WoodNWine

Waiting on some verbal closure with the designer so I can move to another medium.  Each thing that gets placed in front of the camera takes some back and forth between it and me in order to understand what it needs.  Or how to make it do what I want.

I've been working the wine on wood for the past few days and before breaking down the set and putting up copper I'm waiting to hear some feedback.

So far this wood is being somewhat elusive. I'm thinking it's a Chestnut but that's just a guess.  My wood book says it might be a Golden Chestnut in the Beech Family. The book also lists it as "California Chinquapin" but it is a book from the late 1800's and I've never heard of a Chinquapin.

 Photographs real nice with conventional lighting but I want to make it more like this.

Not to say the conventional lighting wasn't good but it bugs me when I can see something with the eye but not with the camera.  It's a matter of working it enough to know what it needs.

Back near where the lens is.

I take a break and look at how the afternoon light goes through one of Ben Dombey's shot glasses.

Now this wood just falls on the paper as we used to say when printing negatives on enlargers.

Shooting copper requires different techniques.  One of the first mantras in the photography school I went was "Angle of incidence equals angle of reflection".  And that's exactly what copper needs.