There’s no question that I’ve taken a lot of photos of vintage cars in my life, so they seemed like obvious subjects for my sporadically-implemented Vemödalen Project. When I went on my annual pilgrimage to the Lime Rock Historics (which used to be called the Vintage Festival, which was a much better name) I took along what is the usual kit these days: a Leica body, in this case with a classic Elmar 50/3.5 screwed on the front and loaded with Kodak Ektar.
The plan was to get in close; this is not an entirely new approach for me, I know. I really wanted to try to emphasize graphical compositions, not to the point of total abstraction (which would be difficult in any case), but to get away from the instantly recognizable shape of a car and toward something that requires a bit more attention and thought on the part of the viewer. To my eye some of the shots I’ve chosen to show here are more successful that others in this regard, but that’s part of the process.
The other question raised here is the use of color versus monochrome film. There’s no doubt that black-and-white is by its nature more abstract than color, a point confirmed by a little experimentation with digital desaturation in post-processing. I chose to shoot in color because 1) I don’t do it that often, and practice is good, and 2) it added to the challenge. The fact is that some, if not all, of these shots might be better in black-and-white, but the Vemödalen Project is not really about the end result as much as it is about how one gets to it.
You can judge for yourself.