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One light in medium soft box. Shot on Polaroid Type 55 positive/negative 4x5 film.
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Happy 2026 everyone.
I have always seemed to enjoy New Year's Day more than New Year's Eve. It is a day of fresh starts (or in some years, fresh adventures). A good day for housecleaning and organizing and getting yourself set up for the year ahead. And thus I put some time into catching up a bit on some recent photos I have made, scanned, but not finished up.
This landscape came from about a month or so ago. One of our customers at Blue Moon Camera does a lot of 3D printing and made a 4x5 pinhole camera that needed testing. In form and function it reminds me quite a bit of the Harman Titan, just without the interchangeable cone. Naturally I was more than happy to give it some field testing. It has been a long while since I shot much 4x5, procuring the Hasselblad Flexbody largely scratched that itch. So I decided to take it on the scramble out to Upper Bridal Veil Falls - a waterfall I had not visited in roughly 10 years. Where does the time go?
I don't have a ton to say about it honestly. It is a pretty straightforward and simple camera. A pinhole camera really doesn't need to do a lot. Jody, the camera designer, saw fit to put a nice pinhole in it, so combined with the large film size, this camera makes pretty great images. He loaned me two versions: one with an 85mm focal length and an even wider model with a 65mm focal length. This image was made with the wider of the two cameras.
In Camera Industries 4x5 Pinhole
Kodak Portra 160
This day started out cloudy but around noon the clouds started breaking up. I had a few places in mind to shoot some film and as I was driving some of the backroads near my home I encountered this scene. I'm a big fan of windmills and this one is nicely representative of ones you see in this part of the country. I don't think this one is still in operation, but many like this are. They are typically used these days to water livestock. I wanted to bring in some of the road and the trees in the distance to give a sense of scale. I was hoping for better clouds, but sometimes you take what the scene gives you. Image captured with my Linhof Technika IV on FPPs Frankenstein 200 film. Self-developed with Xtol at 1:1 dilution.
White City, Oregon.
September 2017
Busch Pressman D
Kodak Ektar 127/4.7
Kodak Ektar 100
Epson V750-M Pro
Taken last winter here in Austin. Alice is one of my oldest friends, we've known each other since first grade. I think she's beautiful.
Near the exit to the famed "wall street" section of the Virgin River Narrows, lies the Imlay Boulder. This boulder is frequently photographed, as you must pass it to enter or exit this section of the Narrows, and in the afternoon for a short time, the sun filters down into the 1800 foot deep slot canyon creating this gorgeous reflected light.
In July of 2013, after visiting the Narrows for the first time, I returned a second time to explore and photograph the entire 16-mile length of this canyon, and made my first version of this image. At the time, I'd never seen any photograph of this scene, and was simply captivated by the scene and this seemed the best composition. Only over a year later did I see images from other photographers of the scene.
In January of 2016, I decided to switch back to film for my fine art work, and purchased a 6x4.5cm sized medium format film camera to begin getting used to exposing film instead of digital sensors again. Later in the year, I switched to a 6x7cm format camera, to get used to bellows focusing and a larger image capture plane. Finally, in early fall of 2016, I switched to 4x5in format, and a wooden view camera - technology that has existed since the 1800s, but which has not yet been surpassed in the digital age.
In November, I made this trip to Zion National Park for the fall colors, and decided to take the opportunity to recreate this image on the vastly improved quality of large format color transparency film. Arriving on-site, I captured 4 exposures of the scene, 3 on Kodak Ektar 100, and 1 on Fujifilm Velvia 100. Other large format photographers told me the Velvia wouldn't be able to contain the wide range of light in this scene, from the brilliant highlights to the deep shadows. However, I decided to give it a try anyway, and the result is what you see here. I love the way the Velvia renders this beautiful canyon scene.
Own a signed limited edition print of this image at: lowerylandscapes.com/zion
This is the second shot I took - the initial one had a figure at the vanishing point. The first I had set up, ready to go, and a woman and her little mutt walked right into my tripod and got the leash tangled AS I WAS FIRING THE SHUTTER. It was hard enough to try to accommodate the lighting conditions, timing and then deal with errant pets and people sneaking up behind me. At the end, just had to laugh it off.
I remember being in a hurry setting up the camera but then I suddenly fell asleep.
Lith, ansco 70, Forte paper
graflex speed graphic with Tessar 13,5cm
Agfa Aviphot pan 200 in Monobath
Apparently, I have a 5x7 camera. It's like I forgot. Now, rusty and ill fitting to it, I start again. Blessings to you, wherever you walk. This one is a Karl-size scan...
Note: I am happy to say, this image was selected to be included in the 2015 National All Media Juried Exhibition, at the Chico Art Center.