This is one of those almost perfect moments one finds out and about. Since Photoshop can now fix minute details on images, I suppose the more detail oriented among us would have John take out the woman on the street and replace her with another woman on a street wearing heels or even the same heels as displayed in the advert. In lieu or an RPG, the car might be either completely removed or as is my choice, pushed back so the center of the rear wheel bisects the frame edge. While the photographer is at it, also get rid of the little imperfections in the recessed walls and sloppy door locks, and if we’re really going to go whole hog, reshoot with at least a medium format camera so a big print can be made successfully.
This is a shot I almost certainly would not have made. I like the big picture more than the little one.
If there is a reason for this image being in the gallery this week, it is not because Jack Hansen was my assistant, but more that this is an example of an image not too many of this group’s members could have made. It is not a grab, snap, or causally made image. It took two weeks to plan and set up in a 600 sq ft studio, and who takes two weeks for anything like this now? It also had to be shot at night as my studio could not go perfectly black, and the various crew members had to sit or stand at their posts to turn power packs off and on again as well as to raise and lower large pieces of plexiglas and black velvet. It is pre-photoshop and done in the Polaroid days. This shot is here for the studio shooters to see, and off the top of my head I’d say Randy Little, Robert Earnest and Andy. This week marks a point in my career few have attained. Yesterday marks the 50th year of my charging to take a picture. Art Faul The Artist Formerly Known as Prints ------ Art for Cars: art4carz.com Stills That Move: http://www.artfaul.com Greens: http://www.inkjetprince.com Camera Works - The Washington Post . |
