Dear <<First Name>>

They give us those nice bright colors
They give us the greens of summers
Makes you think all the world's a sunny day
I got a Nikon camera
I love to take a photograph
So mama don't take my Kodachrome away-- Paul Simon

Commercially viable color transparency film entered the market in the 1930s.  In 1942, Kodak and Agfa introduced color negative film – Agfacolor and Kodachrome. The complicated development process was difficult to control, the color pigments were highly unstable and processing could only be carried out in a lab, by laboratory staff. Many photographers at this time were brought up on, and masters of, black and white photography, including their own development and making prints from the film. When it came to thinking about color photography as art, it wasn't just about how color film was processed. As the Art Dictionary notes, "even more difficult to overcome was the aesthetic prejudice against color photography, since it was widely used by many amateurs, as well as by professional journalists, advertisers, mass media, and the entertainment industry.” Many thought of color images as superficial, even shallow, especially when compared to the richness of contrast, blacks and whites, and perfect shades of gray. 

The 1976 exhibit, Photographs by William Eggleston, was probably the major turning point for color photography.  Eggleston’s photos of children in the suburbs, parked cars, garbage dumps, city buildings and fields, were considered rather ordinary, akin to trivial snapshots. Shocking for their banality, Eggleston was one of the first photographers to monumentalize everyday subjects (local and even private) and include them in the realm of photography – and doing it all in color.  William Eggleston’s Guide,  the accompanying catalog, is now considered one of the most important American photobooks ever published.


Other groundbreaking photographers who used color included: Stephen Shore, Saul Leiter, Helen Levitt, Joel Meyerowitz, Diane Arbus, Garry Winogrand, and Lee Friedlander.

The powerful MOMA photography curator, John Szarkowski noted, “the role of color is more than simply descriptive or decorative and assumes a central place in the definition of the picture's content.” The acceptance of color also went hand-in-hand with a change in photographic subject matter. Color photography opened up subjects that weren’t beholden to the logic of black and white photos — they could be less geometric, less dependent on contrast, and much more about everyday occurrences, taking advantage of the color palette to bring new dimensions to the images.  

For photographers, the choice between making a black and white or color image is impacted by various factors, including what works best for a specific subject combined with what the photographer wants to portray.  However, the best way to think about this debate is that the two formats do different things.  It’s a little bit like the old saying that you can’t compare apples to oranges. For a photographer and for the viewer, it is a decision among many others, all part of the way we choose see and interpreting the world.

Composition is important, but so are many other things, from content to the way colors work with or against each other. -- William Eggleston

Looking in Black and White and Color
oth the photographer and the viewer make choices about color and black and white images based on what they like.  The photographer's choices are often around "technical" considerations, as well as what they think works best for what they want to convey. I've include similar images in black and white infrared and color here, for you to look at and decide where your eye takes you.  The "Lobby" photo is included to make the point that in some photos, color is clearly the best choice. If you click on the image, you can see them larger.  Enjoy some visual fun.

Website Refresh
Features Roadside America and Scarred Places Projects

After two years, it was time for a little website refresh.

Roadside America and Scarred Places, now have a place on the website, even as they emerge and I continue to work on them.  These sections now include current project introductions/statements.  When you click into the images, the related story is available to read.  For the most recent photographs and development of these projects, follow along on Instagram or check out the hashtags: 
#scarredplacesphotoseries and/or #roadsideamericaphotoseries.

  • The Roadside America section features the current portfolio, with additional images in the Limited Edition prints section. 
  • The Scarred Places project is more like an outline and the current basis of this project's development with some sample images and stories.  There is much work to be done on this before it has a finalized statement and a tight portfolio of images. 

The Limited Edition prints section is a broader range of images and is the e-commerce section of the website.  I will update those images in the future, as I did about a year ago. 

The Prints and Process section includes a PDF download for things to think about when you are considering buying photographs.

PhotoNexus will return in 2022, including potentially an additional east coast version. Given where we were with the virus earlier this year, I determined we were "unable" to have the time to fill the spots in New Mexico.  The About section has a little more personal information too. 

Don't forget, if you are on Instagram or on the website and see something that interests you and you want to discuss whether there are more images like it, don't hesitate to email me.  There are thousands of images on the hard drive to choose from. 

Binhammer Photographs Website
Summer has arrived and countries are opening up again.  Hoping you have plans to enjoy things we have been missing over the last year.
I'm hoping to reconnect and see people in person for a change...and hit the road for some photo taking. 
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5807 Harbour Hill Place, Midlothian VA, 23112
Copyright © 2018 Binhammer Photographs, All rights reserved.

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Binhammer Photographs · 5807 Harbour Hill Pl · Midlothian, VA 23112-2120 · USA

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