However, images were taken and back in the UK, editing, selection, processing, printing has to take place. My first hurdle is to remove my style for the output and final set of prints. This posting is being written during the processing (hence the rather fragmented words) and I am constantly finding myself selecting files that I think will work, only to question, would EW pick that one, I doubt it and move on.
As an example:
Old Army Building - La Mola - Menorca - 2011
Old Army Building at La Mola is the type of photograph I am happy to make. I like the shape of the building, how it sits within the rather barren landscape, its isolation ( it may have been an explosives store) and the cloud shape. I have gone towards Weston in changing the aspect ratio and I have toned it with a tritone, to mimic the colour of the prints that the chemistry of 1940 produced.
But, I don't think it is a "Weston". There is shape (the building has symmetry and perspective), texture (in the sky and the building) and the foreground is strong and supportive, but for Weston I think it would be a tadge superficial. Weston is more intimate with the landscape, he wants you to feel as if you can touch it. The generic style of Weston at this time is Modern Realism, he had met Alfred Stieglitz in 1922 and had joined Willard Van Dyke and Ansel Adams and others in the infamous Group f/64 during 1933 and all of his work in the 1940's is of that style. Modern Realism and Group f/64 wasn't only about "realism" it was realism with a style, not relying wholly on technique.
Another example: slightly darker tone.
Log on Rocks - Favoritz - Menorca - 2011
Log on Rocks is a probable for selection into the 12. There is more of Weston in here by way of texture and shape and its intimacy. The light is soft and allows me to see all the detail among the rock, its angularity and its roundness. There is a lot to look at and it engages the eye at many levels while the viewer can explore. The geology is interesting and varied and the log is clearly driftwood, so contextualises the scene as being near the sea. Weston was a craftsman in the darkroom. He would spend hours retouching and it is clear from his daybooks and his images that his skill with dodging and burning is a contribution to his style and his success. My work here does not include that much using of the dodging or burning tools within PS. I prefer to make layers with lasso area adjustments and use curves, selective colour, levels and vibrance.
For local small areas the history brush, with a tablet and pen using various blending modes. In particular for this image, Colour Dodge, Colour Burn and Soft Light.
During the processing constant reference is made to the Soft Proof image. For the paper I am using this tends to lighten the image very slightly and reduces the contrast.
Prints for my tutor are being sized at 12.5 inch x 10 inch.
Now on the second set, first set were oversharpened and the tone was poor. They are printed from a roll printer and this induces a slight curl. They need to be mounted on some light card (lucky that my office / studio is next door to a office supply company). Freeman suggests this assignment should take 60 hrs, well maybe it could but I seem to have entered an iterative state and cant get the result.