Thanks Ryan. I don't like to think of it as an 8x20, but as a diptych. I made both pictures work as stand alones also incase the negs didn't match up or if they got damaged (which actually did happen). If I mount them on the same board I will leave a small gap.
It was going to be a tritych with a really nice cloud on the left balancing the mountain on the far right. It was my first time developing with semi-stand, and the agitator I was using scratched the hell out of the far left negative (I solved that problem this morning). I could spot the neg, but i'd rather not. I made a similar picture earlier in the trip on a mostly clear day and I plan to show them as a diptych of diptychs.
I started making these on my most recent trip out West-- partly based on some polaroids I made a few months ago, and partly from looking at some of Bob Dawson's and Mark Klett's work.
Excellent Rich. I love the way the high contrast gradates from hard in the bottom right to extremely soft in the top left. I think that relationship is all that's needed to balance the mountian as you say. Can't wait to see more. doc
This works great as a diptych. When I first saw it I thought that you might be contact printing a 6x7 diptych similar to the 6x7 contacts you were working on when I met you at Michael and Paula's. Of course, I was amazed by the resolution.
I actually ended up enlarging these to 16x22 each with the 8x10 enlarger at Project Basho onto Ilford Multigrade. The total size including the space in the middle is around a 16x44 1/2. The final framed size is 24x52 1/2. Thankfully I have *access* to a computerized matcutter adn no 40x60 mats were harmed in the making of this . . .
I just posted another I made nearby looking another direction. Key's View is one of those places where it is so hard to work from. I have only made three or four really good ones in the last 9 years I have been photographing there.