[pure-silver] Re: not so pure silver

From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>

From: "Shannon Stoney" <shannonstoney@xxxxxxxxxxxxxxx>

snip

Once I saw a show in Houston by a photographer who had
documented her mother's life over about 20 years.  She had
silver, color, video, everything. It didn't bother me at
all.  I wonder why we have this "rule" that you should
have a "unified body of work."

Also I have noticed recently that filmmakers are mixing
b&w and color in the same film:  "I'm Not There" was like
that, and "Shine a Light."

--shannon


     I have not yet read the other responses in this
thread. I have seen many exhibits of photographers who shot
both B&W and color and both are included, although sometimes
in separate rooms. I think if "unity" is a consideration it
should probably be in some area like subject matter or theme
not the type of reproduction.
     I have a different idea about movies being a
frustrated movie maker. I think switching from color to B&W
and the reverse is distracting to the audience reminding
them that they are seeing what is essentially an optical
illusion. The idea of theatrical movies is to make the
watcher forget he or she is seeing something mechanical and
any technical glitch will spoil the illusion. I consider
such variation in presentation type such a reminder,
although there may be rare exceptions.
    The curious thing is that in the early days of color
productions often had color sections. This was simply
because color was so expensive. Even then they are a bit
jarring. One of the few exceptions to this is the opening of
_The Wizard of OZ_ which is in B&W and switches to color
when Dorothy enters Oz. This is done because the author, L.
Frank Baum, described Kansas as being all gray. I think one
can find few other examples that work.
    I could go on about this sort of stuff but its sort of
OT here and IMO irrelevant to the subject.


Richard-
How do you feel about "spot color"? There is a war movie in black & white (I'm thinking "Schindler's List"?) where there is a scene of a little girl walking down the street wearing a red coat. That red coat is the only color in the film. I relate this back to the group's topic by means of portraits with spot color; example a subject holding a flower, all in B&W with the flower in color. Personally, I think this technique can be easily overdone. I've seen senior portraits where only the eyes were in color or a prop was in color. Ken Hart 
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