Life is in color. So it seems pretty obvious to photograph in color, especially nowadays when black-and-white photography seems “classic” — i.e., hopelessly retro. But that wasn’t always the case. Back in the ’60s and ’70s — at least in the art world — color photography was a source of major contention. In the spirit of revolt, or individuality, or just plain curiosity, a few photographers were on a crusade to permit the polychrome. The images below are from a Cincinnati exhibition that reexamines that period in photography.
See the photos HERE on npr.org.
just wanted to say great photo, love the lighting here.
For sure i miss shooting film sometimes
I understand, appreciate, and am inspired by the ‘struggle’ certain photographers went through to make colour photography accepted by a rather snobby art scene, and examples such as the one you chose are stunning.
That said, I don’t think black & white photography is at all ‘hopelessly retro’. There are a million things that could be discussed, and endless debate could easily ensue, but I think very simply that there are certain situations where black & white is just better.
On the technical side, situations where skies are likely to be blown out usually just look more aesthetically thought out in b&w. The main argument though, I feel, is concept. There are often times that it fits the jigsaw much neater because of the connotations that come with it.
Either way, I don’t look at black and white images and think ‘dated’, I look and ask ‘why?’
Just for the record, I’m a photographer that works predominantly in colour.
The comments on this article are laughably dense. I go to the University of Cincinnati, my class recently attended this show, and I was lucky enough to see my first Eggleston’s in person. Maybe these people just need to go see how the red in ‘The Red Ceiling’ looks like ‘red blood that is wet on the wall,” but it still bothers me that something I find so beautiful is dismissed with such ease. I’ve loved these photographs before reading about the ‘vulgarity of color,’ it’s appropriateness for ‘vulgar subject matter’ and the postmodern angst that plagues these criticisms of the democracy of the camera, so I wonder… Why do they hate us?