When I photographed Jim Bloom cutting tobacco during the summer of 1988 I had no idea that the image would become the foundation for my "Last Farmers" project. It was an early September evening, more August than fall, when I spotted Jim working his way down the rows of tobacco on his father's farm. A roll of Kodachrome 200 and a 35mm Nikkor lens captured the scene. The beauty of Kodachrome was not only its longevity (100 years +, if archived properly), but it's colors. When aged (I have some that are 60 years), the old slides begin to mellow to softer tones. With the "Last Farmers" I digitally processed the photos as if they were 100 year old sepia-toned tintypes. The look seemed to fit the project. Recently, however, I have been re-working many of the images, hoping to recreate the look of Kodachrome - a film and process that too, has slipped into the past. The first photo, Jim & the original Kodachrome; the second, Loren Huddleston & Adobe Lightroom.
Wednesday, November 9, 2011
I'm often asked what I mean when I say that a photo was shot in "available light" - and my stock answer is the old photo cliche, "any light that is available to you when you are there." Sunlight, GE bulbs, overhead fluorescents, studio strobes - you get the idea. This image, shot for Cincinnati Magazine's Best of the City issue, was done with available light - late day rainy sky & overhead fluorescents and a little white fill card.