When I saw the Paradise photos what I saw were the colors photochemical processes could create which are very limited. Has Struth worked with similar images since then using the wider ranges possible with inkjet colors? Seems like an obvious next step. If I were to present this work I'd want to do it in Asia with a field of new rice just outside; better still through an opening. That specific color green was always humbling to me as a photographer. Yes I am very good at reproducing color, but I know of no way to capture that, and even if you get close there are at least a dozen slightly different colors of green going on. Shoot that with the best equipment and you might see four. I appreciate Struth's work, but I am always left with the feeling that until some authorized person tells me what it's about I'm mostly left wondering. This is the huge void between someone like Edward Weston and the Bechers and all their followers. Weston never needs to be explained. When I see Struth I think, nice image, tchnically very good. (The Bechers may be to coal mine machines what Ansel Adams is to mountains. Yep, that is the best possible angle on that large piece of machinery. No one is ever going to do better.... great but also a conclusion.) Okay, it's a bunch of tourists in the Pantheon. I know that in 50 years this will seem very different because of how clothing and imaging will change in that time. "Pictures which were made for one particular purpose can have echos that are very different (when seen against strange neighbors)." Sure if it's always completely and intentionally vague what an image is about. I've spent a lot of time with art. The best moments are when I suddenly realize what it's about and that it's very clear this was the intention. (Such as Wren's St Paul's Cathedral is very much about negative space energizing the architectural elements. Yet google it, or take the tour; all you will find is that it was made after the fire, took 35 years, £18, no photography or video; not a word about its aesthetic value. It's in the middle of London and no one seems to have notice it. At least you'd think they'd have noticed how different it is to its contemporaries in the rest of Europe.)
Many thanks for this quick guided tour throughout Struth's work!
When I saw the Paradise photos what I saw were the colors photochemical processes could create which are very limited. Has Struth worked with similar images since then using the wider ranges possible with inkjet colors? Seems like an obvious next step. If I were to present this work I'd want to do it in Asia with a field of new rice just outside; better still through an opening. That specific color green was always humbling to me as a photographer. Yes I am very good at reproducing color, but I know of no way to capture that, and even if you get close there are at least a dozen slightly different colors of green going on. Shoot that with the best equipment and you might see four.
I appreciate Struth's work, but I am always left with the feeling that until some authorized person tells me what it's about I'm mostly left wondering. This is the huge void between someone like Edward Weston and the Bechers and all their followers. Weston never needs to be explained. When I see Struth I think, nice image, tchnically very good. (The Bechers may be to coal mine machines what Ansel Adams is to mountains. Yep, that is the best possible angle on that large piece of machinery. No one is ever going to do better.... great but also a conclusion.) Okay, it's a bunch of tourists in the Pantheon. I know that in 50 years this will seem very different because of how clothing and imaging will change in that time.
"Pictures which were made for one particular purpose can have echos that are very different (when seen against strange neighbors)." Sure if it's always completely and intentionally vague what an image is about. I've spent a lot of time with art. The best moments are when I suddenly realize what it's about and that it's very clear this was the intention. (Such as Wren's St Paul's Cathedral is very much about negative space energizing the architectural elements. Yet google it, or take the tour; all you will find is that it was made after the fire, took 35 years, £18, no photography or video; not a word about its aesthetic value. It's in the middle of London and no one seems to have notice it. At least you'd think they'd have noticed how different it is to its contemporaries in the rest of Europe.)