This page shows how prints are presented inside the portfolio along with the accompanying poem. The poet, Sandra Lynn, who worked with me to produce the book "Where Rainbows Wait for Rain" graciously allowed me to use a limited set of poems in the portfolio. The sample poem above is not complete but simply used to give you an idea of the presentation format I used.
The portfolio and most of the photographs in "Where Rainbows Wait for Rain" were done on 4x5 Kodak infrared film. For a number years I had been experimenting with infrared because it had the soft feeling of the desert at twilight or dawn which, for me, was missing in the harshness of conventional black and white films. With some experimentation I learned to greatly reduce the typical "infrared look" associated with the film so that it many cases the choice of films was not obvious. In the twelve prints in the portfolio, for example, only one is not infrared.
I must confess though that using the sheet infrared film in the desert was a challenge that I was barely up to the task and consequently at least half of my exposures were fogged. The film needs to be loaded, using gloves, in absolute dark into the sheet film holders. The film holders are not designed to fully block infrared light so they need to be kept in the dark and loaded in the camera surrounded by a dark cloth. When you are ready to expose the print and you pull out the dark slide, infrared light wants to rush into the crack, so it is essential to keep the camera covered with the dark cloth. All of this is next to impossible when it is windy but, of course, it is always windy when the clouds and light are most interesting! Developing the film takes absolute dark and long developing times (I was using a diluted developer to reduce contrast). And if a finger gets anywhere near the surface I can promise a print will appear (no pun intended).
The portfolio and most of the photographs in "Where Rainbows Wait for Rain" were done on 4x5 Kodak infrared film. For a number years I had been experimenting with infrared because it had the soft feeling of the desert at twilight or dawn which, for me, was missing in the harshness of conventional black and white films. With some experimentation I learned to greatly reduce the typical "infrared look" associated with the film so that it many cases the choice of films was not obvious. In the twelve prints in the portfolio, for example, only one is not infrared.
I must confess though that using the sheet infrared film in the desert was a challenge that I was barely up to the task and consequently at least half of my exposures were fogged. The film needs to be loaded, using gloves, in absolute dark into the sheet film holders. The film holders are not designed to fully block infrared light so they need to be kept in the dark and loaded in the camera surrounded by a dark cloth. When you are ready to expose the print and you pull out the dark slide, infrared light wants to rush into the crack, so it is essential to keep the camera covered with the dark cloth. All of this is next to impossible when it is windy but, of course, it is always windy when the clouds and light are most interesting! Developing the film takes absolute dark and long developing times (I was using a diluted developer to reduce contrast). And if a finger gets anywhere near the surface I can promise a print will appear (no pun intended).
Sizes listed are approximate. Please inquire about the availability of larger sizes.
Note that prices will vary depending on the number of prints remaining in the Edition.