Cathedral interiors posed a problem that baffled Evans’s predecessors: how to record with equal clarity (and artistry) the deep shadows of the spatial recesses, which received little light, and at the same time hold detail in the elegantly designed windows through which the light passed. Evans’s solution was to print on platinum paper capable of the most delicate range of tones, masking off the brightest areas and letting them print after the deepest shadows. In York Minster, made about 1900, he introduced a bold compositional element, devoting the entire right side of the picture to a shadowy column, against which a narrow window in the background is set in counterpoint. The Metropolitan Museum of Art Bulletin Spring 197
In Sure and Certain Hope appeared twice in Camera Work. First in Camera Work IV.