I have started working on my series Insomnia: Hotel Noir again, including making prints. First realization was that most of the images created todate were using my prior Photoshop CS workflow. I have reworked a couple of the image using the CS3 workflow and I now know that I will have to use the CS3 workflow to arrive at an image that I will be statisfied with. So I have a number of images to modify, but so far the results are really worth it.
I have choosen to create this series with an image tonality that is Blue, initially trying to re-create a cyanotopy appearance selectiong a Prussian Blue color. My reaction to the print was that the color/hue that I chose looked right, I had too strong of a saturation. Thus I have dialed back the saturation a couple of notches.
I know that the choice of a blue tone for this series is really borderline cliche (Nope, it really is a cliche, but I am going to try to ignore that, my creative choice) with the Picasso “Blue Period”, which is why I do not want the color to be overwhelming blue in saturation. I like the mood association, but I also like dark (noir) night effect as well. I want a little intrigue and mystery, to suggest the unknown and the disassociation that travels with it.
The reality is that at night with all of the newest street lights that reduce the electrical cost, most everthing at night seems to have a very warm tone.
Best regards, Doug
It’s interesting that you choose blue for the toning. For me, this is also the sort of tone I have in my minds eye for night scenes: much more Mercury vapour that Sodium vapour.
I think it sets the correct tone (no pun intended) for the “Insomina” theme and the sense of distance/isolation that, for me, the images convey.