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El Capitan #3 Steve Dixon
Technical and Purchase Information
Camera/Lens: Arca-Swiss view, 65mm Raptar
Format: 6x9
Film: 120 TMAX
Print Sizes Available: 8x10, 11x14, 16x20
All prints are on double-weight fiber-based paper, archivally processed, selenium
toned, signed, and dry-mounted. Mats are archival quality and acid free. Actual
print sizes may vary slightly.
Camera/Lens: Arca-Swiss view, 65mm Raptar
Format: 6x9
Film: 120 TMAX
Print Sizes Available: 8x10, 11x14, 16x20
All prints are on double-weight fiber-based paper, archivally processed, selenium
toned, signed, and dry-mounted. Mats are archival quality and acid free. Actual
print sizes may vary slightly.
Catalog Numbers:
8x10 - 10127
11x14 - 14127 Order Prints
16x20 - 20127
8x10 - 10127
11x14 - 14127 Order Prints
16x20 - 20127
Yet another morning in Yosemite, yet another trip to watch the sun work its magic on the face of El Cap. I was
on the opposite side of the valley, wandering along the Merced river, looking for a spot where the water would
reflect the rock (I'd seen someone else's picture, of course) and found this spot where the water is smooth and the
trees aren't too high. I found that a lot of the classic images that Ansel Adams and others have shot in the valley
have changed quite a bit because the trees have grown. How dare they!
Anyway, I liked the composition, with the grass in the foreground and the great face looming behind, but the
contrast range was too great, so I pulled my darkslide trick covering the top of the lens and giving the foreground
another stop of exposure. It worked just fine, yielding a very printable negative with normal minus one
development.
on the opposite side of the valley, wandering along the Merced river, looking for a spot where the water would
reflect the rock (I'd seen someone else's picture, of course) and found this spot where the water is smooth and the
trees aren't too high. I found that a lot of the classic images that Ansel Adams and others have shot in the valley
have changed quite a bit because the trees have grown. How dare they!
Anyway, I liked the composition, with the grass in the foreground and the great face looming behind, but the
contrast range was too great, so I pulled my darkslide trick covering the top of the lens and giving the foreground
another stop of exposure. It worked just fine, yielding a very printable negative with normal minus one
development.