(An image that #ChangedEverything from photographer #MarkPower. Today is the final day to place your order! SIGNED $100 #MAGNUMSquare Prints available until 5PM EST. Shipping everywhere. Link is in our bio)-->“I’d already been documenting the construction of the Dome for some months. I was a resolute black-and-white photographer then, although I was beginning to wonder if this was the right strategy as the building became increasingly strange and otherworldly. But I was nervous about colour, and reticent to use it because I couldn’t process and print it myself. Nevertheless, I bit my lip and bought a couple of boxes of Agfa Optima, a negative film which, I was reliably informed, produced very intense colours. I concluded that if I was going to use colour at all then I might as well really use colour. At night, the Dome was illuminated with sodium light, which drains all understanding of colour. When I got the contact sheets back from the lab, I was amazed by the results. I asked the technician who’d printed them if they were ‘right.’ He explained he’d had no reference point to work from so he’d just exposed the negatives as he thought best. I began to understand that in situations like this, pictures can be any colour you want them to be. I’ve worked in colour ever since. These days, I look for much more subtle results, but I still look back on that first box of film with fondness.” — Mark Power

magnumphotosさん(@magnumphotos)が投稿した動画 -

Magnum Photosのインスタグラム(magnumphotos) - 6月12日 22時58分


(An image that #ChangedEverything from photographer #MarkPower. Today is the final day to place your order! SIGNED $100 #MAGNUMSquare Prints available until 5PM EST. Shipping everywhere. Link is in our bio)-->“I’d already been documenting the construction of the Dome for some months. I was a resolute black-and-white photographer then, although I was beginning to wonder if this was the right strategy as the building became increasingly strange and otherworldly. But I was nervous about colour, and reticent to use it because I couldn’t process and print it myself. Nevertheless, I bit my lip and bought a couple of boxes of Agfa Optima, a negative film which, I was reliably informed, produced very intense colours. I concluded that if I was going to use colour at all then I might as well really use colour. At night, the Dome was illuminated with sodium light, which drains all understanding of colour. When I got the contact sheets back from the lab, I was amazed by the results. I asked the technician who’d printed them if they were ‘right.’ He explained he’d had no reference point to work from so he’d just exposed the negatives as he thought best. I began to understand that in situations like this, pictures can be any colour you want them to be. I’ve worked in colour ever since. These days, I look for much more subtle results, but I still look back on that first box of film with fondness.” — Mark Power


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