Carver Country: The World of Raymond Carver by Raymond Carver, Bob Adelman

By Raymond Carver, Bob Adelman

In a stunning hardcover collector's variation, Raymond Carver's nation is illuminated in phrases and photographs.

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Additional resources for Carver Country: The World of Raymond Carver

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A "Tri-Flector" the "rule" in this case being that the model (see page 24) provides some fill, The light is should be a long way from the background very high over the camera, as can be seen so that she casts no shadow. If you are from the shadow, and the light is harsh; and going to break a rule it is often as well to yet the modelling is exquisite. The choice of break it thoroughly: Stu used a very hard Plus-X Pan, an "old technology" film, allowed light to cast a clear, strong shadow which maximum control of tonality in development.

Influenced by the afterwork. By varying the pressure a solarized effect The image was printed onto Kentmere Art . Quality of light is easier to recognize than to describe, but it is much affected by reflector size and degree of diffusion Processes such as this are highly idiosyncratic and may require considerable experiment with different papers, toners, photocopiers and transfer papers Classic, which was then sepia toned, can be created in the black areas: the pretreatment is necessary in order to achieve this effect.

Ancestors daylight (HMI) spot completed the high-key set-up. Photographer: Frank P. Wartenberg Use: Portfolio Camera: 6x7cm Lens: 185mm with deep blue filter Film: Kodak Ektachrome EPT tungsten BLUE balance M E T A L Exposure: Not recorded Lighting: Large soft box Props and set: Ground metal Plan View . In addition to its colour, makeup can greatly affect the reflectivity of skin Sometimes two separate paths have to be pursued in order to create an intense effect; in this case, blue filtration and the use of tungsten-balance film with daylight-balance lighting THE SET IS DRAMATIC IN ITS OWN RIGHT: ROUGHLY WORKED METAL.

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