Since I was in Chicago last summer, I’ve traveled quite a lot, and also I’ve spent a lot of time with a camera around my haunts in Vermont. I’ve been to Norway and back to Iceland since then. But most of those photos are still hidden from the world. This one popped up on my screen, again, and I just had to print it. It’s on Canson Baryta, which works better for this image than the textured matte papers I’ve tried, because this paper has better separation of the dark tones in the shadows.
When I was a skinny young guy lugging around a view camera, I benefitted from the experience in at least a few ways. One of them was that while composing and focusing I saw the image upside down and backwards on the large ground glass of the camera. This meant that I could abstract a sense of geometry, form and tone more instinctively. I often would not make the exposure if the composition didn’t work when it was upside down; having set up the view camera for nothing was negative reinforcement, so I learned.
I’m not sure if this image works well upside down, but I think it works on account of the geometry and tones. And those qualities work together with the mood of it. I was there, and in a mood, so to me that seems to be in the photo. Hopefully you catch a feeling from it too, though we never know if we really share the same mood or feeling. It’s a mystery. All of human connection, and especially that which can happen through a bit of art, is mystery.