What do you do at 2:30 AM when you’re stricken with a bout of insomnia? Why you tackle a prototype matting job for a very large triptych (3x 10×13 images in a 20×40 mat/frame). Which of course you mis-measure the windows in the horizontal dimension, ending up cutting them 1/4″ too wide.
At least I didn’t screw it up prototyping with 8 ply mat board (which I’ve been known to do before). I think the sequence and the tonal values works for the series, which I’m titling “Head, Heart, Hand”. Or something to that effect.
I think sometimes (perhaps most of the time? All of the time?) presentation can make or break an image. Its success is the culmination of many decisions that begin with the decision of what camera and film to pick up before heading out the door in the morning, following through to what to point the camera at, on to what developer, paper, process, cropping… it doesn’t end until the framed print is hung on a wall, sequenced with the rest of the prints in the show. They all build on each other.
What do you all think of the sequencing of this triptych? Head, Heart, Hand, or the other way round? Any other critique/feedback is welcome.
All three images were shot on Kodak Tri-X, in my 1956 Rolleiflex 2.8E. Film developed in Pyrocat HD, printed on Ilford Warmtone MG fiber paper processed using Ilford Warmtone developer.