LAKE ISTOKPOGA 1 © 1989
Photographic Story This picture was tricky only because I had problems getting the fog. A photographer friend, George Schaffer, joined me on this trip. We would get up before dawn and drive to the lake, which took longer than an hour to reach because every morning there was incredibly dense fog. When George and I reached the fishing camp on the edge of the lake and looked out over the lake, the sun was shining on the water! It seemed like the fog would bank right up to the edge of the lake and then dissipate. I would turn the car around and go right back home. George and I took this trip every morning for a week, determined to get the foggy shot we knew was going to be there. It was very frustrating. On the fifth morning we decided, to heck with the fog, we’d launch the boat anyway and take pictures of the lake. Lake Istokpoga is a beautiful place, and there is plenty to photograph without having fog. After a couple hours on the lake, around 9:00 am, I was setting up my camera in the water and the fog started forming on the lake! I couldn’t believe it, and was afraid it wouldn’t last, so I set the camera up as rapidly as possible (not an easy task when standing in three feet of water). I shot 4-5 images before the fog disappeared. It came and left right on queue. It sure would be nice if nature was always so cooperative! Analog – Archival Silver Gelatin Photograph Clyde’s silver gelatin black and white images are created using an 8” x 10”, 11” x 14”, or 12” x 20” view camera. Clyde prints his images in his own darkroom on fiber-base paper in a limited edition. The photographs are selenium toned, then mounted and matted to current archival standards. His images come in sizes from 8” x 10” inches to 5’x 8’ feet. His love of art and nature is seen in the exceptional detail and more subtle textures of his photography. Each photograph is individually hand printed in the darkroom and will vary based on factors such as artist preference, chemistry and temperature. The image displayed on the website is a digital scan of the original negative and should be considered a representation of the printed version of the art.