Fast forward to the next century and I've got thousands of negatives from an historical New York that now mostly exists in documentaries and Martin Scorsese movies. Of course, all in glorious black and white. Not that those limitations were a bad thing. B&W isn't simply the absence of color it's also a medium in its own right. Stipped down to the bare essential shades of grey, you're forced to pay attention to details, composition and expression. And as time has moved on, it's also become an historical marker that gives images a context for time and place as well.
But now, a century later and armed with Photoshop, Lightroom, personal printers and the fact that nearly all images are now viewed on monitors I'm more than happy to shoot color. There's no lack of inspirational photographers (Joe McNally, Mark Seliger, Erik Almas to name a few) and I finally feel that I have enough control that I can build on my prior experiences and deliver my own perspective. But what to do with all those funky b&w shots collecting dust in my archives?
The shot below was a quick snapshot from a Sunday afternoon. Early 70s, somewhere in Chelsea. Brilliant blue sky with the odd skywriting framed in by the brownstones. Honestly, in black and white, it's not much to write home about. I stuck it back in the archives and forgot about it. A few years later on my wife was persistent enough to drag me to the Museum of Modern Art. I like New York museums about as much as I like department stores which is to say between parking, crowds and waiting in lines, not much at all. On this day though, the art gods smiled on me and I got to see Edward Hopper's "Early Sunday Morning" live and up close. It was almost enough to make the crowds disappear for a while. That row of brownstones... the warm colors, that feeling of a singular time and place.
Where had I seen that before?
|It's worth noting that you don't even have to open the "source" file... it's enough for it to be accessible by Photoshop. Clicking the source button and navigating to it makes the color palette accessible to the target file.|
|The initial rendering is almost always too dark. Tweaking the sliders is enough to bring the tonality in range. This will vary for every set of images.|
|Hmmm. Look at me, making aesthetic judgements.|
|The sliders in "Match Color" brought the colors into range. A few final tweaks in levels got me here.|
So the result is a fusion between my humble snapshot and Hopper's remarkable color palette. In a million years I'd never be able to match his eye for color but I'm happy to have the means to access them in my own way. If I could look at a Rembrandt and be inspired to copy his lighting is this any less legitimate?
For a blue collar kid who was challenged to draw anything better than stick figures and never went to art school I'm feeling pretty smug. One more technique that I can use to set my work apart and of course if this process inspires your own vision, no one would be happier than me.