[pure-silver] Re: not so pure silver
- From: Shannon Stoney <shannonstoney@xxxxxxxxxxxxxxx>
- To: pure-silver@xxxxxxxxxxxxx
- Date: Fri, 27 Mar 2009 16:48:33 -0500
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
I was thinking that one way of dealing with the color negatives and
positives would be to desaturate them a lot, leaving only a hint of
color, and print them digitally. This would be sort of like spot
color.
The movies that I cited were sort of documentaries: Shine a Light was
about the Rolling Stones, and the concert part was in color whereas the
backstage stuff about the making of the documentary was in black and
white. I'm Not There was a pseudo -documentary about Bob Dylan, and it
alternated color and black and white as if it were a real documentary.
The other example of that was Chicago 10, where not only did they have
color and black and white documentary footage; they also had animation!
All mixed up together! The other night I saw a documentary about
Fellini that also had both black and white and color. Once can
understand why a person assembling a documentary film might use both
black and white and color footage. So, if you see your project as
documentary, it might be valid to use both.
The Holga pans have some of the characteristics of film, people have
said. If you can see three frames, they were shot sequentially, left
to right. It tells a little story: this happened, then this, then
this. So you could make a case that they are sort of proto-cinematic.
--shannon
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