Colors And Subjects – American Kitsch

Sometimes, the best subjects can be right around you, and not what you’d expect. This wooden soldier is in front of an Army/Navy surplus store during business hours. A modern-day “wooden Indian”, snapped on the portrait kit on an overcast day, opening up the aperture a bit towards “Lighten”. Almost lifelike-

Wooden Soldier

Wooden Soldier

Moving on a few miles down the road, there is somewhat of a cheesy place for wedding receptions, etc. Looking very out-of-place is a series of statues, which I am guessing are out of Greek mythology. Not sure who crafted these, but they do look quite animated. But, do you want a 10 foot statue of Apollo staring down at you when you drive in? I climbed the base, for another portrait subject. The portrait kit does a great job of providing insanely shallow depth of field.

Apollo?

Apollo?

As if these two subjects didn’t provide enough “kitsch”. What would slices of Americana be without the classic American diner. The great Walker Evans, who worked with an SX-70 in his later years, documented such every day things, some with people, some without. A student at Phillips Academy in nearby Andover, he was given an unlimited supply of film by Polaroid in 1973. Dying to get my hands on a copy of Walker Evans: Polaroids.

5 AM Coffee, Scrambled Eggs And Hash, Anyone?

5 AM Coffee, Scrambled Eggs And Hash, Anyone?

No question, Pat Sansone was heavily influenced by Evans for his 100 Polaroids work. While in the field, yes, people will stop you and ask you about your camera. But maybe they will also be inspired to capture some American vernacular as well.

A technical note- the shot of the diner was captured with use of the Polaroid #585 UV Filter. Unlike DSLR’s, which undoubtedly have some kind of built-in UV filtration, these little filters actually do take the blue out of the shadows. With a blue sky and subject, almost a necessity. I’ll cover that filter, as well as the portrait kit, and close up kit, in other blog articles. Great accessories all.

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