That wondrous red line along the curb! You must have got your assistant to go out there and outline that curb line with the same W.E. Signature red paint that Trader Joe uses. I think those lines are yellow around here.
Matt, the team was out there all afternoon with Pantone Swatches and a portable paint mixer. I think we settled on Red 185. But I don't bother with that granular level of production; not when I have a vast team supporting me. It's all about the collaboration you know.
And the real answer is: that's the color the city uses for fire zones.
Eggleston was (along with Friedlander) the photographer that got me unmoored from the conventions of traditional large format landscapes back in the 70's. Joel Meyerowitz and Cape Light was the final push into the delights of color as worthy of fine art. Nowadays I almost feel that I can't go out and "see" without everything being viewed as a sequel to my life in the 70's.
Your photo sequences of the last two days suddenly made me realize that I no longer automatically "see" in black and white, unless the B&W is obviously an aesthetic choice, in which case I can switch back on. For example, the B&W portrait in yesterday's post really struck me in a way it might not have if it were in color. But in today's shots, the walking-around-town stuff in B&W just looked flat compared to the color shots. I thought that was especially true with the plants -- I wondered, why would anyone want to do that, in B&W, if color was available? Switching back and forth between the two posts also made me wonder about possible effects of minimal selective color on the portrait...what if it were *mostly* drained of color, but with pale hints of color remaining, almost like one of those old hand-colored B&W prints. And I really love the shopping cart photo -- I think you might want to put that on your wall. But if you'd done it in B&W, I think it hardly be noticeable.
7 comments:
The photo definitely works.
thanks! KT
That wondrous red line along the curb! You must have got your assistant to go out there and outline that curb line with the same W.E. Signature red paint that Trader Joe uses. I think those lines are yellow around here.
Matt, the team was out there all afternoon with Pantone Swatches and a portable paint mixer. I think we settled on Red 185. But I don't bother with that granular level of production; not when I have a vast team supporting me. It's all about the collaboration you know.
And the real answer is: that's the color the city uses for fire zones.
Cool. Your shopping carts have white-walled tires.
Eggleston was (along with Friedlander) the photographer that got me unmoored from the conventions of traditional large format landscapes back in the 70's. Joel Meyerowitz and Cape Light was the final push into the delights of color as worthy of fine art.
Nowadays I almost feel that I can't go out and "see" without everything being viewed as a sequel to my life in the 70's.
Your photo sequences of the last two days suddenly made me realize that I no longer automatically "see" in black and white, unless the B&W is obviously an aesthetic choice, in which case I can switch back on. For example, the B&W portrait in yesterday's post really struck me in a way it might not have if it were in color. But in today's shots, the walking-around-town stuff in B&W just looked flat compared to the color shots. I thought that was especially true with the plants -- I wondered, why would anyone want to do that, in B&W, if color was available? Switching back and forth between the two posts also made me wonder about possible effects of minimal selective color on the portrait...what if it were *mostly* drained of color, but with pale hints of color remaining, almost like one of those old hand-colored B&W prints. And I really love the shopping cart photo -- I think you might want to put that on your wall. But if you'd done it in B&W, I think it hardly be noticeable.
JC
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