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Technical and Purchase Information
Camera/Lens: Arca Swiss view 210mm Nikkor
Format: 6x9
Film: 120 TMAX 100
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 210mm Nikkor
Format: 6x9
Film: 120 TMAX 100
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.
Sentinel-Max Patch Steve Dixon
Catalog Numbers:
8x10 - 10114
11x14 - 14114 Order Prints
16x20 - 20114
8x10 - 10114
11x14 - 14114 Order Prints
16x20 - 20114
I was out with my friend Bill on what turned out to be a too-early fall color expedition, and we decided to go by Max
Patch on the way home, just to see if our luck would change.
There was a stand of colorful trees on the East side of the ridge, and Bill went to see what he could do with them.
I saw the potential for some interesting clouds behind the old dead tree on the hillside, set up the camera, and
waited for it all to come together.
Just as the clouds moved into position, a man with two small children walked into the frame. They stopped, and
the man started taking pictures. I couldn't blame him, of course. I was too far away to do anything but wait until they
left and shoot what was then a still dramatic, but less perfect, sky. In the darkroom I underdeveloped the film (it
should have been N+1). This resulted in a negative that’s flat and difficult to print, but still a picture I like a lot.
Patch on the way home, just to see if our luck would change.
There was a stand of colorful trees on the East side of the ridge, and Bill went to see what he could do with them.
I saw the potential for some interesting clouds behind the old dead tree on the hillside, set up the camera, and
waited for it all to come together.
Just as the clouds moved into position, a man with two small children walked into the frame. They stopped, and
the man started taking pictures. I couldn't blame him, of course. I was too far away to do anything but wait until they
left and shoot what was then a still dramatic, but less perfect, sky. In the darkroom I underdeveloped the film (it
should have been N+1). This resulted in a negative that’s flat and difficult to print, but still a picture I like a lot.