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Wednesday, 18 February 2015


What I find is that it's difficult for my brain to switch back and forth between color and monotone images. It's especially difficult to switch an image back to color after I've seen it in black and white for a while. It's like I'm looking at the worst kind of color hdr creation. Perhaps this is what it happening to the judges when they view mixed portfolios.

It’s interesting, and educational, to see you working this out. I suggest that thinking a bit more about the specifics of what results you want may help you clarify your rules.

I’ve already learned something from this project. Lately I have been using a folder with recent photos as a source of desktop pictures, which rotate every 15 minutes. It’s very helpful to see an image of mine on the screen when I am not actively thinking about it.

"great art convinces"

I'd like to read more of your thoughts on this (perhaps it's in the works because you've used the phrase twice recently). I'm not sure I'm convinced. Photographs are ambiguous. It's one of the medium's merits. Perhaps you mean great art convinces you of it's merit rather than persuades you to adopt a point of view?

I'm not saying this is great art, but it's one of the few selective color shots I've done that I think works:

Bob's Art of Photography

To avoid seeing the photo in color, you could always apply a B&W conversion to the imported image in Lightroom as you bring it in. Then all your previews and editing would start with the grayscaled version. Of course, you have already seen the image in color when you pressed the shutter.

I too shared your dislike of mixing colour and black and white. Recently, however, I saw and purchased a book called Pikin Slee by Vivian Sassen which I found really inspiring in both the quality of most of the individual photographs and their combination of colour and black and white. She has a show on here in London at the ICA which I haven't seen yet. Here are a couple of links:

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