Three rolls Delta 400, 11.5 mins @ 20C Xtol 1::1. Mixed at 24C, brought the temperature down by tossing some ice cubes in a baggie and floating it in the already-diluted Xtol.
Yesterday afternoon I spooled about 20 rolls of Delta from a 100’ bulkroll — as I was cranking along, I read the Ilford label for the box, which recommended Xtol 1::1 for Delta 400 at no speed slower than ISO 500… 13 mins @ 20C. Hmmm, wonder why they don’t like Xtol?</i>
When I was living in Marin, I started work on a collection of photos of the Golden Gate bridge. Shot quite a few. My thought was to do something faintly echoing Hiroshige’s 36 Views of Fuji. One or two “straight” shots of the bridge itself, and all the rest photos of the city and countryside surrounding it, with the bridge merely a constant presence. The I moved to Hawaii and had to set this project aside.
In the meantime, what appears in the bookstores but Golden Gate by Richard Misrach. For a while, I feared that his book (and show) were exactly what I had planned — I’ve since discovered differently, even as I’ve returned to Northern California.
It’s natural to want to complete this project, though my photography is now in a very different ideological place. The greatest change w.r.t. my initial charter has been the growth of a deeper understanding (or belief that I have one, anyway) in the way Hiroshige was able to use Fuji-yama as a universal symbol of Japanese-ness. I began to see, in a less-than-superficial way, that Hiroshige’s illustrations were not of Fuji, but under the eye of Fuji.
I also came to question the role the Gate has. While physically imposing, a common iconographic symbol for the bay, what does the Gate represent? A tourist attraction, a real estate boon to Southern Marin, a tax harbor and absurd privilege to members of the bridge commission, tempting terrorist target? Is that what I want to accomplish, to celebrate, to reveal?
I’m still interested in the idea of this project, but even as the questions become sharper the answers recede.