky day, without a trace of cloud anywhere. I recognized it was my chance to get the moon close to the horizon, and came prepared.
Taken at f/16 to get sharpness from the corn stalks all the way to 226,000 miles away. The rendering of the dry corn stalks is very nice too, when you enlarge them.
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