When images are in black and white, they seem timeless. When you see Carrie Otis in an ad from 1989 next to an ad with Klara Wester from 2009, you don't see a 20-year difference between the pictures.
Sentiment: POSITIVE
There's something really appealing about the simplicity of black-and-white images.
No baby boomer has a completely original idea, but after 13 years on 'Today' and another 11 on 'Dateline,' almost 30 years total at NBC, I felt the urge to find out what was 'behind the camera.' I had the feeling there was 'something more,' though 'more' might be less.
Perhaps I am old-fashioned, but black and white films still hold an affectionate place in my heart; they have an incomparable mystique and mood.
My advice to new artists is to embrace a broader concept of timelessness than vintage or retro.
I remember really loving the CoverGirl ads when I was younger - there was something very cool about how they always put the girls in white. It looked so clean.
I was looking at this picture of Brooke Shields at Studio 54 the other day. Everyone in the shot looks amazing because they have these black and white cameras with a flash. I think that's what photographers should go back to.
Black-and-white always looks modern, whatever that word means.
How could 30 years be the blink-of-the-eye it felt? It was the difference between black-and-white footage of the Second World War and David Bowie on 'Top of the Pops' singing 'Life on Mars.'
Every automobile ad looks alike.
I don't think of people as black or white. It's a question of are they photogenic or not? I don't think anyone says, 'Let's book her. She's black.' I think they say, 'Let's book her. She's good.' We've come that far.