I am sharing more images as I wait, and wait and wait… Then it’s hours of trying to fit square pegs into the template round holes.
Update, June 1: I am still waiting to get my domain name transferred, and I have also found it difficult to get a workable template. There just don’t seem to be many out there that will accommodate mass quantities of images, and this has become a massive headache. I’m really not sure why it’s so difficult to find a template specifically for 30 years of photography when I know my audience wants to see all that plus my current stuff from the reactions I get here and on Facebook, but wow is this a pain!
I will figure it out and get things going again, so I’d better sign off, post more images,and thank you for your patience. Mine is starting to run out!
Guess what? I am still trying to rescue my domain name and get my website back up and running. When I do it will definitely be new and improved, with more and newer images and more. I’ll also be reviving The Heights Gallery’s Facebook page, doing more blogs, and finally using the Instagram and Twitter accounts I’ve been ignoring. Cool stuff, some cool events and sales, equipment reviews and more. Soon. I promise.
IMAGES AND PRICES TRACY ANNE HART/www.theheightsgallery.com
8” X 10” and 8 ½” X 11—————————————————–$500.00
11” X 14”or 11” X 17”—————————————————————–$600.00
13” X 19”————————————————————————$750.00
16” X 20”————————————————————————$950.00
16” X 24”, 18” X 22, and 20” X 24”—————————————$1250.00
22” X 28” and 20” X30”——————————————————$1600.00
24” X 36”————————————————————————$2000.00
36” X 42”————————————————————————$2400.00
“Texas Flood” Triptych: three 20” X 30” prints, Limited Edition of fifty-four sets——————————————————————————-$4000.00
Stevie Ray Vaughan Limited Edition Set: 10 13″X 19″ archival pigment prints of my favorite SRV images from 1983-1990 in an archival folio: $5400.00.
Only a few Sets remain.
Prices do not include frames or mats, shipping and handling. All prints larger than 20” X 24” are limited to 125 editions. The prints are Epson Pigment on Moab Entrada Rag or Epson Cold Press substrates.
My website is down! I’m going to post a large group of images as a temporary substitute, and you can also find hundreds of my photographs of Stevie Ray Vaughan, Jimmie Vaughan, Joe Ely, David Grissom, Vintage Trouble, Ian Moore, Eric Tessmer, X, the Blasters and Dave and Phil Alvin, Charlie Sexton and Doyle Bramhall II and the ARC Angels, Doyle Bramhall, Gary Clark Jr, etc, etc in my previous blogposts and on my Facebook page: http://www.facebook.com/TracyAnneHart To inquire about purchasing prints, please email me at: firstname.lastname@example.org or call me: 713-202-0840. You will receive a 25% discount if you mention you saw this blogpost, too.
Thank you for your patience!
Photos: (Above, “Texas Flood”, Stevie Ray Vaughan outside the Houston Astrodome, 9/02/1989. Limited Edition print, contact me at email@example.com for more information)
Thanks to my friends at Zeiss, I was able to borrow the 25mm f2 and 85mm f1.8 Batis lenses in September. I have been impressed with Zeiss glass since I got my first Hasselblad in 1980 and I continue to be throughout their evolution (and mine!) into digital. I could be very happy to stay with Zeiss lenses no matter what Sony camera I combine them with. The particular combination of the 85mm Batis and the a7II was perfect for the show at the Paramount Theatre in Austin, the focal length and the size made it a great package. I’m a Leica user from way back but I was never happy using lenses longer than 50mm on the M series, but Zeiss has pretty much got the 85mm prime covered. I used the Batis and the Sony on manual focus but quick tests of its autofocus capability wre impressive in all types of lighting including the available darkness of a coffeehouse/bar and the balcony of a theatre. I had more opportunity to test the 85mm than the 25mm, but I found the wide angle to be extremely sharp-as I expected. These lenses have some unique features I didn’t really get into and I didn’t try them for video, however I would definitely buy both. There just isn’t another 85mm prime for the E series and if there were I’m certain it won’t surpass the Batis’ performance. This is the kind of lens that enables you to crop the image if 85mm isn’t long enough, and I would love to see it on the a7rII. The 25mm would be perfect for architecture, landscape, shooting classic cars, etc. The T* coating is, well, T* coating. Years of Hasselblad use taught me to appreciate that. It’s also somewhat redundant to comment on the Zeiss 3D look because everyone else who has used the Batis lenses has already said that-there’s a reason for that. Great job as usual, Zeiss!