Photographing Canyonlands in 1988: Land of Standing Rocks

In 1991, near the end of some book projects that took me on some lengthy photographic journeys through the American West by car for two years, I came up with the idea of creating posters of some of my black and white images for a few of our western National Parks.

My idea was to provide park visitors with a choice instead of the commonplace color posters. Some of those color posters were excellent but I felt there was a large audience who appreciate black and white. My idea, which I pitched to some of my favourite parks, was to provide the visitors with a "fine art" visual interpretation in black and white.

My original attempts were met with great interest by the various Natural History Associations. Most were already familiar with my photography because of various photographic projects such as magazine articles, gallery/museum shows, or word-of-mouth. I had completed a colour slide show for Capitol Reef National Park a few years before, and my black and white work was already known by some Natural History executives of Canyonlands and Death Valley National Parks.

In this series written for the ELEMENTS Magazine, I am discussing most of these posters. I'll give technical information where my memory serves me correctly, aesthetic considerations and some highlights of making the photographs on the scene. Please join me on this journey through the past!

Land of Standing Rocks. Canyonlands National Park, UT, 1988

In 1988 I resolved to make the journey into the Maze District of Canyonlands National Park. I knew it was a long, rough, daunting drive but my 1970 Ford Bronco was in good shape. I had driven the notorious Elephant Hill and S.O.B. hill years before and experienced difficulties (S.O.B. hill claimed a piece of my taillight) mainly due to my lack of "off-road" driving experience and carburetor issues, but now I felt I had better driving skills and the Bronco was up for the challenge.

My assistant Al Callju and I began our drive from the road near Hite Marina with a full tank of gas. The road from this direction goes through the famed and extremely rough Teapot Canyon but bypasses the fearsome Flint Trail and Golden Stairs. Our ultimate destination was the Doll House camping area and a hike into the "Fins." The difficult Jeep trail did not disappoint as it was slow going all the way from Teapot Canyon to the Doll House.

About five miles before the Doll House camp area, we were on a high ridge looking down at the maze of sandstone canyons to the north. On topographic maps this area is known as the "Land of Standing Rocks" and rightfully so; there are standing rocks or buttes near the road and in the distance. I noticed some thunderhead clouds in the distance which appeared to be directly above Candlestick Tower in the Island in the Sky district to the north. I decided this might make a good photograph but there needed to be another element in the sky. Fortunately, a curved band of clouds appeared to be moving from left to right. I recognized the potential for a good photograph here, but the clouds were moving quickly. Too quickly! In panic mode I focused my 4×5 view camera, attached a yellow #8 Wratten filter to my Schneider 121mm Super Angulon lens, calculated the exposure, and shot the image on Tri-X film. I turned over the film holder and made a quick, hasty duplicate exposure but then noticed a jet trail had already moved into the subject area. I really didn't know if the first exposure was good or if the second exposure recorded much of the jet trail.

Back home after developing the film, I found the first exposure was perfectly composed but about a stop too dense. After attempting to print that negative unsuccessfully I decided to treat the negative in Farmer's Reducer, hoping to cut down the high density and yield a more printable negative. It worked, but on a different negative I noticed how the reduction action of Farmer's Reducer was unpredictably quick. At least I had a better negative, but I never used that procedure again.

Because of the nature of this subject the print is very difficult to make. In order to satisfy my vision for the print I currently use a series of pin-registered film contrast masks. I use two Shadow Contrast Increase Masks, a type 1 Fog Mask and a type 2 Fog Mask. This is in addition to substantial burning and dodging as well as varying the paper contrast grade through the masking and burning steps.

I made a mock-up of this image and presented it to the Canyonlands NHA. Fortunately, they liked it and it became a poster to represent the Maze District of the park. I grew to like the image more and more over the years and I feel that it's a good representation of the great American West.

The article courtesy of ELEMENTS Magazine. The ELEMENTS is the monthly magazine dedicated to elegant landscape photography, insightful editorials and fluid, clean design. Inside you will find an exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Bruce Barnbaum, Christopher Burkett, Chuck Kimmerle, Christian Fletcher, Charlie Waite, Rachael Talibart, Erin Babnik and Freeman Patterson, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.

About the author: Lynn Radeka’s professional photography career spans more than 50 years. Influenced in his early work by Ansel Adams and Wynn Bullock, both of whom critiqued his prints, he continues to pursue a technical and aesthetic mastery of the medium of photography. His love of the grand landscapes and intimate details of the American West was born on his first trip to Death Valley in 1966.

#spotlight #analog #canyonlands #elements #elementsmagazine #film #filmphotography #fineartlandscapephotography #landscape #landscapephotographer #landscapephotography #lynnradeka #storybehindthephoto #storybehindtheshot #travel #utah

Dunes and Clouds: Photographing Symmetry in the Desert

In 1991, near the end of some book projects that took me on some lengthy photographic journeys through the American West by car for two years, I came up with the idea of creating posters of some of my black and white images for a few of our western National Parks.

My idea was to provide park visitors with a choice instead of the commonplace color posters. Some of those color posters were excellent but I felt there was a large audience who appreciate black and white. My idea, which I pitched to some of my favorite parks, was to provide the visitors with a "fine art" visual interpretation in black and white.

My original attempts were met with great interest by the various Natural History Associations. Most were already familiar with my photography because of various photographic projects such as magazine articles, gallery/museum shows, or word-of-mouth. I had completed a color slide show for Capitol Reef National Park a few years before, and my black and white work was already known by some Natural History executives of Canyonlands and Death Valley National Parks.

In this four-part series written for the ELEMENTS Magazine , I am discussing most of these posters (Read parts one and two). I'll give technical information where my memory serves me correctly, aesthetic considerations and some highlights of making the photographs on the scene. Please join me on this journey through the past!

Dunes and Clouds

The third poster I made for Death Valley is Dunes and Clouds. This was the second dunes image that was made into a poster. The Park thought my first image did not show the expansive range of the dune environment, so I proposed making a new image. I got up before sunrise at the Stovepipe Wells campground, drove a short distance, packed up my 4×5 camera which I routinely fit into my backpack for short to medium distance hikes (with the front and rear stages disconnected to fit), set my heavy Bogen tripod across the top, hung my trusty viewing cut-out card from the tripod head, and trekked into the dunes.

Shortly after sunrise I found this interesting symmetrical composition. The dunes were not sufficient to make this an expressive image but the clouds, filling the sky with patterns contrary to the foreground sand ripples, and even some clouds echoing the sand ripples, immediately made this the image I had to make. My records indicate I used a graduated ND filter in the lens shade hoping to reduce the brightness of the sky and clouds, bringing them under control in the negative. I made the exposure on TMax 100 film just as a slight breeze got up. I decided to expose a sheet of Ektachrome 4×5 color transparency film. Just as I finished the color exposure, the wind became fierce, whipping sand into my face and onto the camera. I hastily put the camera into my backpack, which was no easy task in the now raging sandstorm! I could barely see, squinting to prevent the sand particles from getting in my eyes. On the way back to the car I had to lean against the blowing wind and sand to maintain my balance.

I developed the negative N+1 (over-develop) to increase contrast, knowing that the graduated neutral density filter would prevent the clouds from blowing out and losing detail. I was surprised to see minimal dust spots on the film, and the exposure was excellent! All the desired image values were recorded well on the film. Even so, this was a difficult print to make. The values were uneven, so substantial burning and dodging had to be done to achieve a well-balanced clean image (something I feel is necessary for a symmetrical composition like this).

I showed a mock-up to the Park personnel and was given the "thumbs up" for a sand dunes poster. Fortunately, the poster was relatively easy to print. Using a high-density black ink and pms409 grey ink (which the printers nicknamed "Radeka Grey"), on glossy paper, it was mainly a matter of printing with enough black density to yield a visually satisfying image. My trilogy of posters for Death Valley was complete!

The article is courtesy ofELEMENTS Magazine. ELEMENTS is a monthly magazine dedicated to elegant landscape photography, insightful editorials and fluid, clean design. Inside you will find an exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Bruce Barnbaum, Christopher Burkett, Chuck Kimmerle, Christian Fletcher, Charlie Waite, Rachael Talibart, Erin Babnik and Freeman Patterson, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.

_About the author: Lynn Radeka’s professional photography career spans more than 50 years. Influenced in his early work by Ansel Adams and Wynn Bullock, both of whom critiqued his prints, he continues to pursue a technical and aesthetic mastery of the medium of photography. His love of the grand landscapes and intimate details of the American West was born on his first trip to Death Valley in 1966.

Lynn Radeka’s Black and White photography has been featured in eight National Park posters and is represented by several galleries throughout the United States and Europe. He also has the honor of being a featured photographer in the recent book publication "World's Top Photographers: Landscape." Lynn Radeka currently leads photography workshops in Death Valley, Utah and New Mexico with many more locations planned for the near future._

#inspiration #analog #deathvalley #desert #elements #elementsmagazine #film #filmphotography #fineartlandscapephotography #landscape #landscapephotographer #landscapephotography #lynnradeka #storybehindthephoto #storybehindtheshot #travel

Moon Over Zabriskie Point, or: Seeing Photos in a New Light

In 1991, near the end of some book projects that took me on some lengthy photographic journeys through the American West by car for two years, I came up with the idea of creating posters of some of my black and white images for a few of our western National Parks.

My idea was to provide park visitors with a choice instead of the commonplace color posters. Some of those color posters were excellent but I felt there was a large audience who appreciate black and white. My idea, which I pitched to some of my favorite parks, was to provide the visitors with a "fine art" visual interpretation in black and white.

My original attempts were met with great interest by the various Natural History Associations. Most were already familiar with my photography because of various photographic projects such as magazine articles, gallery/museum shows, or word-of-mouth. I had completed a color slide show for Capitol Reef National Park a few years before, and my black and white work was already known by some Natural History executives of Canyonlands and Death Valley National Parks.

In this four-part series (originally written for the ELEMENTS Magazine), I am discussing most of these posters. I'll give technical information where my memory serves me correctly, aesthetic considerations, and some highlights of making the photographs on the scene. Please join me on this journey through the past!

Moon Over Zabriskie Point

In 1980, there was hardly anyone else at Zabriskie Point, a high spot on a hill overlooking the fantastically eroded mud hills including the landmark Manley Beacon, when I arrived before sunrise. The intense moon was slowly descending over the Panamint Mountain range and the entire scene had a lunar-like feeling. Although there was a considerable amount of haze, I set up my 4×5 Super Cambo view camera hoping to make an interesting composition of the moon and the mud hills.

By the time my camera was set up, and I had taken some basic meter readings, the sunlight had already begun hitting the crest of the Panamint Range. My visualization changed, as now there was a different brightness element in the scene. I decided to wait for the sunlight to bathe the mountain range. Fortunately, I made the exposure just in time before the sunlight touched the mud hills. In addition, moments – literally seconds – after the exposure, the clouds began to cover the moon, obscuring the clear intensity of the bright, detailed lunar surface. There was no point in making a duplicate shot. I had already realized the decisive moment!

After returning home I developed the Tri-X 4×5 negative in Kodak HC-110 and examined a proof print. I wasn't happy with the horizontal composition thinking it too cliché, so, using cropping "Ls," I decided to make a print with a vertical crop instead. I lived with this vertical print on my home gallery wall for many months but could not talk myself into liking it. I considered the image a failure and filed the negative away, erasing it from my mind.

Then in 1990, I had a discussion with Esy Fields of the Death Valley Natural History Association. She was interested in my desire to produce a black and white poster for the Park (still a National Monument at that time). She said she needed posters of Zabriskie Point, and possibly a series including the Mesquite Sand Dunes and the Racetrack. My assistant, Al Callju, reminded me about the moon image I had shot a decade earlier, which I had forgotten about. I located the negative, looked at it with fresh eyes and no preconceived notions, and immediately saw new and exciting interpretations of this perfectly exposed negative. Thanks to various new contrast control tools I had learned in recent years, and more printing experience in general, I approached this image with newfound enthusiasm.

I was able to make a good 16×20 print to be used for the scanning process. I brightened the sunlit mountain range, making it more intense than one would see at the scene. I was after the aesthetic effect, something that would separate this image from the commonplace dull or overly contrasty "documentary style" renditions often seen in black and white. I kept the foreground relatively middle key with enough local contrast to enhance the tactile quality, yet not so much to compete with the brilliance of the sunlit mountains and the smooth, darkened sky. The moon had beautiful detail and still glowed against the rest of the image. It tied in nicely with the lunar-like landscape, creating a visual metaphor. Further, I noticed the alternating horizontal bands of bright and dark and attempted to accentuate that. The photographic print was a success! The poster, on the other hand, posed difficulties.

The first poster run of this image proved to be another learning experience, to put it mildly. By this time, I had chosen pms409 as the "grey ink" color (a slightly warm brownish-grey) and a glossy paper. The color was fine but the blacks in the image were very weak. I learned afterward to use a high-density black ink (instead of Process Black) which allowed for better black values. In addition, I had to ask the pre-press people to lighten the mid-tone range of the curve, which meant having them remake the film used for the presses, so we had leeway in pushing the black ink down for greater density (in press terminology it meant "coming up with the black").

Finally, in 1994 I began using Photoshop Version 2.5. I could work with the black and grey duotone curves to tweak everything myself, but because of different results from different printing facilities, there was still some trial-and-error involved. In the end, my most recent printings are the most satisfying.

Part one of this four-part series can be foundhere.

The article is courtesy ofELEMENTS Magazine. ELEMENTS is a monthly magazine dedicated to elegant landscape photography, insightful editorials and fluid, clean design. Inside you will find an exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Bruce Barnbaum, Christopher Burkett, Chuck Kimmerle, Christian Fletcher, Charlie Waite, Rachael Talibart, Erin Babnik and Freeman Patterson, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.

_About the author: Lynn Radeka’s professional photography career spans more than 50 years. Influenced in his early work by Ansel Adams and Wynn Bullock, both of whom critiqued his prints, he continues to pursue a technical and aesthetic mastery of the medium of photography. His love of the grand landscapes and intimate details of the American West was born on his first trip to Death Valley in 1966.

Lynn Radeka’s Black and White photography has been featured in eight National Park posters and is represented by several galleries throughout the United States and Europe. He also has the honor of being a featured photographer in the recent book publication "World's Top Photographers: Landscape." Lynn Radeka currently leads photography workshops in Death Valley, Utah and New Mexico with many more locations planned for the near future._

#inspiration #analog #elements #elementsmagazine #film #filmphotography #fineartlandscapephotography #landscape #landscapephotographer #landscapephotography #lynnradeka #storybehindthephoto #storybehindtheshot #travel #zabriskiepoint

A Photo that Took a Decade of Trying: Sunrise at Angel Arch

In 1991, near the end of some book projects that took me on some lengthy photographic journeys through the American West by car for two years, I came up with the idea of creating posters of some of my black and white images for a few of our western National Parks.

My idea was to provide park visitors with a choice instead of the commonplace color posters. Some of those color posters were excellent but I felt there was a large audience who appreciate black and white. My idea, which I pitched to some of my favourite parks, was to provide the visitors with a "fine art" visual interpretation in black and white.

My original attempts were met with great interest by the various Natural History Associations. Most were already familiar with my photography because of various photographic projects such as magazine articles, gallery/museum shows, or word-of-mouth. I had completed a color slide show for Capitol Reef National Park a few years before, and my black and white work was already known by some Natural History executives of Canyonlands and Death Valley National Parks.

In this four-part series written for the ELEMENTS Magazine, I am discussing most of these posters. I'll give technical information where my memory serves me correctly, aesthetic considerations and some highlights of making the photographs on the scene. Please join me on this journey through the past!

Lynn Radeka at the Mars Overlook | Photo by Ron Gaut

This story is brought to you byELEMENTS Magazine. ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials and fluid, clean design. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.

Sunrise, Angel Arch

The first image considered for a poster was Sunrise, Angel Arch. There's an interesting background to this image. The route to Angel Arch, in Utah's Canyonlands National Park, was strictly four-wheel-drive for 20-some miles. Much of the road is deep sand, with the danger of quicksand in some spots. After rising well before sunrise, I left the "Jeepers camp" and drove the rougher one-mile spur road that led closer to the arch.

Although I photographed the unusual rock formation known as Molar Rock, placing Angel Arch in the background, there was a disturbing quality to the shapes, and I couldn't compose an elegant image. My attention turned to Angel Arch, a magnificent stately masterpiece. I originally made an image of this subject in 1975 using 4×5 Tri-X film developed normally in Kodak HC-110. I visualized the image as a stark formal composition, so I used a #16 orange filter to darken the clear blue sky while keeping the warm sunlit arch bright. As I watched the sunlight slowly move down the face of the arch, I hoped that the foreground cliff below the arch would remain in a clearly defined shadow. It did, but only for a matter of seconds before the sunlight began to spill onto the shaded cliff. There was only time to make one exposure!

After returning home and developing the negative, I noticed some large dust spots in the sky. When printing, I deemed the dust spots too objectionable, breaking up what should be a smooth, dark sky. Also, the contrast of the negative was high, making it difficult to achieve subtle values in the sunlit arch. I resolved to reshoot the image.

Over the course of the next ten years, I made probably five trips to the arch, but the weather conditions never offered a clear blue sky at the right time after sunrise. On one of those trips, my assistant and friend Al Callju and I were caught in a frightening downpour at the end of the road. This rapidly turned into a flash flood, and we were forced to spend the evening inside my 1970 Bronco instead of returning to the Jeepers camp. It was a scary but exhilarating time, one of many which would permanently define my adventures as a photographer! The next morning, lingering cloud cover from the storm ended any chance of a clear blue sky.

Finally, in 1985 I was able to repeat the image, a full ten years after my 1975 negative. I shot two or three similar negatives but only one satisfied me in terms of the clearly defined shadowed cliff. Seconds made a difference, which is often the case. Fortunately, this new negative was better in terms of fewer, barely noticeable dust spots and more manageable contrast. I had just adopted HC-110 dilution E, which seemed to give a nicer tonal progression than dilution B (which I used for the 1975 negative) and allowed for a slightly longer development time.

My first press check for a poster of this image was dismal. The blacks were a dark grey and there was no intensity in the image. I clearly had a lot to learn about poster printing – the quality of the scan, sharpness in the scanning process, dot gain, using duotone inks, screen angles, paper selection, and the terminology used by the operators of the presses. I spent many sleepless nights obsessing about the details. It wasn't until two or three printings later that I was somewhat satisfied with the poster quality, but every image seemed to produce a slightly new learning curve.

Sunrise, Angel Arch | Lynn Radeka

My response to this image is one of a theatrical stage performance. I view the arch as a brightly lit performer on a stage. The shadowed cliff needed detail to elevate an otherwise bland image into a more three-dimensional image with tactile shadow qualities. Much of this was accomplished in the original print by using a pin-registered shadow contrast increase mask to deepen the stripes in the shadowed cliff, a process I learned from Dr. Dennis McNutt in 1989.

**The article is courtesy ofELEMENTS Magazine. **ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials, and fluid, clean design. Inside you will find exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Freeman Patterson, Bruce Barnbaum, Rachael Talibart, Charles Cramer, Hans Strand, Erin Babnik, and Tony Hewitt, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.

_About the author: Lynn Radeka’s professional photography career spans more than 50 years. Influenced in his early work by Ansel Adams and Wynn Bullock, both of whom critiqued his prints, he continues to pursue a technical and aesthetic mastery of the medium of photography. His love of the grand landscapes and intimate details of the American West was born on his first trip to Death Valley in 1966.

Lynn Radeka’s Black and White photography has been featured in eight National Park posters and is represented by several galleries throughout the United States and Europe. He also has the honor of being a featured photographer in the recent book publication "World's Top Photographers: Landscape." Lynn Radeka currently leads photography workshops in Death Valley, Utah and New Mexico with many more locations planned for the near future._

#culture #features #travel #analog #angelarch #elements #elementsmagazine #film #filmphotography #fineartlandscapephotography #landscapephotographer #landscapephotography #lynnradeka #utah

Photograph It When You See It: A Scene Might Not Be There Ever Again

From my beginning days in photography, roughly 1969, I had the ambition to travel and make photographs. Somehow, I felt a great satisfaction in producing photographic art that came from within. It was a perfect combination: I loved to travel and was particularly lured by the vast, largely unexplored wilderness areas of the great American West, and I felt an insatiable drive to photograph. I felt as though everything I looked at became elements organized to fit in the confines of a visual frame.

This story is brought to you byELEMENTS Magazine. ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials and fluid, clean design. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.

My early inspiration in photography came from some of the masters, notably Ansel Adams and Wynn Bullock, both of whom I had the life-changing pleasure to meet. Other early influences were Edward Weston, Walker Evans, and George Tice. I eventually realized that I was obsessed with organizing visual elements in a scene (to this day I still am). Possibly influenced by some lectures at local colleges by Ansel Adams, and print critiques by him and Wynn Bullock, I felt subconsciously, rather than understood, that I wanted to assure the subject matter in a scene, be it rocks, fences, buildings, etc. was organized in such a way that the image felt natural and unforced.

In 1985, my late brother-in-law and fellow photographer -- Al Callju -- and I were on another adventure, this time in Utah's San Rafael Swell. In my 1970 Bronco, we were exploring dirt roads when I noticed this subject. It was a warm day with a thin cloud covering -- excellent light for detailed subjects. I noticed a large sandstone boulder at the edge of the wash where we were driving. Using an 8×10 black "viewing card" with a 4×5 hole cut in the center, I felt I could make a good, clean image. The white alkali that coated much of the rock created smooth and sensual forms, and the dark recesses of the rock accentuated and clarified the forms. In addition, smooth, finely detailed grasses seemed to flow out of the cracks in the rock.

I pre-visualized this subject as a soft, somewhat high-key image, which I felt would accentuate the gentle overall feel of the image. There were no dominant colors, so I did not use a filter. I use filters only when necessary to achieve preferred tonal relationships in the image, or to emphasize movement or minimize (or enhance) atmospheric haze. The film was 4×5 Tri-X using a Schneider 210mm Symmar lens (with lens shade as always!). I developed the negative normally in HC-110 dilution B.

I photographed the image, packed up the Bronco, and drove further down the road. Later that day it began to drizzle very lightly. Since we weren't certain about the road conditions further on, we turned around and headed back, passing the boulder again. Surprisingly, the raindrops had destroyed the smooth white alkali coating and the image had changed completely. It was a good example of "shoot it when you see it, if the light is right." Lesson learned!

When I made my first prints of this image, I tried to adhere to my pre-visualized high-key rendition. I was not satisfied. I made a darker, slightly higher contrast print and that print displayed a far more satisfying interpretation of the subject. I further refined the print, probably over the course of a year or more. I realized that strengthening the flame-like structure of the top area of forms, against the darker recessed rock surroundings, gave me the intensity I liked the most. The gentle flowing grasses gave the image a sensuous human quality that I was not aware of at first. This metaphor was brought to my attention at a gallery show in California in the late 80s.

I find that post-visualization (examining the negative and re-thinking possible interpretations not realized at the scene) is often as important as pre-visualization. Fortunately, this negative was exposed with enough detail throughout to allow for a variety of interpretations when printing.

**The article is courtesy ofELEMENTS Magazine. **ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials, and fluid, clean design. Inside you will find exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Freeman Patterson, Bruce Barnbaum, Rachael Talibart, Charles Cramer, Hans Strand, Erin Babnik, and Tony Hewitt, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.

_About the author: Lynn Radeka’s professional photography career spans more than 50 years. Influenced in his early work by Ansel Adams and Wynn Bullock, he continues to pursue a technical and aesthetic mastery of the medium of photography. His love of the grand landscapes and intimate details of the American West was born on his first trip to Death Valley in 1966.

Lynn Radeka’s Black and White photography has been featured in eight National Park posters and is represented by several galleries throughout the United States and Europe. He also has the honor of being a featured photographer in the recent book publication "World's Top Photographers: Landscape."_

#editorial #opinion #4x5 #4x5camera #4x5film #abstractlandscapephotography #analog #elementsmagazine #film #filmphotography #landscape #landscapephotographer #landscapephotography #landscapes #lynnradeka