vertigo wrote:
NOW about the pictures: Yep the color is a bit muted, in our minds seasoned with digital pixels, but lit does contribute to the vintage look. With the color films of the 50-60s it is pretty bright and as most of us saw them as printed on (almost) newsprint this is what we saw. I like them--even the expressions on faces match the era.
Headed out to the Dr for some much needed and delayed antibiotic myself. Be well Timmers
On the off chance that a few on here do want to get a deeper understanding of what came before I will venture into the not so distant past of this thing called color. Much of what paves the way for the post WW II era, the so called modern era of photography was pretty much in the hands of one worker Paul Outerbridge Jr. No other single photographer did more to create the conditions for photography's entry into the arena of color.
On the aesthetic level he put forward some pretty interesting ideas of the underbelly of modern sociability and he was not shy in his handling of these visionary concepts. That aside we owe quite a lot to his sense of clear vision as to what photography can and should do. A balance between technique and concepts, but the 'technique' was always at the service of the idea and the artist intent.
There exists a period of compression as to the evolution of color. My personal feeling is that as 'vision' evolves, the ability to 'see' has shifted more and more from a visual phenomenon to one of perception with the mind.
Before World War Two, during and immediately after into the 1950's color was muted. Grayed down if you like. The colors were there yet they just were not vibrant. A look at the classic Sears Fiesta Wear you have the colors, but they are not vibrant. They are saturated, even dens but the color was not pure, it was toned down as if some gray had been added to control the expressiveness of the color. Kodachrome was strong, it showed color with clarity, mostly with a certain contrast and yet it was never quite as vibrant as some objects called for. The film did handle one critical aspect of color clearly and powerfully, that of cyan.
Kodachrome handled Cyan manifestly. But then the Caucasian world viewers are not that responsive to Cyan and it's partner in the color Green. Green is not a color that the Caucasian eye needs, it dances to the opposite color of Cyan, that is Red.
In the late 50's and early 60's in stumbled the new color Polaroid built. The process favored the color pallet of greens. So no surprise that Polacolor was strongly favored by the African American viewers and many of the other ethnic peoples.
In the early 60's color began to emerge as a more ripe pure tonality of color. So advertisers, makers of 'for sale' objects tended to use more pure dyes in their for sale objects. Pure vibrant colors became the desired thing in images.
Then towards the end of the 60's a new radical shift took place, what is now called psychedelic colors. This is the color of the mind expanded such that occurred in areas of the brain that are only now being understood as 'real' and 'there' in the human conscious mind.