![]() ![]() The system was designed to facilitate the making of mural prints, but could also easily project smaller images when desired. The 8×10 was completely custom, made from an old 11×14 studio camera by a well-known camera repairman in San Francisco it rolled on tracks on the floor, horizontally projecting the image onto a large vertical easel that ran on the same tracks. Despite these technical challenges, the strength of the images makes them completely “printable,” with no loss of quality or aesthetic.Įnlargers: Ansel worked with two enlargers. A number of them are “pre‑Zone System,” so there is some variation in contrast and density, and a few of the finest negatives sustained some damage during the 1937 fire in Ansel’s Yosemite darkroom. ![]() The negatives span a period of over 30 years, from 1927 to 1960, and were processed in many different developers. The series also includes 5×7, 4×5, 3 1/ 4x4 1/ 4, and 120 square formats one negative, “Bridalveil Fall”, is an 8×10 glass plate. Negatives: The Yosemite Special Edition prints are all made from Ansel’s original negatives, which are predominantly 8×10 format. Although there have been updates and improvements, the process is still basically the same as it was when Ansel launched the series in 1958! In the spirit of Ansel’s openness and willingness to share his approach and technique,here’s a look at how these prints were made when Ansel was alive, and how I make them today in my own darkroom in Santa Fe. ![]()
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