Technical and Purchase Information
Camera/Lens: Arca Swiss view 135mm Nikkor
Format: 6x9
Film: 120 Delta 100
Print Sizes Available:8x10,11x14, 16x20
8x10 prints are matted to 11x14, 11x14's to 16x20, 16x20's to 22x27
All prints are printed by me on double-weight fiber-based paper, archivally
processed, selenium toned, signed, numbered, and dry-mounted. Mats are
archival quality and acid free. Actual print sizes may vary slightly.
Camera/Lens: Arca Swiss view 135mm Nikkor
Format: 6x9
Film: 120 Delta 100
Print Sizes Available:8x10,11x14, 16x20
8x10 prints are matted to 11x14, 11x14's to 16x20, 16x20's to 22x27
All prints are printed by me on double-weight fiber-based paper, archivally
processed, selenium toned, signed, numbered, and dry-mounted. Mats are
archival quality and acid free. Actual print sizes may vary slightly.
After attending an Alan Ross workshop in Yosemite in the spring of 2007, I spent most of a couple of days
in the Carmel area. I wanted to see the landscape that so inspired Ansel Adams and Edward Weston, as
well as so many other photographers. In spite of the hand-drawn map Alan gave me, I was never quite
sure I saw Ansel's house, even though I know I drove by it at least twice. Oh well. I'd been hearing about
and seeing pictures of Big Sur for as long as I can remember, and I really was looking forward to driving
down the coast. I didn't have time the first day to drive and shoot along the coast, so I put it off until the next
day. As it happened, there was a marathon being run that morning, so I went to Point Lobos State
Preserve, and put off the drive until afternoon. That's when the fog moved in. So - I drove Pacific Coast
Highway, all right, and had fantastic views of the inland hills, but couldn't see the ocean at all. Stopping at
overlooks, I could hear seals or sea lions barking, and hear the surf pounding the rocks below, but caught
only the briefest glimpses of the water or the rocks. Eventually, I decided, as Weston had years before,
that if fog is all there was, that was what I'd photograph. Several of the people I've showed this image to
seem to like it better upside-down. I don't know about that, but there it is.
in the Carmel area. I wanted to see the landscape that so inspired Ansel Adams and Edward Weston, as
well as so many other photographers. In spite of the hand-drawn map Alan gave me, I was never quite
sure I saw Ansel's house, even though I know I drove by it at least twice. Oh well. I'd been hearing about
and seeing pictures of Big Sur for as long as I can remember, and I really was looking forward to driving
down the coast. I didn't have time the first day to drive and shoot along the coast, so I put it off until the next
day. As it happened, there was a marathon being run that morning, so I went to Point Lobos State
Preserve, and put off the drive until afternoon. That's when the fog moved in. So - I drove Pacific Coast
Highway, all right, and had fantastic views of the inland hills, but couldn't see the ocean at all. Stopping at
overlooks, I could hear seals or sea lions barking, and hear the surf pounding the rocks below, but caught
only the briefest glimpses of the water or the rocks. Eventually, I decided, as Weston had years before,
that if fog is all there was, that was what I'd photograph. Several of the people I've showed this image to
seem to like it better upside-down. I don't know about that, but there it is.
Catalog Numbers:
8x10: 10153
11x14: 14153 Order Prints
16x20: 20153
8x10: 10153
11x14: 14153 Order Prints
16x20: 20153
Fog and Sun - Big Sur Steve Dixon
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